Johann Pachelbel from Alamy.com
Canon in D Johan Pachelbel arranged by Fred Kern from Getting to Grade 2 The New Mix
Story/character of the piece – the repetitive nature of the ostinato four bar pattern should be the basis for the interpretation for this piece. For example, the player could consider that there is an activity, such as climbing a mountain, where, as more height is gained, the view becomes more extensive. The piece has a cumulative effect, as if more voices and/instruments are being added to the music as it progresses. However, the original ostinato pattern must be apparent for the listener to hear.
Form – this piece is episodic in character; the player should consider how the arranger has provided interest for the listener in how the ostinato pattern is utilized in the music.
Main part of the music – this should occur half-way through bar 37 at a forte level as suggested by the arranger. Some of the other dynamic markings should be modified; for example the forte in bar 33 should be mezzoforte otherwise it will reduce the effect of the forte in bar 37. Considering the placement of the loudest part in the music the player must ensure that the dynamics do not reduce too soon, there must be a gradual overall diminuendo to the end of the piece.
Phrasing – because of the ostinato pattern that is present in all of the phrases, the phrases are all four bars in length. The player must consider how the dynamic levels move from one phrase to the following so that there is cohesion and continuity in the music. For most of the piece the music is in D major, however there is a B minor section from bar 24 to 28.
Tempo, time signature and rhythmic patterns – the suggested tempo of 84 crotchet beats per minute is fast considering the rhythmic patterns that will need to be played in the latter stages of the piece. However, this is an appropriate speed, as even though the playing of the piece requires a sense of grandeur and space, there must be a feeling of momentum and drive. Personally speaking, I am not too sure about the changes of tempo that are suggested on the final page. There are a few rhythmic patterns that may cause concern, however if the player has learnt these patterns ahead of time, they should not cause any problems.
Touch/articulation – in certain parts of this piece part-playing occurs and the employment of different touches for each part will help to contribute to the listener’s understanding of what is happening in the piece. For example, in bars 9 to 12, the L.H. must be played cantabile and with resonance. However, the R.H. should be played with a slightly intense touch with no accent occurring when the thumb plays. Then continuing into the following phrase, the player is required to maintain the cantabile ostinato part with a slightly intense R.H. inner voice. As the piece progresses the touch will need to become more intense, buoyant and energetic especially as the quantity of notes increases. The player must ensure that the ostinato pattern is legato throughout, as this melodic pattern is the basis for the entire piece. The arranger has written many articulation marks which must be strictly followed. Consistency is an important factor when applying these articulation marks. It is important for the player to lift at the end of the phrases so that the listener is aware of the phrasing.
Dynamics – gradation of tone and tone-matching are important factors when playing this piece. The player will need to play with a wide range of dynamics, as this will contribute to the cumulative character of the piece with its relentless drive to the end. It is important when playing this piece, to consider where the loudest part is of every phrase. By placing the main part of the phrase near the end will provide the music with an onward drive however placing the main part earlier in a phrase will provide the music with a sense of expectation. The level of dynamics at the end of one phrase and the level that the dynamics are at the beginning of the following phrase is a crucial aspect for the player to consider. The player must be fully aware of the different dynamic levels required throughout this piece. Even though the piece commences quietly there should be a degree of resonance in the playing of the L.H.
First page of Mus.MS 16481-8 from Staatsbibliothek zu Berlin - the oldest surviving copy of Johann Pachelbel's "Canon and Gigue in D major" (first movement popularly known as "Pachelbel's Canon"). Shows the first bars of the canon.
By Johann Pachelbel (music), Anon. (this manuscript copy), Staatsbibliothek zu Berlin (scan), IMSLP user Feduol (IMSLP upload) - http://imslp.org/wiki/Canon_and_Gigue_in_D_major_%28Pachelbel,_Johann%29, Public Domain, https://commons.wikimedia.org/w/index.php?curid=43725536
Rubato – small touches of rubato throughout will be appropriate additions however too much rubato applied could overly ‘romanticise’ the music. The player must ensure that they do not accelerate and/or slow down in the same places in the phrase every time. Some rubato has been written in by the arranger.
Pedal – possibly the first phrase could be without the application of pedal. Considering the register of some of the bass notes, the player must be careful with their pedaling as these notes will take longer to clear.
Considerations when playing this piece.
· The player must avoid any thumping or banging on particular beats, for example on third beats of bars 21 to 28.
· There are occurrences where the player must highlight the top notes of a chord.
· The player must ensure that they do not accent the playing of the RH’s no 5s.
· The L.H. has the most prominent role up to bar 16.
· There is a danger that the player may hold onto notes unnecessarily.
· The character of the music changes when the piano comes in on the offbeat.
· There are many changes of texture in this piece.
· There is a degree of restraint in the music at the beginning.
· At times the melodic line is in single notes followed by the melody being part of a chord.
· In bars 29 to 32 the player should imagine that a different instrument is playing on the fourth beat of the bar.
· Considerable skill is required for the tone-matching, especially where the R.H. is coming in on the offbeat after the L.H.
· The player must ensure that the dynamics do not become predictable.
· Not all the phrases should end with a crescendo.
· The highest note of a melodic pattern is not necessarily the loudest.
· In the fast-moving notes there should always be a feeling of direction.
· Even when the music is being played loudly the notes should sound persuasive rather than harsh.
· The player must highlight particular notes of the chords.
· The two-note slurs must be apparent in bars 21 to 24.
· There a many sequential patterns which must be highlighted by subtle changes in the dynamics.