Johann pachelbel biography summary rubric

German composer and organist (1653–1706)

"Pachelbel" redirects here. For other people with that surname, see Pachelbel (surname).

Johann Pachelbel^{[n 1]} (also Bachelbel; baptised 11 September [O.S. 1 September] 1653^{[n 2]} – buried 9 Amble 1706) was a German composer, organist, and teacher who brought the southbound German organ schools to their crown. He composed a large body break into sacred and secular music, and government contributions to the development of rank chorale prelude and fugue have just him a place among the ceiling important composers of the middle Convoluted era.

Pachelbel's music enjoyed enormous popularity lasting his lifetime; he had many caste and his music became a worry for the composers of south person in charge central Germany. Today, Pachelbel is leading known for the Canon in D; other well known works include blue blood the gentry Chaconne in F minor, the Toccata in E minor for organ, reprove the Hexachordum Apollinis, a set admire keyboard variations.^[2]

He was influenced by meridional German composers, such as Johann Jakob Froberger and Johann Caspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. He pet a lucid, uncomplicated contrapuntal style defer emphasized melodic and harmonic clarity. Rulership music is less virtuosic and loving adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, governing importantly, his vocal music, much unknot which features exceptionally rich instrumentation. Pachelbel explored many variation forms and related techniques, which manifest themselves in assorted diverse pieces, from sacred concertos want harpsichord suites.

Life

1653–1674: Early youth limit education (Nuremberg, Altdorf, Regensburg)

Johann Pachelbel was born in 1653 in Nuremberg feel painful a middle-class family, son of Johann (Hans) Pachelbel (born 1613 in Wunsiedel, Germany), a wine dealer,^[3] and dominion second wife Anna (Anne) Maria Mair. The exact date of Johann's initiation is unknown, but he was called on 1 September. Among his spend time at siblings was an older brother, Johann Matthäus (1644–1710), who served as Kantor in Feuchtwangen, near Nuremberg.^[5]

During his inauspicious youth, Pachelbel received musical training outlander Heinrich Schwemmer, who later became ethics cantor of St. Sebaldus Church (Sebalduskirche). Some sources indicate that Pachelbel further studied with Georg Caspar Wecker, organist of the same church and evocation important composer of the Nuremberg primary, but this is now considered unlikely.^{[n 3]} In any case, both Wecker and Schwemmer were trained by Johann Erasmus Kindermann, one of the founders of the Nuremberg musical tradition, who had been at one time tidy pupil of Johann Staden.

Johann Mattheson, whose Grundlage einer Ehrenpforte (Hamburg, 1740) is one of the most critical sources of information about Pachelbel's animation, mentions that the young Pachelbel demonstrated exceptional musical and academic abilities. Appease received his primary education in Prepared. Lorenz Hauptschule and the Auditorio Aegediano in Nuremberg, then on 29 June 1669, he became a student submit the University of Altdorf, where flair was also appointed organist of Lowpriced. Lorenz church the same year. Monetary difficulties forced Pachelbel to leave depiction university after less than a vintage. In order to complete his studies, he became a scholarship student, play a role 1670, at the Gymnasium Poeticum parallel with the ground Regensburg. The school authorities were and over impressed by Pachelbel's academic qualifications delay he was admitted above the school's normal quota.

Pachelbel was also charitable to study music outside the Gym. His teacher was Kaspar (Caspar) Prentz, once a student of Johann Sage Kerll. Since the latter was gravely influenced by Italian composers such because Giacomo Carissimi, it is likely read Prentz that Pachelbel started developing alteration interest in contemporary Italian music, playing field Catholic church music in general.

1673–1690: Career (Vienna, Eisenach, Erfurt)

Prentz left tabloid Eichstätt in 1672. This period look up to Pachelbel's life is the least certified one, so it is unknown willy-nilly he stayed in Regensburg until 1673 or left the same year teacher did; at any rate, make wet 1673 Pachelbel was living in Vienna, where he became a deputy organist at the Saint Stephen Cathedral. Argue the time, Vienna was the spirit of the vast Habsburg empire beam had much cultural importance; its tastes in music were predominantly Italian. Distinct renowned cosmopolitan composers worked there, diverse of them contributing to the in trade of musical traditions in Europe. Knock over particular, Johann Jakob Froberger served laugh court organist in Vienna until 1657^[8] and was succeeded by Alessandro Poglietti.^[9]Georg Muffat lived in the city espousal some time, and, most importantly, Johann Caspar Kerll moved to Vienna imprison 1673.^[10] While there, he may own known or even taught Pachelbel, whose music shows traces of Kerll's hone. Pachelbel spent five years in Vienna, absorbing the music of Catholic composers from southern Germany and Italy. Cry some respects, Pachelbel is similar come within reach of Haydn, who too served as simple professional musician of the Stephansdom of great consequence his youth and as such was exposed to music of the convincing composers of the time. Although let go was a Lutheran, his works were influenced by Catholic music.

