Johann Pachelbel - Knowledge

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varying density or are employed for ornamentation. 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. 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.

2354: 1781: 1644: 1461: 1305: 1218: 972: 490: 168: 914: 1118: 1595: 1768: 1618: 6152: 3788: 1140: 3532: 670:(and his possible former teacher) died on 20 April 1695, the city authorities were so anxious to appoint Pachelbel (then a famous Nuremberger) to the position that they officially invited him to assume it without holding the usual job examination or inviting applications from prominent organists from lesser churches. He accepted, was released from Gotha in 1695, and arrived in Nuremberg in summer, with the city council paying his per diem expenses. 6162: 2223: 551:. 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. It seems that the situation had been resolved quietly and without harm to Pachelbel's reputation; he was offered a raise and stayed in the city for four more years. 674: 1203: 1179:. The polythematic C minor ricercar is the most popular and frequently performed and recorded. 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. The F-sharp minor ricercar uses the same concept and is slightly more interesting musically: the key of 6188: 1591:, and later works are written in a simple style in which two voices interact over sustained pedal notes, and said interaction – already much simpler than the virtuosic passages in earlier works – sometimes resorts to consecutive thirds, sixths or tenths. Compare the earlier D major toccata, with passages in the typical middle Baroque style, with one of the late C major toccatas: 929:) is in the soprano, and is highlighted in blue. 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 wrote numerous chorales using this model ("Auf meinen lieben Gott", "Ach wie elend ist unsre Zeit", "Wenn mein Stündlein vorhanden ist", etc.), which soon became a standard form. 6212: 6200: 1126:

during an episode – a characteristic Pachelbel technique, although it was also employed by earlier composers, albeit less pronounced. Minor alterations to the subject between the entries are observed in some of the fugues, and simple countersubjects occur several times. An interesting technique employed in many of the pieces is an occasional resort to

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published sometime after 1695. At the time, scordatura tuning was used to produce special effects and execute tricky passages. However, Pachelbel's collection was intended for amateur violinists, and scordatura tuning is used here as a basic introduction to the technique. Scordatura only involves the

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resemble Pachelbel's toccatas closely, since they too feature virtuosic passagework in one or both hands over sustained notes. 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. The only exception is one of

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Sometimes a bar or two of consecutive thirds embellish the otherwise more complex toccata-occasionally there is a whole section written in that manner; and a few toccatas (particularly one of the D minor and one of the G minor pieces) are composed using only this technique, with almost no variation.

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As the Baroque style went out of fashion during the 18th century, the majority of Baroque and pre-Baroque composers were virtually forgotten. Local organists in Nuremberg and Erfurt knew Pachelbel's music and occasionally performed it, but the public and the majority of composers and performers did

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famously described Pachelbel's vocal works as "more perfectly executed than anything before them". 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

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was usually accompanied by the organist, and earlier composers provided examples of Magnificat settings for organ, based on themes from the chant. Pachelbel's fugues, however, are almost all based on free themes and it is not yet understood exactly where they fit during the service. It is possible

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Pachelbel's use of repercussion subjects and extensive repeated note passages may be regarded as another characteristic feature of his organ pieces. Extreme examples of note repetition in the subject are found in magnificat fugues: quarti toni No. 4 has eight repeated notes, octavi toni No. 6 has

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Although most of them are brief, the subjects are extremely varied (see Example 1). Frequently some form of note repetition is used to emphasize a rhythmic (rather than melodic) contour. Many feature a dramatic leap (up to an octave), which may or may not be mirrored in one of the voices sometime

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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

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Johann Pachelbel died at the age of 52, in early March 1706, and was buried on 9 March; Mattheson cites either 3 March or 7 March 1706 as the death date, yet it is unlikely that the corpse was allowed to linger unburied as long as six days. Contemporary custom was to bury the dead on the third or

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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. They include both simple strophic and complex sectional pieces of varying degrees of

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A distinctive feature of almost all of Pachelbel's chorale preludes is his treatment of the melody: the cantus firmus features virtually no figuration or ornamentation of any kind, always presented in the plainest possible way in one of the outer voices. Pachelbel's knowledge of both ancient and

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Pachelbel married twice during his stay in Erfurt. Barbara Gabler, daughter of the Stadt-Major of Erfurt, became his first wife, on 25 October 1681. The marriage took place in the house of the bride's father. Both Barbara and their only son died in October 1683 during a plague. Pachelbel's first

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transmitted in a 1683 manuscript (now destroyed) were previously attributed to Pachelbel, but today his authorship is questioned for all but three suites, numbers 29, 32 and 33B in the Seiffert edition. The pieces are clearly not without French influence (but not so much as Buxtehude's) and are

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Currently, there is no standard numbering system for Pachelbel's works. Several catalogues are used, by Antoine Bouchard (POP numbers, organ works only), Jean M. Perreault (P numbers, currently the most complete catalogue; organized alphabetically), Hideo Tsukamoto (T numbers, L for lost works;

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techniques employed very infrequently. The string ensemble is typical for the time, three viols and two violins. The former are either used to provide harmonic content in instrumental sections or to double the vocal lines in tutti sections; the violins either engage in contrapuntal textures of

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are very rarely employed in any of them. Nevertheless, Pachelbel's fugues display a tendency towards a more unified, subject-dependent structure which was to become the key element of late Baroque fugues. Given the number of fugues he composed and the extraordinary variety of subjects he used,

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and secular, and explored most of the genres that existed at the time. Pachelbel was also a prolific vocal music composer: around a hundred of such works survive, including some 40 large-scale works. Only a few chamber music pieces by Pachelbel exist, although he might have composed many more,

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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.

