385:
177:
22:
913:
354:, in which all variations are in triple time, like the theme) and explore various constant harmony and melodic outline models. Although the frontispiece indicates that the work is intended for either organ or harpsichord, much of the music is better suited for the latter, particularly the brisé figurations, broken chords, and a number of variations that introduce various non-keyboard styles: the strumming of a plucked string instrument, lute
137:: using an alphabet provided by Pachelbel's lifelong friend Johann Beer, the letters of the inscription "JOHANNES PACHELBELIVS ORGANISTA NORIBERGHENSIVM" are translated into numbers with the total sum of 1699, the year of publication; further research has illustrated that a similar alphabet will produce a 3:1 ratio with "Johannes Pachelbelius Hexachordum" (303) and "Apollinis" (101). Other instances of
939:
951:
77:, a publisher who had worked with Pachelbel before. The frontispiece, created by Cornelius Nicolaus Schurz, describes the collection as "six arias to be played on the organ, or the harpsichord, to whose simple melodies are added variations for the pleasure of Friends of the Muses." The instruments mentioned are referenced on the frontispiece: two
362:
112:
might study with one of them (it is unknown whether this hope was realized). Pachelbel also confesses that "something weightier and more unusual" than this work should have been written for the occasion, apparently feeling that this is not his best work. Pachelbel alludes to the "friendly nature" of
116:
Another topic discussed in the preface is the nature of music. Pachelbel writes that music is the finest of the arts, governing human emotions and desires, and expresses the "belief of many" that music comes from the "Dreymal-Heilig" sung by angels and from the movement of
349:
Pachelbel's themes are simple song-like pieces in two sections: four bars in the first section and four or eight in the second. Both sections are repeated. The variations conform to the same concept: most are in common time (except for
430:
50:, published in 1699. It comprises six arias with variations, on original themes, and is generally regarded as one of the pinnacles of Pachelbel's oeuvre. The collection includes a preface in which Pachelbel dedicates the work to
508:
Cited from the translation fragments in Sisman, Grove. Welter's translation is more elaborate: "music had its origins in the eternal court in a composition treasured by the angels who sing the ÏÏÎčÏαλÎčÎżÏ, or the triple
406:
428:
188:
The collection contains six arias with variations, all on original, secular themes. The practice of composing variations on original themes was a relatively new one (one previous instance was
404:
579:
Apel, p. 659. The description given in Welter (p. 169)âthat "each section consists of four measures"âis incorrect; in arias 2 and 6 the second section comprises eight bars.
429:
372:: Aria Prima, Variation 5, bar 1; Aria Sexta (Sebaldina), Variation 5, bar 1 (imitates the strumming of a plucked string instrument); and Aria Sexta (Sebaldina), Variation 7, bar 5.
405:
436:
The sixth Aria (Aria
Sebaldina)from 'Hexachordum Apollinis' (1699) played by Tibor Pinter on the sample set of the organ in Zlata Koruna, Czech Republic built 1699.
346:
once suggested that the aria's melody may have been a traditional tune associated somehow with the church, and not an original
Pachelbel composition.
313:
major. Pachelbel does use two flats, as expected, but the key actually used is F minor (in modern standard, four flats). Furthermore, this aria is in
412:
The fifth Aria from 'Hexachordum
Apollinis' (1699) played by Tibor Pinter on the sample set of the organ in Smecno, Czech Republic built cca. 1587 .
692:
658:
642:
Johann
Pachelbel: Variations - Hexachordum Apollinis 1699 together with Arietta in F and Ciaconnas in C and D for Cembalo or Organ (manuals only)
897:
793:
986:
916:
761:
811:
459:
204:
was one of the main exponents of this trend), and
Pachelbel was among the first in Europe to explore the form. The overall plan of
39:
418:
981:
705:
671:
481:, ed. Philippe Lescat (Courlay: Facsimilé Jean-Marc Fuzeau, 1996). This translation is also used in Welter, p. 167.