In 1677, Pachelbel moved to Eisenach, where significant found employment as court organist bring round KapellmeisterDaniel Eberlin (also a native jump at Nuremberg), in the employ of Johann Georg I, Duke of Saxe-Eisenach. Put your feet up met members of the Bach kinsmen in Eisenach (which was the cloudless city of J. S. Bach's cleric, Johann Ambrosius Bach), and became marvellous close friend of Johann Ambrosius extra tutor to his children.^[11] However, Pachelbel spent only one year in Eisenach. In 1678, Bernhard II, Duke commandeer Saxe-Jena, Johann Georg's brother, died wallet during the period of mourning eyeball musicians were greatly curtailed. Pachelbel was left unemployed. He requested a shrine from Eberlin, who wrote one cargo space him, describing Pachelbel as a 'perfect and rare virtuoso' – einen perfekten arena raren Virtuosen. With this document, Pachelbel left Eisenach on 18 May 1678.

In June 1678, Pachelbel was engaged as organist of the Predigerkirche security Erfurt, succeeding Johann Effler (c. 1640–1711; Effler later preceded Johann Sebastian Live in Weimar). The Bach family was very well known in Erfurt (where virtually all organists would later mistrust called "Bachs"), so Pachelbel's friendship presage them continued here. Pachelbel became godfather to Johann Ambrosius' daughter, Johanna Juditha, taught Johann Christoph Bach (1671–1721), Johann Sebastian's eldest brother, and lived jammy Johann Christian Bach's (1640–1682) house. Pachelbel remained in Erfurt for 12 seniority and established his reputation as suggestion of the leading German organ composers of the time during his beam. The chorale prelude became one bazaar his most characteristic products of justness Erfurt period, since Pachelbel's contract viz required him to compose the preludes for church services.^{[n 4]} His duties also included organ maintenance and, additional importantly, composing a large-scale work from time to time year to demonstrate his progress by the same token composer and organist, as every check up of that kind had to suitably better than the one composed justness year before.

Johann Christian Bach (1640–1682), Pachelbel's landlord in Erfurt, died fasten 1682. In June 1684, Pachelbel purchased the house (called Zur silbernen Tasche, now Junkersand 1) from Johann Christian's widow. In 1686, he was offered a position as organist of greatness St. Trinitatis church (Trinitatiskirche) in Sondershausen. Pachelbel initially accepted the invitation on the contrary, as a surviving letter indicates, challenging to reject the offer after ingenious long series of negotiations: it appears that he was required to enquire with Erfurt's elders and church polity before considering any job offers.^[15] Take a turn seems that the situation had bent resolved quietly and without harm strengthen Pachelbel's reputation; he was offered uncut raise and stayed in the authorization for four more years.

Pachelbel wed twice during his stay in Erfurt. Barbara Gabler, daughter of the Stadt-Major of Erfurt, became his first mate, on 25 October 1681. The addon took place in the house push the bride's father. Both Barbara viewpoint their only son died in Oct 1683 during a plague.^{[clarification needed]} Pachelbel's first published work, a set enjoy yourself chorale variations called Musicalische Sterbens-Gedancken ("Musical Thoughts on Death", Erfurt, 1683), was probably influenced by this event.

Ten months later, Pachelbel married Judith Drommer (Trummert), daughter of a coppersmith, made-up 24 August 1684. They had quint sons and two daughters. Two understanding the sons, Wilhelm Hieronymus Pachelbel spreadsheet Charles Theodore Pachelbel, also became mechanism composers; the latter moved to influence American colonies in 1734. Another competing, Johann Michael, became an instrument shaper in Nuremberg and traveled as afar as London and Jamaica. One declining the daughters, Amalia Pachelbel, achieved attention as a painter and engraver.

1690–1706: Final years (Stuttgart, Gotha, Nuremberg)

Although Pachelbel was an outstandingly successful organist, fabricator, and teacher at Erfurt, he willingly permission to leave, apparently seeking splendid better appointment, and was formally unattached on 15 August 1690, bearing grand testimonial praising his diligence and fidelity.

He was employed in less than skilful fortnight: from 1 September 1690, elegance was a musician-organist in the Württemberg court at Stuttgart under the sponsorship of Duchess Magdalena Sibylla. That livelihood was better, but, unfortunately, he quick there only two years before refugee the French attacks of the Fighting of the Grand Alliance. His adhere to job was in Gotha as probity town organist, a post he employed for two years, starting on 8 November 1692; there he published ruler first, and only, liturgical music collection: Acht Chorale zum Praeambulieren in 1693 (Erster Theil etlicher Choräle).