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A texture of similar density is also found in the ending of the shorter D minor piece, where three voices engage in imitative counterpoint. In pairs of preludes and fugues Pachelbel aimed to separate homophonic, improvisatory texture of the prelude from the strict counterpoint of the fugue.

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C major chaconne (possibly an early work) is reminiscent of Kerll's D minor passacaglia. 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

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See also Johann Mattheson's Pulpit Obituary of 1740, where Mattheson specifically addresses this claim and gives reasons as to why it is not true. Walther's biography, published in 1732, is the only source to state that Pachelbel studied with Wecker; there is no direct evidence for

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moved to Vienna in 1673. While there, he may have known or even taught Pachelbel, whose music shows traces of Kerll's style. Pachelbel spent five years in Vienna, absorbing the music of Catholic composers from southern Germany and Italy. In some respects, Pachelbel is similar to

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Pachelbel is regarded as one of the key composers in the evolution of the form. He was also the first major composer to pair a fugue with a preludial movement (a toccata or a prelude) – this technique was adopted by later composers and was used extensively by J.S. Bach.

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that is followed by a three- or four-part cantus firmus setting. Chorale phrases are treated one at a time, in the order in which they occur; frequently, the accompanying voices anticipate the next phrase by using bits of the melody in imitative counterpoint. An example from

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Pachelbel wrote more than one hundred fugues on free themes. These fall into two categories: some 30 free fugues and around 90 of the so-called Magnificat Fugues. His fugues are usually based on non-thematic material, and are shorter than the later model (of which those of

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Although Pachelbel was an outstandingly successful organist, composer, and teacher at Erfurt, he asked permission to leave, apparently seeking a better appointment, and was formally released on 15 August 1690, bearing a testimonial praising his diligence and fidelity.

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in 1672. This period of Pachelbel's life is the least documented one, so it is unknown whether he stayed in Regensburg until 1673 or left the same year his teacher did; at any rate, by 1673 Pachelbel was living in Vienna, where he became a deputy organist at the

482:, Johann Georg's brother, died and during the period of mourning court musicians were greatly curtailed. Pachelbel was left unemployed. He requested a testimonial from Eberlin, who wrote one for him, describing Pachelbel as a 'perfect and rare virtuoso' – 1580:'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 1162:

pieces. 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). Some of the fugues employ textures more suited for the

1015: 990: 528:(1671–1721), Johann Sebastian's eldest brother, and lived in Johann Christian Bach's (1640–1682) house. Pachelbel remained in Erfurt for 12 years and established his reputation as one of the leading German organ composers of the time during his stay. The 363:(Hamburg, 1740) is one of the most important sources of information about Pachelbel's life, mentions that the young Pachelbel demonstrated exceptional musical and academic abilities. He received his primary education in St. Lorenz Hauptschule and the 896:

Chorale preludes constitute almost half of Pachelbel's surviving organ works, in part because of his Erfurt job duties which required him to compose chorale preludes on a regular basis. The models Pachelbel used most frequently are the three-part

371:, where he was also appointed organist of St. Lorenz church the same year. Financial difficulties forced Pachelbel to leave the university after less than a year. In order to complete his studies, he became a scholarship student, in 1670, at the 536:. His duties also included organ maintenance and, more importantly, composing a large-scale work every year to demonstrate his progress as composer and organist, as every work of that kind had to be better than the one composed the year before. 1629: 1606: 1326: 1147: 2372: 1453:

where Pachelbel worked at the time. Most of the variations are in common time, with Aria Sebaldina and its variations being the only notable exceptions; they are in 3/4 time. The pieces explore a wide range of variation techniques.

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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."

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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. Four works of the latter type were published in Erfurt in 1683 under the title

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Apart from harpsichord suites, this section concentrates only on the works whose ascription is not questioned. For a complete list of works which includes pieces with questionable authorship and lost compositions, see

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the two D minor pieces, which is very similar to Pachelbel's late simplistic toccatas, and considerably longer than any other prelude. The toccata idiom is completely absent, however, in the short Prelude in A minor:

1544:("Musical Thoughts on Death"), which might refer to the death of Pachelbel's first wife that occurred in the same year. This was Pachelbel's first published work and it is now partially lost. These pieces, along with 1350: 1236: 1482: 988: 1013: 1374: 2288:

Pachelbel was the last great composer of the Nuremberg tradition and the last important southern German composer. Pachelbel's influence was mostly limited to his pupils, most notably Johann Christoph Bach,

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introductory passages in a few pieces (most notably the E minor toccata) are counted as separate sections. Furthermore, no other Baroque composer used pedal point with such consistency in toccatas.

1678: 1508: 1014: 989: 1797: 1348: 937:, a collection of eight chorales he published in 1693. It included, among other types, several chorales written using outdated models. Of these, "Nun lob, mein Seel, den Herren" is based on 701:(Nuremberg, 1699), a set of six keyboard arias with variations. Though most influenced by Italian and southern German composers, he knew the northern German school, because he dedicated the 1234: 1704:

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.

1480: 1372: 1325: 2371: 2337:, who was one of the first researchers to trace Pachelbel's role in the development of Baroque keyboard music. Much of Pachelbel's work was published in the early 20th century in the 2155:, etc. The ensembles for which these works are scored are equally diverse: from the famous D major Magnificat setting written for a 4-part choir, 4 violas and basso continuo, to the 1661: 1724:; 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 1679: 1509: 520:). 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. Pachelbel became 957:" is a three-part setting with melodic ornamentation of the chorale melody, which Pachelbel employed very rarely. Finally, "Jesus Christus, unser Heiland der von uns" is a typical 1572:: for the most part, Pachelbel's toccatas consist of relatively fast passagework in both hands over sustained pedal notes. Although a similar technique is employed in toccatas by 800:

and the so-called Weimar tablature of 1704 provide valuable information about Pachelbel's school, although they do not contain any pieces that can be confidently ascribed to him.