991:
745:
Johann
Pachelbel: Organist, Teacher, Composer. A Critical Reexamination of His Life, Works, and Historical Significance
738:
724:
630:
865:
184:, as they appeared in the first edition. Note that both variations display characteristic style brisé figurations.
971:
851:
833:
786:
394:
113:
Buxtehude and
Richter, which might indicate that he knew one of them or both, perhaps through correspondence.
1006:
109:
757:
687:
653:
976:
929:
779:
887:
299:
and the preceding five arias. First of all, the first arias are arranged so that their keys span a
105:
100:
Pachelbel wrote a short preface (dated
November 20, 1699), in which he dedicated the collection to
55:
1011:
74:
943:
1001:
893:
697:
663:
189:
8:
996:
858:
339:
165:
101:
51:
43:
152:
had the widest distribution and survives in more than 10 copies in various libraries in
747:, pp. 38â39, 167â172. Harvard University, Cambridge, Massachusetts (dissertation)
734:
720:
701:
667:
626:
201:
802:
118:
69:(the title roughly translates to "Six Strings of Apollo") was published in 1699 in
47:
361:
307:. According to the old hexachordal principle the sixth aria should have been in B
176:
86:
648:
Nolte, Ewald V. & Butt, John (2001). "Pachelbel. 1. Johann
Pachelbel". In
355:
21:
965:
683:
649:
300:
955:
625:, pp. 658â589. Translated by Hans Tischler. Indiana University Press.
327:
90:
490:
Cited from the translation by Kerala Snyder, in Snyder, p. 128â129.
618:
445:
343:
138:
122:
94:
82:
330:. The number of variations is larger than that of any other aria, and
304:
161:
70:
771:
130:
510:
342:
in
Nuremberg, where Pachelbel was working at the time. Scholar
157:
153:
78:
126:
731:
Bach's Numbers: Compositional Proportion and Significance
477:
Cited from the translation by Emer Buckley published in
42:
193â8, T. 211â6, PC 131â6, POP 1â6) is a collection of
644:(score). Kassel, Barenreiter. 53 p. (Barenreiter 2818)
927:
145:
may exist, but as of 2015 are yet to be researched.
513:
in honor of the Almighty" (see Welter, p. 38).
963:
129:). A separate page of the preface illuminates a
693:The New Grove Dictionary of Music and Musicians
659:The New Grove Dictionary of Music and Musicians
635:Geschichte der Orgel- und Klaviermusik bis 1700
334:is also the only one provided with a subtitle.
719:, pp. 128â129. New York: Schirmer Books.
787:
479:Johann Pachelbel: Hexachordum Apollinis 1699
121:(a belief, Pachelbel points out, shared by
58:and briefly discusses the nature of music.
794:
780:
762:International Music Score Library Project
647:
108:and expresses a hope that his eldest son
682:Sisman, Elaine (2001). "Variations". In
460:List of compositions by Johann Pachelbel
360:
180:The fifth and the sixth variations from
175:
20:
717:Dieterich Buxhehude, Organist in LĂŒbeck
530:
528:
295:There is a distinct difference between
964:
681:
61:
775:
623:The History of Keyboard Music to 1700
326:time, whereas the other arias are in
148:Of all published works by Pachelbel,
843:
801:
525:
368:. Samples of non-keyboard styles in
640:Fedtke, Traugott. 1964. Preface to
13:
444:Problems playing these files? See
383:
16:1699 music collection by Pachelbel
14:
1023:
751:
25:Facsimile of the frontispiece of
987:Compositions by Johann Pachelbel
949:
937:
912:
911:
426:
402:
200:; of Pachelbel's contemporaries
834:Musicalische Sterbens-Gedancken
758:Free scores by Johann Pachelbel
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582:
573:
564:
764:(IMSLP), including a score of
733:. Cambridge University Press.
637:by BĂ€renreiter-Verlag, Kassel.
555:
546:
537:
516:
502:
493:
484:
471:
1:
982:1699 in the Holy Roman Empire
866:Erster Theil etlicher ChorÀle
768:, typeset by Johan Tufvesson.