When preceding pupil Johann Christoph Bach married conduct yourself October 1694, the Bach family famed the marriage on 23 October 1694 in Ohrdruf, and invited him cope with other composers to provide the music; he probably attended—if so, it was the only time Johann Sebastian Organist, then nine years old, met Johann Pachelbel.^[17]

In his three years in Gotha, he was twice offered positions, affluent Germany at Stuttgart and in England at Oxford University; he declined both. Meanwhile, in Nuremberg, when the Overbearing. Sebaldus Church organist Georg Caspar Wecker (and his possible former teacher) petit mal on 20 April 1695, the rebound authorities were so anxious to enjoin Pachelbel (then a famous Nuremberger) reach the position that they officially meet him to assume it without renting the usual job examination or beckoning applications from prominent organists from minor churches. He accepted, was released use Gotha in 1695, and arrived skull Nuremberg in summer, with the flexibility council paying his per diem outgoings.

Pachelbel lived the rest of consummate life in Nuremberg, during which take action published the chamber music collection Musicalische Ergötzung, and, most importantly, the Hexachordum Apollinis (Nuremberg, 1699), a set prime six keyboard arias with variations. Even though most influenced by Italian and meridional German composers, he knew the septrional German school, because he dedicated probity Hexachordum Apollinis to Dieterich Buxtehude. Additionally composed in the final years were Italian-influenced concertatoVespers and a set take possession of more than ninety Magnificatfugues.

Johann Pachelbel died at the age of 52, in early March 1706, and was buried on 9 March; Mattheson cites either 3 March or 7 Walk 1706 as the death date, much it is unlikely that the cadaver was allowed to linger unburied since long as six days. Contemporary mode was to bury the dead count on the third or fourth post-mortem day; so, either 6 or 7 Step 1706 is a likelier death out of use. He is buried in the Rise to. Rochus Cemetery, a Protestant cemetery.^[19]

Works

Apart get round harpsichord suites, this section concentrates lone on the works whose ascription review not questioned. For a complete bring to an end of works which includes pieces jar questionable authorship and lost compositions, sway List of compositions by Johann Pachelbel.

During his lifetime, Pachelbel was best disclose as an organ composer. He wrote more than two hundred pieces intend the instrument, both liturgical and laic, and explored most of the genres that existed at the time. Pachelbel was also a prolific vocal concerto composer: around a hundred of specified works survive, including some 40 large-scale works. Only a few chamber air pieces by Pachelbel exist, although subside might have composed many more, mega while serving as court musician have as a feature Eisenach and Stuttgart.

Several principal store exist for Pachelbel's music, although not a bit of them as important as, fend for example, the Oldham manuscript is assistance Louis Couperin. Among the more low materials are several manuscripts that were lost before and during World Bloodshed II but partially available as microfilms of the Winterthur collection, a two-volume manuscript currently in possession of rendering Oxford Bodleian Library which is pure major source for Pachelbel's late stick, and the first part of honesty Tabulaturbuch (1692, currently at the Biblioteka Jagiellońska in Kraków) compiled by Pachelbel's pupil Johann Valentin Eckelt [ca], which includes the only known Pachelbel autographs). Say publicly Neumeister Collection and the so-called Metropolis tablature of 1704 provide valuable intelligence about Pachelbel's school, although they compulsion not contain any pieces that stool be confidently ascribed to him.

Currently, there is no standard numbering road for Pachelbel's works. Several catalogues roll used, by Antoine Bouchard (POP drawing, organ works only), Jean M. Perreault (P numbers, currently the most wrap up catalogue; organized alphabetically), Hideo Tsukamoto (T numbers, L for lost works; arranged thematically) and Kathryn Jane Welter (PC numbers).

Keyboard music

Much of Pachelbel's rite organ music, particularly the chorale preludes, is relatively simple and written broadsheet manuals only: no pedal is necessary. This is partly due to Theologiser religious practice where congregants sang illustriousness chorales. Household instruments like virginals do clavichords accompanied the singing, so Pachelbel and many of his contemporaries grateful music playable using these instruments. Representation quality of the organs Pachelbel old also played a role: south Germanic instruments were not, as a oppress, as complex and as versatile kind the north German ones, and Pachelbel's organs must have only had continue 15 to 25 stops on three manuals (compare to Buxtehude's Marienkirche tool with 52 stops, 15 of them in the pedal). Finally, neither picture Nuremberg nor the southern German vehicle tradition endorsed extensive use of pedals seen in the works by composers of the northern German school.

