Canon perpetuus from Musikalisches Opfer
BWV 1079/1 performed by Shunske Sato, Marten Root,
Leo van Doeselaar and Mieneke van der Velden
Het Concertgebouw, Amsterdam
Behind the music
Not a puzzle
Bach makes it easy for the musicians.
Canons – pieces of music whereby one part is notated from which several voices can then be derived – come in all shapes and sizes. They may be very simple, like the song Frère Jacques, but also extremely complex. The ten canons in Bach’s Musikalisches Opfer range from those that are solved fairly simply to ingenious puzzles.
Anyone who has seen other recordings we have made of canons from the Musikalisches Opfer may notice something different about this Canon perpetuus (perpetual canon). Although the canon has a mirrored part, the mirror shows a different musician, rather than the same one. Why? Because Bach made it easy for musicians to play this canon. The piece is printed at the end of the Trio Sonata on part of a page that would otherwise have been left blank. And this time, he did not notate the canon as a puzzle, but wrote out all the parts and gave the instrumentation as well. As the violin part mirrors the flute, the mirror reflects a different instrument.
Musikalisches Opfer, BWV 1079
The Musikalisches Opfer is a special collection of chamber music within the work of Johann Sebastian Bach, written for Frederick the Great of Prussia. Musikalisches Opfer means ‘a musical offering’, and that is precisely how the collection originated.
It all started in May 1747, when Bach went to Potsdam to visit his son Carl Philipp Emanuel, who was working at the court of Frederick the Great. Bach was introduced to Frederick, who had heard that Bach was a great improviser and asked him on the spot to improvise a fugue on a given theme (undoubtedly a first shot at the Ricercar a 3). According to the sources, Bach made a brilliant job of it and showed such enthusiasm about the ‘royal theme’ that he promised to have the fugue engraved ‘on copper’ and printed.
No sooner said than done. Two months later, Bach published a series of compositions: a trio sonata, a three-part and a six-part ricercar and ten canons, all inspired by the king’s theme. Frederick was sent a splendid luxury print and Bach distributed his masterpiece among his friends, despite the high costs of printing. Incidentally, Bach himself did not call the collection Musikalisches Opfer, but rather Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta (the theme given by the king, with additions, resolved in canonic style). The initials of this long title form the term ricercar, a name used at the time for an instrumental piece in which various themes are introduced and imitated.
The canons in the Musikalisches Opfer are a sort of visual music. Bach wrote them like puzzles, which the player must first solve in order to play them correctly. In these recordings, we wanted to give a literal picture of this ‘visual music’. So for example, wherever a part is doubled, the player will be in view twice. And where a part is mirrored, then the player appears in a mirror too.
- Canon perpetuus
- Viola da gamba, Traverso, Violin, Fortepiano
- chamber music
- written for Frederick the Great
- Release date
- 30 September 2021
- Recording date
- 7 July 2020
- Het Concertgebouw, Amsterdam
- Shunske Sato
- Marten Root
- Leo van Doeselaar
- Viola da gamba
- Mieneke van der Velden
- Director and editor
- Onno van Ameijde
- Music recording
- Guido Tichelman, Bastiaan Kuijt, Pim van der Lee
- Music edit and mix
- Guido Tichelman
- Onno van Ameijde, Jeroen Simons
- Emile Groenewoud
- Lighting assistant
- Erwin Smit, Aden Zijp
- Data handling
- Stefan Ebels
- Assistant music recording
- Marloes Biermans
- Producer film
- Jessie Verbrugh
- Supported by
The Musikalisches Opfer is a special collection of chamber music within the work of Johann Sebastian Bach, written for Frederick the Great of Prussia, and consists of a total of 13 movements.
Ricercar a 3 from Musikalisches Opfer
chamber music, BWV 1079/1
Canon a 2 violini in unisono from Musikalisches Opfer
chamber music, BWV 1079/5
Canon perpetuus super Thema Regium from Musikalisches Opfer
chamber music, BWV 1079/10
Canon a 4 Quaerendo invenietis from Musikalisches Opfer
chamber music, BWV 1079/13
Fuga canonica in epidiapente from Musikalisches Opfer
chamber music, BWV 1079/9
Canon a 2 Cancrizans from Musikalisches Opfer
chamber music, BWV 1079/4
Ricercar a 6 from Musikalisches Opfer
chamber music, BWV 1079/2
Canon a 2 Quarendo invenietis from Musikalisches Opfer
chamber music, BWV 1079/12
Canon perpetuus from Musikalisches Opfer
chamber music, BWV 1079/11
Canon a 2 per Motum contrarium from Musikalisches Opfer
chamber music, BWV 1079/6
Canon a 2 per Augmentationem, contrario Motu from Musikalisches Opfer
chamber music, BWV 1079/7
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