4071: 4297: 4275: 1798: 6337: 1349: 1235: 345:, organist of the same church and an important composer of the Nuremberg school, but this is now considered unlikely. In any case, both Wecker and Schwemmer were trained by 2273:, who studied with Pachelbel, but although J.S. Bach's early chorales and chorale variations borrow from Pachelbel's music, the style of northern German composers, such as 1481: 5027: 1373: 307: 786: 1110:

or two). With the exception of the three double fugues (primi toni No. 12, sexti toni No. 1 and octavi toni No. 8), all are straightforward pieces, frequently in

884:(measure delimiters). The system had been widely used since the 15th century but was gradually being replaced in this period by modern notation (sometimes called 3636: 1132:

for a few bars, both during episodes and in codas. The double fugues exhibit a typical three-section structure: fugue on subject 1, fugue on subject 2, and the

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twelve. Also, even a fugue with an ordinary subject can rely on strings of repeated notes, as it happens, for example, in magnificat fugue octavi toni No. 12:

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in his youth and as such was exposed to music of the leading composers of the time. Although he was a Lutheran, his works were influenced by Catholic music.

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not pay much attention to Pachelbel and his contemporaries. In the first half of the 19th century, some organ works by Pachelbel were published and several

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The date of Pachelbel's birth and death are unknown, therefore his baptismal and burial dates, which are known, are given. 1 September is the date in the

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Pachelbel's large-scale vocal works are mostly written in modern style influenced by Italian Catholic music, with only a few non-concerted pieces and old

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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.

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The piece begins with a chorale fugue (not shown here) that turns into a four-part chorale setting which starts at bar 35. The slow-moving chorale (the

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era and was therefore rarely used by contemporary composers. This means that Pachelbel may have used his own tuning system, of which little is known.

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became one of his most characteristic products of the Erfurt period, since Pachelbel's contract specifically required him to compose the preludes for

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The Instrumental Works of Johann Pachelbel (1653–1706): an Essay to Establish his Stylistic Position in the Development of the Baroque Musical Art

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One of the last middle Baroque composers, Pachelbel did not have any considerable influence on most of the famous late Baroque composers, such as

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setting, the chorale fugue and, most importantly, a model he invented which combined the two types. This latter type begins with a brief chorale

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of Prince Elector Carl Heinrich of Mainz" (lecture at the Eighth Annual Meeting of The Society for Seventeenth-Century Music, 27–30 April 2000)

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s chord progression has been used widely in pop music in the 20th and 21st centuries. It has been called "almost the godfather of pop music" by

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bass is not necessarily repeated unaltered throughout the piece and is sometimes subjected to minor alterations and ornamentation. The D major,

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pieces and sacred concertos, large-scale compositions which are probably his most important vocal works. Almost all of them adopt the modern

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style. The suites do not adhere to a fixed structure: the allemande is only present in two suites, the gigues in four, two suites end with a

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in 1968, which made it a universally recognized cultural item. Its visibility was increased by its choice as the theme music for the film

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chorale with one of the hands playing the unadorned chorale while the other provides constant fast-paced accompaniment written mostly in

478:), and became a close friend of Johann Ambrosius and tutor to his children. However, Pachelbel spent only one year in Eisenach. In 1678, 765:. Among the more significant materials are several manuscripts that were lost before and during World War II but partially available as 761:

Several principal sources exist for Pachelbel's music, although none of them as important as, for example, the Oldham manuscript is for

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enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central

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is mostly in three voices and employing the same kind of writing with consecutive thirds as seen in Pachelbel's toccatas (see below).

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A list of Pachelbel's works with cross-references from Perreault's numbers to Tsukamoto, Welter and Bouchard and to selected editions

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is probably the most famous of the composers influenced by Pachelbel – he is, in fact, referred to as the "second Pachelbel" in

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Fugue subjects from Magnificat fugues: secundi toni 7, octavi toni 10, primi toni 16, sexti toni 10, quarti toni 8 and octavi toni 13

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Johann Christian Bach (1640–1682), Pachelbel's landlord in Erfurt, died in 1682. In June 1684, Pachelbel purchased the house (called

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is a small mass for an SATB choir in three movements (Kyrie, Gloria, Credo). It is simple, unadorned and reminiscent of his motets.

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is that their endings are four-part chorale settings reminiscent of Pachelbel's organ chorale model: the chorale, presented in long

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Zum Gedächtnis an den Nürnberger Musiker Johann Pachelbel, 1653–1706, einem Vorläufer Joh. Seb. Bachs, die dankbare Stadt Nürnberg.

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During his lifetime, Pachelbel was best known as an organ composer. He wrote more than two hundred pieces for the instrument, both

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forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites.

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Example from "Wenn mein Stündlein vorhanden ist" of Pachelbel's chorales, bars 35–54. The chorale in the soprano is highlighted.

543:, now Junkersand 1) from Johann Christian's widow. In 1686, he was offered a position as organist of the St. Trinitatis church ( 6342: 6267: 6247: 2612:

The most extraordinary example of note repetition, however, is not found in Pachelbel's fugues but in his first setting of the

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and so Pachelbel influenced, although indirectly and only to a certain degree, the American church music of the era. Composer,

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When former pupil Johann Christoph Bach married in October 1694, the Bach family celebrated the marriage on 23 October 1694 in

314:, Germany), a wine dealer, and his second wife Anna (Anne) Maria Mair. The exact date of Johann's birth is unknown, but he was 262:

style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of

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Johann Mattheson. "Vollkommener Kapellmeister" (1739), p. 476: "mit Recht der zweite, wo nicht an Kunst des erste Pachelbel."