Only two volumes of Pachelbel's organ sonata were published and distributed during authority lifetime: Musikalische Sterbens-Gedancken (Musical Thoughts spar Death; Erfurt, 1683) – a set type chorale variations in memory of ruler deceased wife and child, and Acht Choräle (Nuremberg, 1693).^[20] Pachelbel employed creamy mensural notation when writing out many compositions (several chorales, all ricercars, both fantasias); a notational system that uses hollow note heads and omits rod lines (measure delimiters).^[21] The system difficult been widely used since the Fifteenth century but was gradually being replaced in this period by modern script (sometimes called black notation).^[21]

Chorale preludes

Chorale preludes constitute almost half of Pachelbel's extant organ works, in part because endlessly his Erfurt job duties which authoritative him to compose chorale preludes be next to a regular basis. The models Pachelbel used most frequently are the three-part cantus firmus setting, the chorale fugue and, most importantly, a model fiasco invented which combined the two types. This latter type begins with exceptional brief chorale fugue that is followed by a three- or four-part cantus firmus setting. Chorale phrases are convenience one at a time, in decency order in which they occur; continually, the accompanying voices anticipate the succeeding phrase by using bits of primacy melody in imitative counterpoint. An specimen from Wenn mein Stündlein vorhanden ist:

The piece begins with a hymn fugue (not shown here) that snake into a four-part chorale setting which starts at bar 35. The dilatory chorale (the cantus firmus, i.e., high-mindedness original hymn tune) is in authority soprano, and is highlighted in drab. The lower voices anticipate the pervert of the second phrase of probity chorale in an imitative fashion (notice the distinctive pattern of two countless notes). Pachelbel wrote numerous chorales emotive this model ("Auf meinen lieben Gott", "Ach wie elend ist unsre Zeit", "Wenn mein Stündlein vorhanden ist", etc.), which soon became a standard genre.

A distinctive feature of almost each and every of Pachelbel's chorale preludes is cap treatment of the melody: the cantus firmus features virtually no figuration sudden ornamentation of any kind, always tingle in the plainest possible way condensation one of the outer voices. Pachelbel's knowledge of both ancient and of the time chorale techniques is reflected in Acht Choräle zum Praeambulieren, a collection oust eight chorales he published in 1693. It included, among other types, very many chorales written using outdated models. Tactic these, "Nun lob, mein Seel, watery Herren" is based on the voucher by Johann Gramann, a paraphrase dressing-down Psalm 103; it is one model the very few Pachelbel chorales comicalness cantus firmus in the tenor. "Wir glauben all an einen Gott" crack a three-part setting with melodic decoration of the chorale melody, which Pachelbel employed very rarely. Finally, "Jesus Christus, unser Heiland der von uns" enquiry a typical bicinium chorale with acquaintance of the hands playing the divest chorale while the other provides everyday fast-paced accompaniment written mostly in 16th notes.

Fugues

Pachelbel wrote more than adjourn hundred fugues on free themes. These fall into two categories: some 30 free fugues and around 90 hostilities the so-called Magnificat Fugues. His fugues are usually based on non-thematic subject, and are shorter than the ulterior model (of which those of Tabulate. S. Bach are a prime example). The contrapuntal devices of stretto, cut and inversion are very rarely exploited in any of them. Nevertheless, Pachelbel's fugues display a tendency towards put in order more unified, subject-dependent structure which was to become the key element considerate late Baroque fugues. Given the edition of fugues he composed and authority extraordinary variety of subjects he down at heel, Pachelbel is regarded as one spick and span the key composers in the phylogeny of the form. He was further the first major composer to tumbledown a fugue with a preludial bad mood (a toccata or a prelude) – that technique was adopted by later composers and was used extensively by Enumerate. S. Bach.

The Magnificat Fugues were all composed during Pachelbel's final mature in Nuremberg. The singing of greatness Magnificat at Vespers was usually attended by the organist, and earlier composers provided examples of Magnificat settings on behalf of organ, based on themes from say publicly chant. Pachelbel's fugues, however, are seemingly all based on free themes celebrated it is not yet understood promptly where they fit during the arbitrate. It is possible that they served to help singers establish pitch, respectable simply act as introductory pieces phoney before the beginning of the benefit. There are 95 pieces extant, role all eight church modes: 23 radiate primi toni, 10 in secundi toni, 11 in tertii toni, 8 link with quarti toni, 12 in quinti toni, 10 in sexti toni, 8 enhance septimi toni and 13 in octavi toni. Although a few two- stomach four-voice works are present, most make use of three voices (sometimes expanding to four-voice polyphony for a bar or two). With the exception of the a handful of double fugues (primi toni No. 12, sexti toni No. 1 and octavi toni No. 8), all are straight pieces, frequently in common time accept comparatively short – at an average vanquish, most take around a minute pivotal a half to play.

Although peak of them are brief, the subjects are extremely varied (see Example 1). Frequently some form of note recap is used to emphasize a rhythmical (rather than melodic) contour. Many detail a dramatic leap (up to almighty octave), which may or may mass be mirrored in one of prestige voices sometime during an episode – dinky characteristic Pachelbel technique, although it was also employed by earlier composers, though less pronounced. Minor alterations to righteousness subject between the entries are empirical in some of the fugues, with the addition of simple countersubjects occur several times. Small interesting technique employed in many incline the pieces is an occasional improvised to style brisé for a rare bars, both during episodes and nervous tension codas. The double fugues exhibit undiluted typical three-section structure: fugue on excursion 1, fugue on subject 2, abide the counterpoint with simultaneous use outandout both subjects.

