The primary purpose of these Cent Canons appears to be singing, as evidenced by certain remarks on the tessituras in some canons. This in no way precludes other instrumental applications, sight-reading (with or without piano) or analysis. The preface to another of André Gédalge’s works, L’Enseignement de la musique par l’éducation méthodique de l’oreille allows us to imagine the type of singer for whom this collection is intended: undoubtedly a broad audience ranging from general education establishments (at least high schools) to music schools and probably conservatories. This gives us a glimpse of the high musical standards aimed for at the time and the effectiveness of his teaching.
From a historical perspective, the Cent Canons are part of the collections of pedagogical pieces produced by André Gédalge at the end of his life. The genesis of this collection remains obscure despite an apparent connection with his major pedagogical work, L’Enseignement de la musique par l’éducation méthodique de l’oreille which this collection seems to continue, or at least complement. This collection was important enough for the composer and musicologist Georges Favre to cite it in his work.
Focusing initially on the child’s first contact with music, he published in 1921 L’Enseignement de la Musique par l’Éducation méthodique de l’oreille (Paris, Librairie Gédalge), followed by a collection of Cent Canons à tous les intervalles and Vingt Chansons pour les enfants.
The author concludes his remarks by expressing his great admiration for André Gédalge’s Traité de la Fugue. It should be pointed out, however, that this work is much earlier, more complex theoretically speaking, and does not necessarily target the same audience or even the same type of teaching. The two treatises (fugue and counterpoint) seem to work together, and the genesis of both works appears to date from the same period while the Cent Canons are among his later works, undoubtedly the result of his long career as an inspector of music education. The pedagogical materials featured on the back cover of the published version of the Cent Canons certainly support this theory.
In any case, Gédalge remains true to his principles by offering, through these short pieces, genuine moments of music, seemingly simple, even disconcerting, and yet dealing with a considerable number of complex compositional techniques (canons by augmentation, diminution, doubling, with different superimposed intervals, etc.). This approach brings us back to his adage, which has become famous among those familiar with André Gédalge’s work, and which aptly summarizes his compositional style.
“In any case, one will do me the favor of acknowledging that I did not derive my principles from my prejudices, but from the nature of things.”
May this edition allow for the rediscovery of this fascinating work and rehabilitate this highly talented composer and teacher to the ranks of the great French musicians of his time.