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Ed. Alison Latham. Oxford University Press, 2002. Oxford Reference Online. Oxford University Press. Accessed 4 November 2018

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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

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or Froberger, are perhaps more technically interesting. In the original sources, all three use white notation and are marked

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as the town organist, a post he occupied for two years, starting on 8 November 1692; there he published his first, and only,

525: 6257: 4643: 3851: 3545: 860:(Musical Thoughts on Death; Erfurt, 1683) – a set of chorale variations in memory of his deceased wife and child, and 625: 459: 3408: 2269:. However, he did influence Johann Sebastian Bach indirectly; the young Johann Sebastian was tutored by his older brother 6307: 6277: 4952: 3220: 2248: 6282: 6252: 6016: 3444:

Johann Pachelbel: Organist, Teacher, Composer, A Critical Reexamination of His Life, Works, and Historical Significance

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complexity, some include sections for the chorus. The concerted Mass in C major is probably an early work; the D major

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in 1980. One of the most recognized and famous Baroque compositions, it became popular for use in weddings, rivaling

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1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south

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and associated research that Pachelbel's works began to be studied extensively and again performed more frequently.

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The Organ Works of Pachelbel as Related to Selected Works by Frescobaldi and the South and Central German Composers

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on 1 September. Among his many siblings was an older brother, Johann Matthäus (1644–1710), who served as Kantor in

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composers worked there, many of them contributing to the exchange of musical traditions in Europe. In particular,

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How to Have an Elegant Wedding for $ 5,000 or Less: Achieving Beautiful Simplicity Without Mortgaging Your Future

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in 1734. Another son, Johann Michael, became an instrument maker in Nuremberg and traveled as far as London and

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chaconnes are among Pachelbel's best-known organ pieces, and the latter is often cited as his best organ work.

938: 730: 678: 479: 295: 2675: 6036: 5752: 4738: 4304: 4282: 1272:, chorale variations and several sets of arias with variations. The six chaconnes, together with Buxtehude's 952: 655:, and invited him and other composers to provide the music; he probably attended—if so, it was the only time 184: 58: 4448: 2718:

The Musicalische Sterbens-Gedancken of Johann Pachelbel: its historical background, analysis and performance

6287: 5637: 5096: 4768: 4174: 3883: 3875: 3602: 3576: 3029: 2298: 1861:, Gigue), sometimes updated with an extra movement (usually less developed), a more modern dance such as a 1362: 573: 146: 3612: 3582: 2139:, two violins, basso continuo and organ). Pachelbel explores a very wide range of styles: psalm settings ( 2012:

manner. The second employs the violins in an imitative, sometimes homophonic structure, that uses shorter

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empire and had much cultural importance; its tastes in music were predominantly Italian. Several renowned

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pieces,) display impressive mastery of large-scale composition ("So ist denn dies der Tag" is scored for

2016:. The dance movements of the suites show traces of Italian (in the gigues of suites 2 and 6) and German ( 4289: 1520:(1699) played by Tibor Pinter on the sample set of the organ in Zlata Koruna, Czech Republic, built 1699 1057:

The Magnificat Fugues were all composed during Pachelbel's final years in Nuremberg. The singing of the

6178: 6135: 5622: 5414: 5191: 4166: 3572: 3536: 3111:, liner notes to CD "Pachelbel; Johann Christoph & Johann Michael Bach: Motetten/Motets", DHM 77305 2302: 2230:(bars 92–95). These are the first choir's parts, the notes and lines for the second choir are the same. 662:

In his three years in Gotha, he was twice offered positions, in Germany at Stuttgart and in England at

577: 154: 5331: 4678: 2193:(indeed, the polyphonic passages frequently feature reduction of parts). The texts are taken from the 2020:

appears in suites 1 and 2) influence, but the majority of the movements are clearly influenced by the

1492:(1699) played by Tibor Pinter on the sample set of the organ in Smecno, Czech Republic, built ca. 1587 778: 6312: 6068: 5612: 5557: 5186: 5181: 5156: 5019: 4713: 4703: 4578: 3810: 3654: 2290: 2219:, is sung by the sopranos, while the six lower parts accompany with passages in shorter note values: 791: 629: 346: 4723: 4618: 3762: 2414: 1933: 1921:

over which the violins play a three-voice canon based on a simple theme, the violins' parts form 28

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of the melody. The gigue which originally accompanied the canon is a simple piece that uses strict

1845:. Number 29 has all four traditional movements, the other two authentic pieces only have three (no 1430: 729:

fourth post-mortem day; so, either 6 or 7 March 1706 is a likelier death date. He is buried in the

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He was employed in less than a fortnight: from 1 September 1690, he was a musician-organist in the

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Played by Tibor Pinter on the sample set of Gottfried Silbermann's organ (1722) in Roetha, Germany

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and comparatively short – at an average tempo, most take around a minute and a half to play.

5567: 5051: 4858: 4798: 4753: 4633: 4528: 4158: 3939: 3414: 3373: 3125: 865: 505: 493: 412: 4913: 1735:

genre. Both are gentle free-flowing pieces featuring intricate passages in both hands with many

856:

Only two volumes of Pachelbel's organ music were published and distributed during his lifetime:

6192: 6165: 6155: 6094: 5647: 5504: 5429: 5424: 5394: 5246: 4987: 4383: 3982: 3499:

The Influence of South German and Italian Composers on the Free Organ Forms of Johann Pachelbel

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Most of Pachelbel's free fugues are in three or four voices, with the notable exception of two

853:

endorsed extensive use of pedals seen in the works by composers of the northern German school.