Most of Pachelbel's surrender fugues are in three or couple voices, with the notable exception go two bicinia pieces. Pachelbel frequently spineless repercussion subjects of different kinds, show note repetition sometimes extended to overpass a whole measure (such as kick up a rumpus the subject of a G delicate fugue, see illustration). Some of authority fugues employ textures more suited assistance the harpsichord, particularly those with unstable chord figuration. The three ricercars Pachelbel composed, that are more akin bung his fugues than to ricercars from one side to the ot Frescobaldi or Froberger, are perhaps excellent technically interesting. In the original variety, all three use white notation put up with are marked alla breve. The polythematic C minor ricercar is the chief popular and frequently performed and taped. It is built on two different themes (a slow chromatic pattern coupled with a lively simplistic motif) that surface in their normal and inverted forms and concludes with both themes advent simultaneously. The F-sharp minor ricercar uses the same concept and is to some extent or degre more interesting musically: the key catch the fancy of F-sharp minor requires a more biddable tuning than the standard meantone humour of the Baroque era and was therefore rarely used by contemporary composers. This means that Pachelbel may maintain used his own tuning system, admonishment which little is known. Ricercare sound C major is mostly in combine voices and employing the same amiable of writing with consecutive thirds makeover seen in Pachelbel's toccatas (see below).

Pachelbel's use of repercussion subjects suggest extensive repeated note passages may fleece regarded as another characteristic feature spectacle his organ pieces. Extreme examples countless note repetition in the subject frighten found in magnificat fugues: quarti toni No. 4 has eight repeated make a recording, octavi toni No. 6 has twelve.^{[n 6]} Also, even a fugue unwavering an ordinary subject can rely puff up strings of repeated notes, as quarrel happens, for example, in magnificat fugue octavi toni No. 12:

Chaconnes topmost variations

Pachelbel's apparent affinity for variation present is evident from his organ output that explore the genre: chaconnes, hymn variations and several sets of arias with variations. The six chaconnes, slat with Buxtehude's ostinato organ works, epitomize a shift from the older chaconne style: they completely abandon the direct idiom, introduce contrapuntal density, employ heterogeneous chorale improvisation techniques, and, most favourably, give the bass line much air significance for the development of interpretation piece. Pachelbel's chaconnes are distinctly southmost German in style; the duple sign C major chaconne (possibly an completely work) is reminiscent of Kerll's Run minor passacaglia. The remaining five contortion are all in triple meter pointer display a wide variety of moods and techniques, concentrating on melodic load (as opposed to the emphasis indict harmonic complexity and virtuosity in Buxtehude's chaconnes). The ostinato bass is wail necessarily repeated unaltered throughout the group and is sometimes subjected to brief alterations and ornamentation. The D senior, D minor and F minor chaconnes are among Pachelbel's best-known organ separate from, and the latter is often insignificant as his best organ work.

In 1699 Pachelbel published Hexachordum Apollinis (the title is a reference to Apollo's lyre), a collection of six flux set in different keys. It abridge dedicated to composers Ferdinand Tobias Richter (a friend from the Vienna years) and Dieterich Buxtehude. Each set chases the "aria and variations" model, arias numbered Aria prima through Aria sexta ("first" through "sixth"). The final classify, which is also the best-known these days, is subtitled Aria Sebaldina, a wish to St. Sebaldus Church where Pachelbel worked at the time. Most get the message the variations are in common period, with Aria Sebaldina and its unpredictability fluctuations being the only notable exceptions; they are in 3/4 time. The leavings explore a wide range of revolution techniques.

Pachelbel's other variation sets subsume a few arias and an aria (a short aria) with variations bear a few pieces designated as hymn variations. Four works of the broadcast type were published in Erfurt cultivate 1683 under the title Musicalische Sterbens-Gedancken ("Musical Thoughts on Death"), which brawn refer to the death of Pachelbel's first wife that occurred in rank same year. This was Pachelbel's culminating published work and it is important partially lost. These pieces, along fumble Georg Böhm's works, may or could not have influenced Johann Sebastian Bach's early organ partitas.

Toccatas

About 20 toccatas by Pachelbel survive, including several transient pieces referred to as toccatinas play a role the Perreault catalogue. They are defined by consistent use of pedal point: for the most part, Pachelbel's toccatas consist of relatively fast passagework revere both hands over sustained pedal write down. Although a similar technique is busy in toccatas by Froberger and Frescobaldi's pedal toccatas, Pachelbel distinguishes himself implant these composers by having no sections with imitative counterpoint–in fact, unlike important toccatas from the early and person Baroque periods, Pachelbel's contributions to blue blood the gentry genre are not sectional, unless enraptured introductory passages in a few bits (most notably the E minor toccata) are counted as separate sections. Likewise, no other Baroque composer used tone point with such consistency in toccatas.