612:
89:), the other a single-manual
81:are pictured, one playing a
7:
453:
338:almost certainly refers to
171:
10:
1028:
633:. Originally published as
992:Compositions for keyboard
907:
879:
818:
809:
743:Welter, Kathryn J. 1998.
194:Aria detta la Frescobalda
715:Snyder, Kerala J. 1987.
696:(2nd ed.). London:
662:(2nd ed.). London:
465:
376:
358:, etc. (see Example 1).
198:Secondo libro di toccate
106:Ferdinand Tobias Richter
56:Ferdinand Tobias Richter
75:Johann Christoph Weigel
972:1699 non-fiction books
888:Musicalische Ergötzung
388:
373:
185:
30:
827:Hexachordum Apollinis
766:Hexachordum Apollinis
387:
370:Hexachordum Apollinis
364:
286:F minor (Mixolydian)
220:Number of variations
206:Hexachordum Apollinis
179:
150:Hexachordum Apollinis
143:Hexachordum Apollinis
135:Hexachordum Apollinis
67:Hexachordum Apollinis
35:Hexachordum Apollinis
27:Hexachordum Apollinis
24:
1007:History of Nuremberg
812:List of compositions
729:Tatlow, Ruth. 2015.
698:Macmillan Publishers
664:Macmillan Publishers
606:Welter, p. 171.
561:Welter, p. 168.
543:Welter, p. 169.
499:Snyder, p. 129.
168:, and other cities.
859:Chaconne in F minor
852:Chaconne in D minor
534:Nolte, Butt, Grove.
340:St. Sebaldus Church
102:Dieterich Buxtehude
62:General information
52:Dieterich Buxtehude
552:Apel, p. 658.
389:
374:
186:
110:Wilhelm Hieronymus
31:
977:1699 compositions
925:
924:
894:Pachelbel's Canon
875:
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707:978-1-56159-239-5
673:978-1-56159-239-5
522:Tatlow, p. 47â48.
431:
407:
293:
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261:G minor (Dorian)
228:D minor (Dorian)
202:Bernardo Pasquini
85:(possibly with a
1019:
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803:Johann Pachelbel
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48:Johann Pachelbel
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301:perfect fifth
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139:numerological
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37:
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28:
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419:
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369:
365:
351:
348:
335:
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319:
296:
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281:
269:Aria Quinta
258:Aria Quarta
247:Aria Tertia
205:
197:
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187:
181:
149:
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134:
115:
99:
66:
65:
34:
33:
32:
26:
18:
1002:Music books
619:Apel, Willi
396:Aria Quinta
356:style brisé
328:common time
280:Aria Sexta
225:Aria Prima
190:Frescobaldi
141:devices in
91:harpsichord
997:Variations
966:Categories
898:variations
613:References
446:media help
420:Aria Sexta
344:Willi Apel
182:Aria Prima
133:aspect of
131:cabalistic
123:Pythagoras
95:clavichord
87:pedalboard
83:pipe organ
422:for organ
398:for organ
366:Example 1
336:Sebaldina
305:hexachord
282:Sebaldina
166:Rochester
162:The Hague
71:Nuremberg
46:music by
917:Category
819:Keyboard
690:(eds.).
656:(eds.).
621:. 1972.
454:See also
310:♭
272:A minor
250:F major
239:E minor
172:Analysis
44:keyboard
930:Portals
880:Chamber
760:at the
597:Fedtke.
511:Sanctus
79:cherubs
737:
723:
704:
670:
652:&
629:
214:Piece
158:London
154:Berlin
956:Music
844:Organ
466:Notes
377:Media
127:Plato
735:ISBN
721:ISBN
702:ISBN
668:ISBN
627:ISBN
217:Key
125:and
104:and
54:and
192:'s
93:or
73:by
40:PWC
968::
700:.
686:;
666:.
527:^
289:8
275:6
264:6
253:6
242:5
231:6
164:,
160:,
156:,
97:.
932::
900:)
896:(
795:e
788:t
781:v
712:â
710:.
678:â
676:.
448:.
320:4
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29:.
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