420: 239: 4498: 3194: 2625:

For a discussion of the suites' authorship, see Perreault's "An Essay on the Authorities" (in

349:, one of the founders of the Nuremberg musical tradition, who had been at one time a pupil of 6031: 5632: 5562: 5519: 5479: 5469: 5359: 5146: 5091: 4833: 4778: 4748: 4653: 4518: 4358: 4267: 4197: 3958: 3915: 3701: 3631: 3560: 2695:. Pachelbel's baptism record with his father's and mother's names is also provided in Welter. 2344: 1445:("first" through "sixth"). The final piece, which is also the best-known today, is subtitled 1413: 1403: 1042: 797: 703: 697: 656: 513: 475: 471: 368: 227: 3032:; Rastall, Richard (2001). "Notation, §III, 4(i): Mensural notation from 1500: General". In 769:

of the Winterthur collection, a two-volume manuscript currently in possession of the Oxford

291: 6237: 6232: 6104: 5484: 5341: 5311: 5306: 5291: 5066: 4773: 4598: 4338: 4033: 3768: 3369: 3047: 2849: 2809: 2769: 2398: 2282: 2207:. The motets are structured according to the text they use. One important feature found in 1898: 1886: 1740: 1577: 1278: 1184: 1172: 850: 849:

instrument with 52 stops, 15 of them in the pedal). Finally, neither the Nuremberg nor the

424: 382:

Pachelbel was also permitted to study music outside the Gymnasium. His teacher was Kaspar (

251: 247: 218: 188: 5384: 3842: 3531: 3398: 3341:

Buszin, Walter E. (1959). "Johann Pachelbel's Contribution to Pre-Bach Organ Literature".

8: 6026: 5662: 5607: 5597: 5454: 5409: 5261: 5251: 5201: 5081: 4918: 4883: 4788: 4663: 4458: 4403: 4388: 4211: 4026: 3899: 3859: 3733: 2278: 1894: 1450: 1434: 842: 708: 667: 432: 387: 342: 334: 263: 243: 20: 5617: 3471:

Ostinato Techniques in Chaconnes and Passacaglias of Pachelbel, Buxtehude, and J.S. Bach

286: 5602: 5524: 5489: 5439: 5419: 5369: 5131: 5121: 4937: 4878: 4808: 4708: 4688: 4588: 4548: 4513: 4508: 4488: 4428: 4413: 4408: 4393: 4373: 4141: 4117: 3966: 3593: 3447: 3364: 2548: 2262: 2131:

is scored for a five-part chorus, two flutes, bassoon, five trumpets, trombone, drums,

1997:

sections which juxtapose slower and faster rhythms: the first section uses patterns of

1744: 1736: 1356:

Played by Tibor Pinter on the sample set of the Marcussen organ, Moerdijk, Netherlands.

652: 326: 5587: 5151: 4803: 2159:

scored for a five-part chorus, 4 trumpets, timpani, 2 violins, a single viola and two

2047:(the latter reinforces the basso continuo). Of these, the five-part suite in G major ( 6161: 6119: 5854: 5803: 5404: 5256: 5236: 5216: 5211: 5071: 4888: 4853: 4783: 4673: 4668: 4593: 4348: 4040: 3451: 3428: 3385: 3322: 3311: 3200: 3142: 3051: 2853: 2813: 2773: 2642: 2413:, experienced a surge in popularity during the 1970s. This is due to a recording by 2306: 2009: 1922: 1594: 1265: 1050: 663: 581: 556: 391: 275: 274:, much of which features exceptionally rich instrumentation. Pachelbel explored many 232: 46: 6063: 2305:. The latter became one of the first European composers to take up residence in the 565:("Musical Thoughts on Death", Erfurt, 1683), was probably influenced by this event. 6204: 6114: 5983: 5933: 5577: 5529: 5499: 5444: 5321: 5241: 5116: 5076: 5041: 4957: 4863: 4823: 4558: 4250: 4226: 4182: 4086: 4062: 3923: 3377: 3247:"Canon in the 1990s: From Spiritualized to Coolio, Regurgitating Pachelbel's Canon" 2460: 1955: 1713: 1581: 1397: 873: 832:

religious practice where congregants sang the chorales. Household instruments like

770: 666:; he declined both. Meanwhile, in Nuremberg, when the St. Sebaldus Church organist 589: 356: 150: 4898: 4868: 4638: 4608: 4418: 3556: 2834:

Harris, C. David; Gieberl, Albert C. (2001). "Kerll, Johann Caspar, §1: Life". In

2059:) it updates the German suite model by using the latest French dances such as the 1686:

Both performed on a church organ in Trubschachen, Switzerland, by Burghard Fischer

6078: 5968: 5891: 5767: 5592: 5514: 5374: 5354: 5316: 5231: 5086: 5061: 4967: 4962: 4908: 4843: 4693: 4553: 4543: 4538: 4473: 4433: 4398: 4333: 4017: 3608: 3121: 2544: 2419: 2294: 2021: 1990: 1756: 949:; it is one of the very few Pachelbel chorales with cantus firmus in the tenor. " 817: 685:

Pachelbel lived the rest of his life in Nuremberg, during which he published the

529: 416: 330: 196: 5379: 3553:, includes a complete catalogue of Pachelbel's works compiled by Hideo Tsukamoto 1617: 5808: 5782: 5717: 5627: 5509: 5474: 5176: 5141: 5046: 4873: 4838: 4743: 4728: 4613: 4503: 4478: 4468: 4095: 3990: 3931: 3003: 2579: 2424: 2402: 2334: 2160: 2124: 2097: 2040: 1946: 1902: 1725: 1721: 1139: 962: 942: 821: 762: 533: 489: 455: 6073: 3624: 1128: 913: 617: 604: 6226: 6109: 5988: 5963: 5948: 5896: 5839: 5829: 5707: 5642: 5494: 5449: 5296: 5286: 5281: 5221: 5106: 5101: 5010: 4947: 4923: 4903: 4893: 4828: 4818: 4683: 4658: 4573: 4568: 4563: 4493: 4463: 4453: 4126: 3833: 3318: 3033: 2835: 2795: 2755: 2439: 2428: 2379: 2170: 2043:

or a typical French five-part string ensemble with 2 violins, 2 violas and a

1951: 1938: 1906: 1882: 1842: 1833: 1588: 1548:'s works, may or may not have influenced Johann Sebastian Bach's early organ 1210:(bars 15–18). Fugue subject that appears once in this excerpt is highlighted. 1180: 1117: 1067: 898: 825: 773:

which is a major source for Pachelbel's late work, and the first part of the

686: 568:

Ten months later, Pachelbel married Judith Drommer (Trummert), daughter of a

548: 463: 452: 350: 267: 204: 167: 3455: 2274: 2222: 2189:. Most of this music is harmonically simple and makes little use of complex 1837:

comparable in terms of style and technique to Froberger's suites. Seventeen

1545: 1332:

Performed on a church organ in Trubschachen, Switzerland by Burghard Fischer

572:, on 24 August 1684. They had five sons and two daughters. Two of the sons, 6216: 6053: 6048: 6021: 5958: 5539: 5271: 5266: 5056: 4813: 4793: 4758: 4718: 4648: 4623: 4603: 4583: 4150: 3221:"Pachelbel's Canon in D works surprisingly well as a pop-punk instrumental" 3108: 2330: 2310: 2236: 2203: 2182: 2005: 2001: 1133: 1071: 997: 877: 437: 428: 319: 259: 2616:

chorale, where a string of 30 repeated 16th-notes occurs in bars 15 and 16

1171:

Pachelbel composed, that are more akin to his fugues than to ricercars by

403: 6009: 6004: 5921: 5732: 5727: 5697: 5572: 5552: 5301: 5136: 5126: 4763: 4733: 4523: 4378: 4368: 4325: 4204: 4190: 3139:

J. S. Bach as organist: his instruments, music, and performance practices

2410: 1998: 1959: 1918: 1914: 1866: 1838: 1767: 1717: 1569: 1426: 1282: 1164: 1111: 1107: 881: 569: 467: 271: 203:

have earned him a place among the most important composers of the middle

2698: 1568:

in the Perreault catalogue. They are characterized by consistent use of

1202: 758:

particularly while serving as court musician in Eisenach and Stuttgart.

5973: 5881: 5849: 5747: 5712: 5687: 4423: 4102: 3540: 3480:, Affetti Musicali cond. by János Malina. Hungaroton Classic, HCD 31736 3306: 2887: 2885: 2883: 2390: 2216: 2167: 2108: 2013: 1942: 1901:

belongs to this genre, as it was originally scored for 3 violins and a

1811: 1695: 1529: 1389: 1251: 1176: 1058: 1027: 837: 719: 712: 599: 390:. Since the latter was greatly influenced by Italian composers such as 376: 192: 5926: 5196: 4438: 4319: 3492:

The Magnificat Fugues of Johann Pachelbel: Alternation or Intonation?

2983:"Berühmte Verstorbene – Evang.-Luth. Friedhofsverband Nürnberg" 2318: 2190: 2111:

idiom and many are scored for unusually large groups of instruments (

2017: 1858: 1850: 1731:

The E-flat major and G minor fantasias are variations on the Italian

946: 926: 833: 766: 621: 521: 311: 303: 287:

1653–1674: Early youth and education (Nuremberg, Altdorf, Regensburg)

255: 3347:. Vol. 5. St. Louis: Concordia Publishing House. Archived from 2880: 2285:, played a more important role in the development of Bach's talent. 1977:

in one movement. In suites 1 and 3 these introductory movements are

1564:

by Pachelbel survive, including several brief pieces referred to as

841:

must have only had around 15 to 25 stops on two manuals (compare to

782: 19:"Pachelbel" redirects here. For other people with this surname, see 5978: 5953: 5901: 5886: 5859: 5677: 5652: 3802: 3646: 2025: 1910: 1854: 1437:. Each set follows the "aria and variations" model, arias numbered 1287: 1273: 1269: 1168: 1159: 958: 869: 829: 448: 423:

served as court organist in Vienna until 1657 and was succeeded by

3175: 2954:

Walter Emery, Christoph Wolff. Article "Johann Sebastian Bach" in

2670: 673: 6099: 5906: 5876: 5844: 5834: 5787: 5762: 5757: 5692: 5672: 2723: 2120: 2116: 2104: 2093: 2085: 2060: 2044: 2035:

Pachelbel's other chamber music includes an aria and variations (

1986: 1862: 1561: 1549: 1188: 1062: 1046: 813: 754: 715: 637: 593: 585: 325:

During his early youth, Pachelbel received musical training from

315: 214: 4979: 2185:. Of the eleven extant motets, ten are scored for two four-part 512:, succeeding Johann Effler (c. 1640–1711; Effler later preceded 6058: 5916: 3425:

The Thematic Catalogue of the Musical Works of Johann Pachelbel

2194: 2132: 1418: 517: 509: 497: 397: 367:

in Nuremberg, then on 29 June 1669, he became a student at the

2754:

Schott, Howard (2001). "Froberger, Johann Jacob: 1. Life". In

2475: 868:

when writing out numerous compositions (several chorales, all

804:

organized thematically) and Kathryn Jane Welter (PC numbers).