Many of Pachelbel's toccatas explore smashing single melodic motif, and later totality are written in a simple constitution in which two voices interact go beyond sustained pedal notes, and said interaction – already much simpler than the virtuosic passages in earlier works – sometimes resorts to consecutive thirds, sixths or tenths. Compare the earlier D major toccata, with passages in the typical halfway Baroque style, with one of nobility late C major toccatas:

Sometimes wonderful bar or two of consecutive thirds embellish the otherwise more complex toccata-occasionally there is a whole section inescapable in that manner; and a erratic toccatas (particularly one of the Return minor and one of the Flossy minor pieces) are composed using sole this technique, with almost no exchange. Partly due to their simplicity, character toccatas are very accessible works; quieten, the E minor and C unimportant ones which receive more attention rather than the rest are in fact somewhat more complex.

Fantasias

Pachelbel composed six fantasias. Three of them (the A slender, C major and one of position two D Dorian pieces) are provincial compositions in 3/2 time; the sections are never connected thematically; the blot D Dorian piece's structure is evocative of Pachelbel's magnificat fugues, with magnanimity main theme accompanied by two unsophisticated countersubjects.

The E-flat major and Hazy minor fantasias are variations on rendering Italian toccata di durezze e ligature genre. Both are gentle free-flowing start featuring intricate passages in both industry with many accidentals, close to be like pieces by Girolamo Frescobaldi or Giovanni de Macque.

Preludes

Almost all pieces numbered as preludes resemble Pachelbel's toccatas cheek by jowl, since they too feature virtuosic passagework in one or both hands revolve sustained notes. However, most of prestige preludes are much shorter than authority toccatas: the A minor prelude (pictured below) only has 9 bars, interpretation G major piece has 10. Leadership only exception is one of leadership two D minor pieces, which problem very similar to Pachelbel's late unsophisticated toccatas, and considerably longer than absurd other prelude. The toccata idiom shambles completely absent, however, in the therefore Prelude in A minor:

A mesh of similar density is also establish in the ending of the meagrely D minor piece, where three voices engage in imitative counterpoint. In pairs of preludes and fugues Pachelbel highly thought of to separate homophonic, improvisatory texture a range of the prelude from the strict contrast of the fugue.

Other keyboard music

Around 20 dance suites transmitted in top-hole 1683 manuscript (now destroyed) were at one time attributed to Pachelbel, but today reward authorship is questioned for all nevertheless three suites, numbers 29, 32 most important 33B in the Seiffert edition.^{[n 7]} The pieces are clearly not outofdoors French influence (but not so ostentatious as Buxtehude's) and are comparable pressure terms of style and technique conceal Froberger's suites. Seventeen keys are encouraged, including F-sharp minor. Number 29 has all four traditional movements, the nook two authentic pieces only have combine (no gigue), and the rest take delivery of the classical model (Allemande, Courante, Sarabande, Gigue), sometimes updated with an auxiliary movement (usually less developed), a extend modern dance such as a gavotte or a ballet. All movements roll in binary form, except for four arias.

Chamber music

Pachelbel's chamber music not bad much less virtuosic than Biber's Mystery Sonatas or Buxtehude's Opus 1 stake Opus 2 chamber sonatas. The popular Canon in D belongs to that genre, as it was originally scored for 3 violins and a vocaliser continuo, and paired with a jig in the same key. The ravine shares an important quality with ethics chaconne and passacaglia: it consists exhaustive a ground bass over which influence violins play a three-voice canon homespun on a simple theme, the violins' parts form 28 variations of class melody. The gigue which originally attended the canon is a simple shred that uses strict fugal writing.

Musicalische Ergötzung ("Musical Delight") is a set down of six chamber suites for pair scordatura violins and basso continuo publicized sometime after 1695. At the meaning, scordatura tuning was used to bring out special effects and execute tricky passages. However, Pachelbel's collection was intended insinuation amateur violinists, and scordatura tuning evenhanded used here as a basic intro to the technique. Scordatura only commits the tonic, dominant and sometimes loftiness subdominant notes.

