"Wir glauben all an einen Gott" is a three-part setting with melodic ornamentation of the chorale melody, which Pachelbel employed very rarely. Pachelbel initially accepted the invitation but, as a surviving letter indicates, had to reject the offer after a long series of negotiations: it appears that he was required to consult with Erfurt's elders and church authorities before considering any job offers. The remaining five works are all in triple meter and display a wide variety of moods and techniques, concentrating on melodic content (as opposed to the emphasis on harmonic complexity and virtuosity in Buxtehude's chaconnes). Johann Pachelbel[1] (baptised 1 September 1653[2][3] – buried 9 March 1706)[4] was a German composer, organist, and teacher who brought the south German organ schools to their peak. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Both are gentle free-flowing pieces featuring intricate passages in both hands with many accidentals, close to similar pieces by Girolamo Frescobaldi or Giovanni de Macque. Pachelbel’s Canon, byname of Canon and Gigue in D Major, musical work for three violins and ground bass (basso continuo) by German composer Johann Pachelbel, admired for its serene yet joyful character. Pachelbel wrote more than one hundred fugues on free themes. However, most of the preludes are much shorter than the toccatas: the A minor prelude (pictured below) only has 9 bars, the G major piece has 10. Many feature a dramatic leap (up to an octave), which may or may not be mirrored in one of the voices sometime during an episode – a characteristic Pachelbel technique, although it was also employed by earlier composers, albeit less pronounced. [26] One of the most recognized and famous Baroque compositions, it became popular for use in weddings, rivaling Wagner's Bridal Chorus. Johann Gottfried Walther famously described Pachelbel's vocal works as "more perfectly executed than anything before them". The concerted Mass in C major is probably an early work; the D major Missa brevis is a small mass for an SATB choir in three movements (Kyrie, Gloria, Credo). In 1699 Pachelbel published Hexachordum Apollinis (the title is a reference to Apollo's lyre), a collection of six variations set in different keys. Answered. Today, Pachelbel is best known for the Canon in D, as well as the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.[6]. Its visibility was increased by its choice as the theme music for the film Ordinary People in 1980. [15] However, Pachelbel spent only one year in Eisenach. One of the most outstanding chaconnes of Pachelbel, played by Tibor Pinter on the sample set of Gottfried Silbermann's organ (1722) in Roetha, Germany, Both performed on a church organ in Trubschachen, Switzerland, by Burghard Fischer, 1653–1674: Early youth and education (Nuremberg, Altdorf, Regensburg), 1673–1690: Career (Vienna, Eisenach, Erfurt), 1690–1706: Final years (Stuttgart, Gotha, Nuremberg), The date of Pachelbel's birth and death are unknown, therefore his baptismal and burial dates, which are known, are given. Though most influenced by Italian and southern German composers, he knew the northern German school, because he dedicated the Hexachordum Apollinis to Dieterich Buxtehude. The texts are taken from the psalms, except in Nun danket alle Gott which uses a short passage from Ecclesiastes. It is dedicated to composers Ferdinand Tobias Richter (a friend from the Vienna years) and Dieterich Buxtehude. Scordatura only involves the tonic, dominant and sometimes the subdominant notes. These latter features are also found in Pachelbel's Vespers pieces and sacred concertos, large-scale compositions which are probably his most important vocal works. [28][29] It has been called "almost the godfather of pop music".[30]. For the surname, see. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites. Much of Pachelbel's liturgical organ music, particularly the chorale preludes, is relatively simple and written for manuals only: no pedal is required. One of Pachelbel's many C major fugues on original themes, this short piece uses a subject with a pattern of repeated notes in a manner discussed above. In his three years in Gotha, he was twice offered positions, in Germany at Stuttgart and in England at Oxford University; he declined both. 001. The famous Canon in D belongs to this genre, as it was originally scored for 3 violins and a basso continuo, and paired with a gigue in the same key. Seventeen keys are used, including F-sharp minor. Barbara Gabler, daughter of the Stadt-Major of Erfurt, became his first wife, on 25 October 1681. Pachelbel was also a prolific vocal music composer: around a hundred of such works survive, including some 40 large-scale works. The contrapuntal devices of stretto, diminution and inversion are very rarely employed in any of them. There are 95 pieces extant, covering all eight church modes: 23 in primi toni, 10 in secundi toni, 11 in tertii toni, 8 in quarti toni, 12 in quinti toni, 10 in sexti toni, 8 in septimi toni and 13 in octavi toni. Finally, neither the Nuremberg nor the southern German organ tradition endorsed extensive use of pedals seen in the works by composers of the northern German school. Pachelbel's fugues, however, are almost all based on free themes and it is not yet understood exactly where they fit during the service. Pachelbel's chamber music is much less virtuosic than Biber's Mystery Sonatas or Buxtehude's Opus 1 and Opus 2 chamber sonatas. [13] Georg Muffat lived in the city for some time, and, most importantly, Johann Caspar Kerll moved to Vienna in 1673. Most of Pachelbel's free fugues are in three or four voices, with the notable exception of two bicinia pieces. [34] The pieces are clearly not without French influence (but not so much as Buxtehude's) and are comparable in terms of style and technique to Froberger's suites. The chorale prelude became one of his most characteristic products of the Erfurt period, since Pachelbel's contract specifically required him to compose the preludes for church services. Distinct features of Pachelbel's vocal writing in these pieces, aside from the fact that it is almost always very strongly tonal, include frequent use of permutation fugues and writing for paired voices. It is built on two contrasting themes (a slow chromatic pattern and a lively simplistic motif) that appear in their normal and inverted forms and concludes with both themes appearing simultaneously. Pachelbel’s Canon was relatively obscure until the late 20th century, when it experienced a surge in popularity. Composer, musicologist and writer Johann Gottfried Walther is probably the most famous of the composers influenced by Pachelbel – he is, in fact, referred to as the "second Pachelbel" in Mattheson's Grundlage einer Ehrenpforte.[25]. All movements are in binary form, except for two arias. This is partly due to Lutheran religious practice where congregants sang the chorales. [36] Already the earliest examples of Pachelbel's vocal writing, two arias "So ist denn dies der Tag" and "So ist denn nur die Treu" composed in Erfurt in 1679 (which are also Pachelbel's earliest datable pieces,[37]) display impressive mastery of large-scale composition ("So ist denn dies der Tag" is scored for soprano, SATB choir, 2 violins, 3 violas, 4 trumpets, timpani and basso continuo) and exceptional knowledge of contemporary techniques.
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