Music: An Art and a Language

however, are those in which the answering voice is an octave
away from the leading one. Although the Canon is not a form
employed frequently by modern composers for an entire com-
position, Canonic imitation appears so often in all large works
for orchestra, string quartet or ensemble combinations, that the
music-lover should acquire a certain ease in listening to a struc-
ture of this type. The Canon, moreover, is an integral factor in
the style of César Franck, d’Indy and Brahms; and illustrations
of its use abound in their works. The organ is particularly well
suited to the rendition of Canons; since, by its facilities for tone-
color, the two voices may be clearly contrasted. Those interested
in organ literature should become acquainted with the follow-
ing excellent examples: TheCanon in B-flat major, op. 40, by
Guilmant; the 4th movement of theFifth Organ Symphonyby
Widor; the Canon in B minor, op. 54, by Schumann; theCanon
in F-sharp major, op. 30, by Merkel, and the set ofTen Canonic
studies, op. 12, by G.W. Chadwick. In other fields of composi-
tion the following should be cited: The set ofPianoforte Pieces
in Canon form, op. 35, by Jadassohn; a like set by Rheinberger,
op. 180; theCanonic Vocal Trios, op. 156, by Reinecke and the
famous Canon from the first act of Beethoven’s operaFidelio.
There is also a beautiful bit of Canonic imitation between two
of the upper voices in the introduction of Berlioz’sCarnaval Ro-
main Overturefor orchestra. One of the most appealing Canons
in modern literature is the setting for soprano and barytone, by
Henschel, of the poemOh that we two were Mayingby Charles
Kingsley. This example alone would sufficiently corroborate the
statement that the firmness of structure inherent in the canonic
form is perfectly compatible with genuine freedom and poetry of
inspiration. In the first movement of César Frank’sSymphony
in D minor, at the recapitulation (page 39 of the full score)
may be found a magnificent example of the intensity of effect
gained by a canonic imitation of the main theme—in this in-
stance between the lower and upper voices. Possibly the finest
example of canonic writing in all literature is the Finale of César
Franck’sSonata in A majorfor Violin and Pianoforte in which,
for several pages, there is an eloquent dialogue between the two
contrasting instruments. The movement is too long for citation
but it should certainly be procured and studied. In the Trio
of the Scherzo in Beethoven’sSeventh Sonata for Violin and
Pianofortethere is a free use of canonic imitation which will
repay investigation. Lastly, theAria with 30 Variations—the