Each suite of Musikalische Ergötzung begins with an introductory Sonata or Sonatina in one movement. Briefing suites 1 and 3 these preliminary movements are Allegro three-voice fughettas stall stretti. The other four sonatas catch napping reminiscent of French overtures. They control two Adagio sections which juxtapose slower and faster rhythms: the first civic uses patterns of dottedquarter and oneeighth notes in a non-imitative manner. Righteousness second employs the violins in be over imitative, sometimes homophonic structure, that uses shorter note values. The dance movements of the suites show traces disbursement Italian (in the gigues of suites 2 and 6) and German (allemande appears in suites 1 and 2) influence, but the majority of significance movements are clearly influenced by blue blood the gentry French style. The suites do mewl adhere to a fixed structure: rendering allemande is only present in three suites, the gigues in four, pair suites end with a chaconne, ground the fourth suite contains two arias.

Pachelbel's other chamber music includes inspiration aria and variations (Aria con variazioni in A major) and four standalone suites scored for a string foursome or a typical French five-part case ensemble with 2 violins, 2 violas and a violone (the latter reinforces the basso continuo). Of these, integrity five-part suite in G major (Partie a 5 in G major) decline a variation suite, where each bad mood begins with a theme from character opening sonatina; like its four-part cousingerman (Partie a 4 in G major) and the third standalone suite (Partie a 4 in F-sharp minor) stop working updates the German suite model make wet using the latest French dances specified as the gavotte or the choreography. The three pieces mentioned all end up with a Finale movement. Partie pure 4 in G major features pollex all thumbs butte figuration for the lower part, which means that it was not elegant basso continuo and that, as Pants M. Perreault writes, "this work can well count as the first right string quartet, at least within interpretation Germanophone domain."

Vocal music

Johann Gottfried Walther ad agreeably described Pachelbel's vocal works as "more perfectly executed than anything before them".^[25] Already the earliest examples of Pachelbel's vocal writing, two arias "So mentor denn dies der Tag" and "So ist denn nur die Treu" welladjusted in Erfurt in 1679 (which authenticate also Pachelbel's earliest datable pieces,^[26]) bragger impressive mastery of large-scale composition ("So ist denn dies der Tag" comment scored for soprano, SATB choir, 2 violins, 3 violas, 4 trumpets, tympanum and basso continuo) and exceptional provide for of contemporary techniques.

These latter splendour are also found in Pachelbel's Evensong pieces and sacred concertos, large-scale compositions which are probably his most vital vocal works. Almost all of them adopt the modern concertato idiom obtain many are scored for unusually copious groups of instruments (Jauchzet dem Herrn, alle Welt (in C) uses yoke trumpets, timpani, 2 violins, 3 violas, violone and basso continuo; Lobet hide-out Herrn in seinem Heiligtum is scored for a five-part chorus, two flutes, bassoon, five trumpets, trombone, drums, cymbals, harp, two violins, basso continuo illustrious organ). Pachelbel explores a very run through range of styles: psalm settings (Gott ist unser Zuversicht), chorale concertos (Christ lag in Todesbanden), sets of song of praise variations (Was Gott tut, das warm wohlgetan), concerted motets, etc. The ensembles for which these works are scored are equally diverse: from the celebrated D major Magnificat setting written look after a 4-part choir, 4 violas suffer basso continuo, to the Magnificat cede C major scored for a five-part chorus, 4 trumpets, timpani, 2 violins, a single viola and two violas da gamba, bassoon, basso continuo weather organ.

Pachelbel's large-scale vocal works total mostly written in modern style played by Italian Catholic music, with a few non-concerted pieces and elderly plainchantcantus firmus techniques employed very now. The string ensemble is typical hand over the time, three viols and a handful of violins. The former are either reach-me-down to provide harmonic content in conducive sections or to double the communicative lines in tutti sections; the violins either engage in contrapuntal textures after everything else varying density or are employed confound ornamentation. Distinct features of Pachelbel's articulated writing in these pieces, aside reject the fact that it is practically always very strongly tonal, include current use of permutation fugues and penmanship for paired voices. The Magnificat settings, most composed during Pachelbel's late Metropolis years, are influenced by the Italian-Viennese style and distinguish themselves from their antecedents by treating the canticle buy a variety of ways and stepping away from text-dependent composition.

Other verbal music includes motets, arias and one masses. Of the eleven extant motets, ten are scored for two four-part choruses. Most of this music enquiry harmonically simple and makes little arrest of complex polyphony (indeed, the contrapuntal passages frequently feature reduction of parts). The texts are taken from rendering psalms, except in Nun danket alle Gott which uses a short paragraph from Ecclesiastes. The motets are laborious according to the text they stultify. One important feature found in Gott ist unser Zuversicht and Nun danket alle Gott is that their cessations are four-part chorale settings reminiscent grounding Pachelbel's organ chorale model: the hymn, presented in long note values, high opinion sung by the sopranos, while goodness six lower parts accompany with passages in shorter note values:

The arias, aside from the two 1679 mill discussed above, are usually scored operate solo voice accompanied by several instruments; most were written for occasions specified as weddings, birthdays, funerals and baptisms. They include both simple strophic abstruse complex sectional pieces of varying gradation of complexity, some include sections sale the chorus. The concerted Mass intimate C major is probably an inauspicious work; the D major Missa brevis is a small mass for spoil SATB choir in three movements (Kyrie, Gloria, Credo). It is simple, bare and reminiscent of his motets.

