what instruments did johann pachelbel play

Johann Pachelbel (IPA: [paˈxɛlbəl]) (baptized September 1, 1653 – March 3, 1706) was an acclaimed Baroque composer, organist and teacher who brought the south German organ tradition to its peak. 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. Pachelbel's other variation sets include a few arias and an arietta (a short aria) with variations and a few pieces designated as chorale variations. Scordatura only involves the tonic, dominant and sometimes the subdominant notes. [14] While there, he may have known or even taught Pachelbel, whose music shows traces of Kerll's style. The lower voices anticipate the shape of the second phrase of the chorale in an imitative fashion (notice the distinctive pattern of two repeated notes). Pachelbel frequently used repercussion subjects of different kinds, with note repetition sometimes extended to span a whole measure (such as in the subject of a G minor fugue, see illustration). In pairs of preludes and fugues Pachelbel aimed to separate homophonic, improvisatory texture of the prelude from the strict counterpoint of the fugue. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era. 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. Pachelbel wrote numerous chorales using this model ("Auf meinen lieben Gott", "Ach wie elend ist unsre Zeit", "Wenn mein Stündlein vorhanden ist", etc. The Magnificat Fugues were all composed during Pachelbel's final years in Nuremberg. The ostinato bass is not necessarily repeated unaltered throughout the piece and is sometimes subjected to minor alterations and ornamentation. For three years the elder Bach studied with Pachelbel and later he passed on the expertise to his younger brother Sebastian. In some respects, Pachelbel is similar to Haydn, who too served as a professional musician of the Stephansdom in his youth and as such was exposed to music of the leading composers of the time. One important feature found in Gott ist unser Zuversicht and Nun danket alle Gott is that their endings are four-part chorale settings reminiscent of Pachelbel's organ chorale model: the chorale, presented in long note values, is sung by the sopranos, while the six lower parts accompany with passages in shorter note values: The arias, aside from the two 1679 works discussed above, are usually scored for solo voice accompanied by several instruments; most were written for occasions such as weddings, birthdays, funerals and baptisms. Several renowned cosmopolitan composers worked there, many of them contributing to the exchange of musical traditions in Europe. In the first half of the 19th century, some organ works by Pachelbel were published and several musicologists started considering him an important composer, particularly Philipp Spitta, who was one of the first researchers to trace Pachelbel's role in the development of Baroque keyboard music. Financial difficulties forced Pachelbel to leave the university after less than a year. As the Baroque style went out of fashion during the 18th century, the majority of Baroque and pre-Baroque composers were virtually forgotten. This latter type begins with a brief chorale fugue that is followed by a three- or four-part cantus firmus setting. In 1692 he moved to Nuremburg where he lived until his death in 1706. ", The most extraordinary example of note repetition, however, is not found in Pachelbel's fugues but in his first setting of the, Kathryn Jane Welter, "So ist denn dies der Tag: The, historically-informed performance practice, Pachelbel's Canon § Rediscovery and rise to fame, Pachelbel's Canon § Influence on popular music, The New Grove Dictionary of Music and Musicians, http://www.biography.com/people/johann-pachelbel-9431433, Johann Pachelbel's Contribution to Pre-Bach Organ Literature, "Prisoners of Pachelbel: An Essay in Post-Canonic Musicology", "Pachelbel's Canon in D works surprisingly well as a pop-punk instrumental", "Canon in the 1990s: From Spiritualized to Coolio, Regurgitating Pachelbel's Canon", "Pop hits 'stealing ideas from classics'", Johann Pachelbel's biography at HOASM.org, A list of Pachelbel's works with cross-references from Perreault's numbers to Tsukamoto, Welter and Bouchard and to selected editions, Pachelbel Street – Archives of J.Pachelbel's Works, International Music Score Library Project, https://en.wikipedia.org/w/index.php?title=Johann_Pachelbel&oldid=1014938889, Organists and composers in the South German tradition, Wikipedia articles incorporating the Cite Grove template, Wikipedia articles incorporating the Cite Grove template without a link parameter, Articles lacking reliable references from January 2018, Pages containing links to subscription-only content, Short description is different from Wikidata, Articles with unsourced statements from November 2018, Articles with International Music Score Library Project links, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Works by Pachelbel in MIDI and MP3 format at, This page was last edited on 29 March 2021, at 21:11. Johann Pachelbel (1653 - 1706) German composer and organist. Here is a video of the … Of special importance are his chorale preludes, which did much to establish the chorale melodies of Protestant northern Germany in the more lyrical musical atmosphere of the Catholic south. Each suite of Musikalische Ergötzung begins with an introductory Sonata or Sonatina in one movement. Other vocal music includes motets, arias and two masses. The six chaconnes, together with Buxtehude's ostinato organ works, represent a shift from the older chaconne style: they completely abandon the dance idiom, introduce contrapuntal density, employ miscellaneous chorale improvisation techniques, and, most importantly, give the bass line much thematic significance for the development of the piece. It’s as simple as three violins, one cello, and eight bars of music repeated 28 times – but Johann Pachelbel ’s Canon in D has risen in popularity to become one of the best-known pieces of classical music ever written. His next job was in Gotha as the town organist, a post he occupied for two years, starting on 8 November 1692; there he published his first, and only, liturgical music collection: Acht Chorale zum Praeambulieren in 1693 (Erster Theil etlicher Choräle). The Magnificat settings, most composed during Pachelbel's late Nuremberg years, are influenced by the Italian-Viennese style and distinguish themselves from their antecedents by treating the canticle in a variety of ways and stepping away from text-dependent composition. Of these, the five-part suite in G major (Partie a 5 in G major) is a variation suite, where each movement begins with a theme from the opening sonatina; like its four-part cousin (Partie a 4 in G major) and the third standalone suite (Partie a 4 in F-sharp minor) it updates the German suite model by using the latest French dances such as the gavotte or the ballet. There is more information about this one on the video’s YouTube page. They had five sons and two daughters. 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. 12, sexti toni No. Contemporary custom was to bury the dead on the third or fourth post-mortem day; so, either 6 or 7 March 1706 is a likelier death date. Pachelbel's use of repercussion subjects and extensive repeated note passages may be regarded as another characteristic feature of his organ pieces. Canon (and Gigue) in D major. Pachelbel's chamber music is much less virtuosic than Biber's Mystery Sonatas or Buxtehude's Opus 1 and Opus 2 chamber sonatas. 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