Mozart: Double Canon K. 228 for String Quartet by Wolfgang Amadeus Mozart String Quartet - Digital Sheet Music

SKU: A0.1664334

Mozart’s K. 228 refers to the Double Canon for 4 Voices, K. 228/515b, a choral work composed in Vienna in 1787, before April 24 of that year. The piece is also known by its German title and incipit: "Ach zu kurz ist unsers Lebens Lauf" ("Ah, too short is the course of our life"). The canon exists in two versions: one in B-flat major and another in F major.

This work is a double canon, meaning it features two separate canonic structures interwoven for four voices. Its structure is typical of classical vocal canons, with overlapping melodic lines and text. The piece is often performed a cappella by vocal ensembles but has also been arranged for piano and other instruments. The canon was first published in 1877 or earlier and remains a notable example of Mozart’s skill in contrapuntal writing. It is commonly used in choral training and is available in various arrangements and recordings, including instrumental versions.

Mozart’s K.228 (Double Canon for 4 Voices) holds particular significance within his body of canonic works for several reasons:

Technical and Pedagogical Value: K.228 is considered part of a group of canons likely written for study or pedagogical purposes, possibly for Mozart’s students, such as Thomas Attwood, who studied with him in Vienna between 1785 and 1786. These canons, including K.228, are notable for their progressive interval patterns and clear, arithmetical structures, making them useful for teaching counterpoint and canonic technique.

Double Canon Structure: K.228 is a double interval canon for four voices, with the upper voice answered at the fourth above (or fifth below), and the lower voice at the fifth below (or fourth above). This sophisticated structure demonstrates Mozart’s mastery of contrapuntal writing and his interest in exploring complex musical forms even in short, didactic works.

Personal Connection: Mozart entered K.228 in the album of his friend Josef Franz von Jacquin in 1787, accompanied by a personal inscription in English. This act underscores that, despite their technical nature, these canons held personal meaning for Mozart and were valued as gifts or mementos among his circle.

Place in Mozart’s Canon Output: While many of Mozart’s canons are playful or written for social occasions, K.228 stands out as a serious study in counterpoint. It is part of a select group of canons that Mozart considered significant enough to share in a personal context, bridging the gap between pedagogical exercises and meaningful musical gestures.

In summary, K.228 is significant as both a technical study in canonic counterpoint and a personal artifact, reflecting Mozart’s dual role as teacher and composer, and highlighting the importance he placed on contrapuntal craftsmanship throughout his career.