The surprising discovery of two canons from Muzio Clementi: Canone (Gradus ad Parnassum II, 1828) and Edvard Grieg: Canon a 4 voci (1860) shows a rare model of construction of a four-voice-canon for piano (four voices in I-IV-V-I, instead of I-V-I-V). The article discusses details of form and construction of these two canons, in relation to the canon- and fugue-theory of the 19th century. In both cases it is remarkable how the respective composers deal with this unusual form and the limits of the piano (for example the playabilty of the four voices). Perhaps Grieg had known the canon by Clementi – his canon looks like a counterpoint-work of a young student making fun of the `serious schoolŽ of counterpoint Grieg learned in Leipzig. Clementi’s canon, however, is of greater dimension and ambition.

Keywords: Clementi, Grieg, canon, four voices, form, construction