It included, among other types, several chorales written using outdated models. 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]. The exact date of his death is not known; but as he was buried on March 9, it is assumed that he had died sometime between March 3 to March 7. Pachelbel studied music at Altdorf and Regensburg and held posts as organist in Vienna, Stuttgart, and other cities.In 1695 he was appointed organist at the St. Sebalduskirche in Nürnberg, where he remained until his death. During this period, he might have studied music under Johann Kaspar Kerll, who at that time was living in Vienna. He worked as an organist all his life. He was influenced by southern 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. Pachelbel's influence was mostly limited to his pupils, most notably Johann Christoph Bach, Johann Heinrich Buttstett, Andreas Nicolaus Vetter, and two of Pachelbel's sons, Wilhelm Hieronymus and Charles Theodore. The couple was blessed with a son. [15] However, Pachelbel spent only one year in Eisenach. Partie a 4 in G major features no figuration for the lower part, which means that it was not a basso continuo and that, as Jean M. Perreault writes, "this work may well count as the first true string quartet, at least within the Germanophone domain."[35]. 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. It also fell upon him to maintain the organ. Several renowned cosmopolitan composers worked there, many of them contributing to the exchange of musical traditions in Europe. It was Julius August Philipp Spitta, a 19th century music historian and musicologist, who first began research on him and brought him back to limelight. Much of Pachelbel's work was published in the early 20th century in the Denkmäler der Tonkunst in Österreich series, but it was not until the rise of interest in early Baroque music in the middle of the 20th century and the advent of historically-informed performance practice and associated research that Pachelbel's works began to be studied extensively and again performed more frequently. [16] Pachelbel was left unemployed. Partly due to their simplicity, the toccatas are very accessible works; however, the E minor and C minor ones which receive more attention than the rest are in fact slightly more complex. It is dedicated to composers Ferdinand Tobias Richter (a friend from the Vienna years) and Dieterich Buxtehude. A distinctive feature of all of … He not only took up teaching and excelled in it, but also created a few of his masterpieces during this period. His father, Johann (Hans) Pachelbel was a wine dealer and his mother, Anna (Anne) Maria Mair, was his second wife. Therefore, it has been assumed that he was born sometime in late August. In suites 1 and 3 these introductory movements are Allegro three-voice fughettas and stretti. His musical talent was further accentuated as he shifted to Vienna, where he met many well-known masters. Therefore, it can be assumed his friend Johann Ambrosius Bach had a hand in his employment. Johann Gottfried Walther famously described Pachelbel's vocal works as "more perfectly executed than anything before them". 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. In 1690, he received an offer from Württemberg court at Stuttgart. The latter became one of the first European composers to take up residence in the American colonies and so Pachelbel influenced, although indirectly and only to a certain degree, the American church music of the era. Almost all pieces designated as preludes resemble Pachelbel's toccatas closely, since they too feature virtuosic passagework in one or both hands over sustained 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. His contract with the church required him to compose music for church services in large numbers. On June 29, 1669, after graduating from school, he entered Universität Altdorf (University of Altdorf), located in Altdorf bei Nürnberg, a small town outside Nuremberg. Johann Pachelbel died at the age of 52 sometime in early March, 1706. However, when the call came from Nuremberg, he did not have the heart to say no. [16] With this document, Pachelbel left Eisenach on 18 May 1678. [16] One of the daughters, Amalia Pachelbel, achieved recognition as a painter and engraver. As the Baroque style went out of fashion during the 18th century, the majority of Baroque and pre-Baroque composers were virtually forgotten. Although a few two- and four-voice works are present, most employ three voices (sometimes expanding to four-voice polyphony for a bar or two). The Bach family was very well known in Erfurt (where virtually all organists would later be called "Bachs"), so Pachelbel's friendship with them continued here. In pairs of preludes and fugues Pachelbel aimed to separate homophonic, improvisatory texture of the prelude from the strict counterpoint of the fugue. Pachelbel married twice during his stay in Erfurt. The canon shares an important quality with the chaconne and passacaglia: it consists of a ground bass over which the violins play a three-voice canon based on a simple theme, the violins' parts form 28 variations of the melody. Unfortunately, in October 1683, both his wife and child died from an attack of plague. At the time, Vienna was the center of the vast Habsburg empire and had much cultural importance; its tastes in music were predominantly Italian. An example from Wenn mein Stündlein vorhanden ist: The piece begins with a chorale fugue (not shown here) that turns into a four-part chorale setting which starts at bar 35. Johann Pachelbel was born into a middle class family in Nuremberg, a great center for learning and culture. They had five sons and two daughters. https://www.thefamouspeople.com/profiles/johann-pachelbel-530.php, Top NBA Players With No Championship Rings, Celebrities Who Are Not In The Limelight Anymore. He therefore fled to Gotha, located close to Eisenach and Erfurt. During his early youth, Pachelbel received musical training from Heinrich Schwemmer, a musician and music teacher who later became the cantor of St. Sebaldus Church (Sebalduskirche). In 1699 Pachelbel published Hexachordum Apollinis (the title is a reference to Apollo's lyre), a collection of six variations set in different keys. Three of them (the A minor, C major and one of the two D Dorian pieces) are sectional compositions in 3/2 time; the sections are never connected thematically; the other D Dorian piece's structure is reminiscent of Pachelbel's magnificat fugues, with the main theme accompanied by two simple countersubjects. Although a similar technique is employed in toccatas by Froberger and Frescobaldi's pedal toccatas, Pachelbel distinguishes himself from these composers by having no sections with imitative counterpoint–in fact, unlike most toccatas from the early and middle Baroque periods, Pachelbel's contributions to the genre are not sectional, unless rhapsodic introductory passages in a few pieces (most notably the E minor toccata) are counted as separate sections.

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