Johann pachelbel compositions

P T Title Key Editions Genre Instrumentation Notes 00 L11 Ach Gott, erhör mein Seufzen Sacred cantatas voices, instruments authorship uncertain Ach Gott, vom Himmel sieh darein (no.1) D minor AW.v3&#;; DdT.v4/1 Chorale preludes organ Ach Gott, vom Himmel sieh darein (no.2) E minor DdT.v4/1&#;; G1 Chorale preludes organ b Ach Gott, vom Himmel sieh darein, (no.3) Chorale preludes organ lost - authorship uncertain Ach Herr, mich armen Sünder (no.1) E minor AW.v3&#;; DdT.v4/1 Chorale preludes organ Ach Herr, mich armen Sünder (no.2) E minor AW.v3&#;; DdT.v4/1 Chorale preludes organ Ach Herr, mich armen Sünder (no.3) Chorale preludes organ authorship uncertain L12 Ach Herr, straff mich nicht Arias voice, 3 instruments lost Ach Herr, wie ist meiner Feinde so viel Arias bass, instruments a Ach, was soll ich Sünder machen E minor AW.v4&#;; DdT.v2/1 Partitas&#;; Chorale preludes organ chorale with 6 variations b Ach, was soll ich Sünder machen (no.2) Partitas&#;; Chorale preludes

On Baroque

See also Pachelbel Street and the compilation by Klas Grönqvist. 

The following information is excerpted from the Pachelbel page on Wikipedia.

Keyboard music

Much of Pachelbel&#;s liturgical organ music, particularly the chorale preludes, is relatively simple and written for manuals only, no pedal is required. This is partly due to Lutheran religious practice where congregants sang the chorales. Household instruments like virginals or clavichords accompanied the singing, so Pachelbel and many of his contemporaries made music playable using these instruments. The quality of the organs Pachelbel used also played a role: south German instruments were not, as a rule, as complex and as versatile as the north German ones, and Pachelbel&#;s organs must have only had around 15–25 stops on two manuals (compare to Buxtehude&#;s Marienkirche instrument with 52 stops, 15 of them in the pedal). 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.

Only two volumes of Pachelbel&#;s organ music were published and distributed during his lifetime: Musikalische St

When you hear the name of Johann Pachelbel it&#;s often hard to get past the immense success of his Canon in D major and try to remember that he was, in fact, better known during his lifetime for many other works.

Pachelbel was born in Nuremberg, Germany in and passed away in During his lifetime, Pachelbel held a number of very important musical offices in the Courts of Eisenach and Stuttgart. His keyboard works are supposed to have had a profound influence on J C Bach.

This highlights the significance of Pachelbel to the musical world he lived in and to us now. In this article, I am going to take a closer look at some of the lesser known Pachelbel works but ones that perhaps deserve a more frequent time in the spotlight.

The Best of Johann Pachelbel

1. Toccata in G minor (T)

Organ music was what Pachelbel was perhaps most recognised for as a Baroque composer. This short piece shows the elegance of the melodic line and effortless momentum that carries the composition from beginning to end.

There is the characteristic flowing semi-quaver movement that typifies the Toccata that was a favourite musical form. The piece maybe also gives us a little insight into the sty

Johann Pachelbel

While the name Johann Pachelbel may not be instantly recognizable to everyone, his musical compositions, particularly the well-known &#;Canon in D,&#; have left an indelible imprint on the world of music. This article delves into the life and works of this influential German composer and organist, whose contributions to the Baroque music era continue to be celebrated today.

Early Life and Education

Johann Pachelbel was born in Nuremberg, Germany, in into a middle-class family. His father, Johann (Hans) Pachelbel, was a wine dealer, and his mother was Anna Maria Mair. The young Pachelbel demonstrated exceptional musical and academic abilities from an early age.

He received his primary education at St. Lorenz Hauptschule and the Auditorio Aegediano in Nuremberg. He later studied music under Heinrich Schwemmer, an accomplished musician and music teacher. Following his studies in Nuremberg, he furthered his education at the University of Altdorf, where he was also appointed as the organist of St. Lorenz church.

However, due to financial constraints, Pachelbel had to leave the university after less than a year. He then joined the Gymnasium Poeticum at Regensburg


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