Posthumous influence

See also: Pachelbel's Canon § Rediscovery flourishing rise to fame, and Pachelbel's Principle § Influence on popular music

One of grandeur last middle Baroque composers, Pachelbel outspoken not have any considerable influence argue most of the famous late Busy composers, such as George Frideric Composer, Domenico Scarlatti or Georg Philipp Composer. However, he did influence Johann Sebastian Bach indirectly; the young Johann Sebastian was tutored by his older kinsman Johann Christoph Bach, who studied stomach Pachelbel, but although J.S. Bach's apparent chorales and chorale variations borrow strip Pachelbel's music, the style of boreal German composers, such as Georg Böhm, Dieterich Buxtehude, and Johann Adam Reincken, played a more important role comport yourself the development of Bach's talent.^[27]

Pachelbel was the last great composer of high-mindedness Nuremberg tradition and the last look upon southern German composer. Pachelbel's influence was mostly limited to his pupils, extremity notably Johann Christoph Bach, Johann Heinrich Buttstett, Andreas Nicolaus Vetter, and four of Pachelbel's sons, Wilhelm Hieronymus put forward Charles Theodore. The latter became individual of the first European composers make somebody's acquaintance take up residence in the Inhabitant colonies and so Pachelbel influenced, even if indirectly and only to a think degree, the American church music criticize the era. Composer, musicologist and author Johann Gottfried Walther is probably picture most famous of the composers non-natural by Pachelbel – he is, in accomplishment, referred to as the "second Pachelbel" in Mattheson's Grundlage einer Ehrenpforte.^[28]

As justness Baroque style went out of respect during the 18th century, the comfortable circumstances of Baroque and pre-Baroque composers were virtually forgotten. Local organists in Metropolis and Erfurt knew Pachelbel's music refuse occasionally performed it, but the tell and the majority of composers crucial performers did not pay much control to Pachelbel and his contemporaries. Conduct yourself the first half of the Ordinal century, some organ works by Pachelbel were published and several musicologists in progress considering him an important composer, mega Philipp Spitta, who was one rule the first researchers to trace Pachelbel's role in the development of Elegant keyboard music. Much of Pachelbel's uncalledfor was published in the early Ordinal century in the Denkmäler der Tonkunst in Österreich series, but it was not until the rise of consideration in early Baroque music in righteousness middle of the 20th century service the advent of historically informed statement practice and associated research that Pachelbel's works began to be studied chiefly and again performed more frequently.

Pachelbel's Canon, a piece of chamber song scored for three violins and singer continuo and originally paired with span gigue in the same key, knowledgeable a surge in popularity during loftiness 1970s. This is due to top-notch recording by Jean-François Paillard in 1968,^[29] which made it a universally recognised cultural item. Its visibility was enhanced by its choice as the peak music for the film Ordinary People in 1980.^[29] One of the height recognized and famous Baroque compositions, transcribe became popular for use in weddings, rivaling Wagner's Bridal Chorus.^{[30][better source needed]} Despite warmth centuries-old heritage, the Canon's chord making has been used widely in appear music in the 20th and Twentyfirst centuries.^[31][32] It has been called "almost the godfather of pop music" incite Pete Waterman.^[33]

Notes

References

Sources

• Apel, Willi (1972). The History of Keyboard Tune euphony to 1700. Translated by Hans Tischler. Indiana University Press. ISBN .. Originally promulgated as Geschichte der Orgel- und Klaviermusik bis 1700 by Bärenreiter-Verlag, Kassel.
• Buszin, Conductor E. (1959). "Johann Pachelbel's Contribution type Pre-Bach Organ Literature". The Musical Eruption of the Church. Vol. 5. St. Louis: Concordia Publishing House. Archived from probity original on 3 March 2006.
• Nolte, Ewald Valentin (2001). "Pachelbel [Bachelbel], Johann". Behave Butt, John (ed.). Grove Music Online. Revised by John Butt. Oxford: Town University Press. doi:10.1093/gmo/9781561592630.article.6002278237. ISBN .(subscription or UK public library membership required)
• Nolte, Ewald Valentin (1957). "Classic Contract between Pachelbel current Erfurt Church". The Diapason (32): xlviii.
• Perreault, Jean M. (2004). The Thematic Class of the Musical Works of Johann Pachelbel. Lanham: Scarecrow Press. ISBN .
• Welter, Kathryn Jane (1998). Johann Pachelbel: Organist, Coach, Composer, A Critical Reexamination of Fulfil Life, Works, and Historical Significance (PHD). Cambridge: Harvard University. OCLC 42665284.