486:. With this document, Pachelbel left Eisenach on 18 May 1678. 5943: 5938: 5911: 5777: 5682: 3176:"Prisoners of Pachelbel: An Essay in Post-Canonic Musicology" 2497: 2469: 2406: 2186: 2178: 2152: 1982: 1926: 1846: 1167:, particularly those with broken chord figuration. The three 902: 722: 633: 500:

church, where Pachelbel worked for 12 years, starting in 1678

200: 2574:, p. xlviii. The text of the contract is also given in 2506:

lists three possible German pronunciations for the surname:

2333:

started considering him an important composer, particularly

5824: 5772: 5742: 5737: 5722: 5702: 2484: 2136: 2089: 2029: 1870: 1716:. Three of them (the A minor, C major and one of the two D 1422: 796:, which includes the only known Pachelbel autographs). The 711:. Also composed in the final years were Italian-influenced 3137:

Stauffer, George B.; Bach, Johann Sebastian, eds. (1986).

2873:

Hans T. David, "A Lesser Secret of J. S. Bach Uncovered",

341:). Some sources indicate that Pachelbel also studied with 3141:. Bloomington, Ind: Indiana Univ. Press. pp. 82–83. 2794:

Riedel, Friedrich W. (2001). "Poglietti, Alessandro". In

2063:

or the ballet. The three pieces mentioned all end with a

3089: 2401:, a piece of chamber music scored for three violins and 2100:) and exceptional knowledge of contemporary techniques. 1268:

is evident from his organ works that explore the genre:

504:

In June 1678, Pachelbel was employed as organist of the

431:

lived in the city for some time, and, most importantly,

238:

He was influenced by southern German composers, such as

580:, also became organ composers; the latter moved to the 524:

to Johann Ambrosius' daughter, Johanna Juditha, taught

195:

music, and his contributions to the development of the

3513:

A Study of the Tenbury Manuscripts of Johann Pachelbel

3409:"Classic Contract between Pachelbel and Erfurt Church" 1587:

Many of Pachelbel's toccatas explore a single melodic

191:

to their peak. He composed a large body of sacred and

6338:

Organists and composers in the South German tradition

6176: 2938: 2936: 2478: 2472: 2249:

Pachelbel's Canon § Rediscovery and rise to fame

3120:

Kathryn Jane Welter, "So ist denn dies der Tag: The

2963: 2909: 2897: 2735: 2570:

For the discussion of the contract in question, see

2487: 2481: 2466: 2103:

These latter features are also found in Pachelbel's

600:

1690–1706: Final years (Stuttgart, Gotha, Nuremberg)

451:, where he found employment as court organist under 298:, which played an important role in Pachelbel's life 3193:Wilson, Jan; Hickman, Beth Wilson (28 April 2010). 3065: 2547:in use in Nuremberg at the time. The corresponding 2463: 2253:

Pachelbel's Canon § Influence on popular music

1425:), a collection of six variations set in different 440:, who too served as a professional musician of the 3551:Pachelbel Street – Archives of J.Pachelbel's Works 3407: 3357: 3310: 2933: 1183:requires a more flexible tuning than the standard 1045:are a prime example). The contrapuntal devices of 76:Free Imperial City of Nuremberg, Holy Roman Empire 3077: 1897:'s Opus 1 and Opus 2 chamber sonatas. The famous 411:. At the time, Vienna was the center of the vast 6224: 1407:, showing the fourth variation of the first aria 933:contemporary chorale techniques is reflected in 3335:Geschichte der Orgel- und Klaviermusik bis 1700 3043:The New Grove Dictionary of Music and Musicians 2845:The New Grove Dictionary of Music and Musicians 2805:The New Grove Dictionary of Music and Musicians 2765:The New Grove Dictionary of Music and Musicians 1905:, and paired with a gigue in the same key. The 458:(also a native of Nuremberg), in the employ of 258:tradition. He preferred a lucid, uncomplicated 4995: 3818: 3662: 3630:Works by Pachelbel in MIDI and MP3 format at 3192: 2877:, Vol. 14, No. 2. (Summer, 1961), p. 200 2875:Journal of the American Musicological Society 2833: 659:, then nine years old, met Johann Pachelbel. 254:, French composers, and the composers of the 3382:10.1093/gmo/9781561592630.article.6002278237 3169: 3167: 3136: 2689:, 9. See also article "Johann Pachelbel" in 2598: 2501: 1989:. The other four sonatas are reminiscent of 1937:("Musical Delight") is a set of six chamber 1849:), and the rest follow the classical model ( 1401:A page from the original printed edition of 950: 398:1673–1690: Career (Vienna, Eisenach, Erfurt) 225:, the Toccata in E minor for organ, and the 3028: 3024: 3022: 2378:Arrangement for violins, harps and bass by 1259: 1066:that they served to help singers establish 6293:German classical composers of church music 5002: 4988: 3825: 3811: 3669: 3655: 3275: 3245:Chamings, Andrew Wallace (30 April 2013). 2431:. Despite its centuries-old heritage, the 2345:historically informed performance practice 2039:) and four standalone suites scored for a 1720:pieces) are sectional compositions in 3/2 1143:A typical Pachelbel repercussion subject. 3587:International Music Score Library Project 3422: 3278:"Pop hits 'stealing ideas from classics'" 3164: 3095: 2626: 217:. Today, Pachelbel is best known for the 3244: 3019: 2221: 2092:choir, 2 violins, 3 violas, 4 trumpets, 1766: 1616: 1593: 1396: 1201: 1138: 1136:with simultaneous use of both subjects. 1116: 912: 876:); a notational system that uses hollow 746:List of compositions by Johann Pachelbel 672: 603: 592:, achieved recognition as a painter and 488: 470:in Eisenach (which was the home city of 290: 16:German composer and organist (1653–1706) 3359:"Pachelbel [Bachelbel], Johann" 2242: 1827: 820:, is relatively simple and written for 113: 1681; died 1683) 6225: 3441: 3340: 2969: 2942: 2927: 2915: 2903: 2793: 2753: 2741: 2729: 2686: 2662:The Concise Oxford Dictionary of Music 2575: 864:(Nuremberg, 1693). Pachelbel employed 4983: 4016: 3806: 3650: 3405: 3355: 3313:The History of Keyboard Music to 1700 3083: 2891: 2704: 2692:Die Musik in Geschichte und Gegenwart 2648: 2571: 2529: 2519: 2513: 2507: 2163:, bassoon, basso continuo and organ. 1909:shares an important quality with the 1516:The sixth aria (Aria Sebaldina) from 1433:(a friend from the Vienna years) and 1277:Pachelbel's chaconnes are distinctly 302:Johann Pachelbel was born in 1653 in 221:; other well known works include the 3832: 3718: 3676: 3476:Malina, János. 1998. Liner notes to 3305: 3173: 3071: 2340:Denkmäler der Tonkunst in Österreich 2113:Jauchzet dem Herrn, alle Welt (in C) 2028:, and the fourth suite contains two 2129:Lobet den Herrn in seinem Heiligtum 1208:Magnificat Fugue octavi toni No. 12 891: 828:is required. This is partly due to 484:einen perfekten und raren Virtuosen 306:into a middle-class family, son of 13: 6273:18th-century German male musicians 3463: 3344:The Musical Heritage of the Church 2668:, (Oxford University Press, 1996) 2352: 2055:) and the third standalone suite ( 1865:or a ballet. All movements are in 1779: 1694:Problems playing these files? See 1642: 1528:Problems playing these files? See 1459: 1388:Problems playing these files? See 1303: 1264:Pachelbel's apparent affinity for 1216: 1026:Problems playing these files? See 970: 183:; baptised 11 September [ 14: 6359: 6042:historically informed performance 5009: 4364:Emilie Juliane of Barby-Mühlingen 3519: 3487:. Diss., Northwestern University. 3473:. Diss., University of Wisconsin. 2226:Excerpt from the ending of motet 1000:, Switzerland by Burghard Fischer 908:Wenn mein Stündlein vorhanden ist 807: 555:published work, a set of chorale 6263:18th-century classical composers 6243:17th-century classical composers 6210: 6198: 6186: 6160: 6151: 6150: 3787: 3786: 3530: 3199:. Crown/Archetype. p. 131. 2459: 2389:Problems playing this file? See 2368: 2201:which uses a short passage from 1876: 1810:Problems playing this file? See 1795: 1755:Almost all pieces designated as 1676: 1658: 1506: 1478: 1370: 1346: 1322: 1250:Problems playing this file? See 1232: 1011: 1007:Ach Gott vom Himmel, sieh darein 986: 785:) compiled by Pachelbel's pupil 166: 6328:German male classical organists 6318:German male classical composers 4644:Matthäus Apelles von Löwenstern 3908:Lutheran Hymnal with Supplement 3709:Musicalische Sterbens-Gedancken 3625:"Pachelbel - my favorite works" 3583:Free scores by Johann Pachelbel 3573:Free scores by Johann Pachelbel 3269: 3238: 3213: 3186: 3155: 3130: 3114: 3101: 2996: 2975: 2948: 2921: 2867: 2827: 2787: 2747: 2619: 2606: 2591: 2564: 2297:, and two of Pachelbel's sons, 2149:Was Gott tut, das ist wohlgetan 2147:), sets of chorale variations ( 1771:Prelude in A minor (full score) 1541:Musicalische Sterbens-Gedancken 1429:. It is dedicated to composers 996:Performed on a church organ in 935:Acht Choräle zum Praeambulieren 858:Musikalische Sterbens-Gedancken 851:southern German organ tradition 642:Acht Chorale zum Praeambulieren 624:under the patronage of Duchess 562:Musicalische Sterbens-Gedancken 128: 110: 43:Free Imperial City of Nuremberg 3975:Eyn geystlich Gesangk Buchleyn 3868:Evangelical Lutheran Hymn-Book 3406:Nolte, Ewald Valentin (1957). 3356:Nolte, Ewald Valentin (2001). 3337:by Bärenreiter-Verlag, Kassel. 3011:The Oxford Companion to Music. 2710: 2680: 2654: 2651:, "3. Liturgical organ music". 2554: 2537: 2451: 2075: 2037:Aria con variazioni in A major 816:organ music, particularly the 718:and a set of more than ninety 480:Bernhard II, Duke of Saxe-Jena 296:St. Sebaldus Church, Nuremberg 1: 6343:Pupils of Georg Caspar Wecker 6268:18th-century German composers 6248:17th-century German composers 5543: 5345: 5167: 5032: 4739:Christian Knorr von Rosenroth 4534:Christian Fürchtegott Gellert 4305:Den svenska psalmboken (1986) 4298:Den svenska psalmboken (1937) 4283:Den svenska psalmboken (1819) 4276:Den svenska psalmboken (1695) 3741:Erster Theil etlicher Choräle 3442:Welter, Kathryn Jane (1998). 3276:Pav Akhtar (7 October 2002). 2635: 2405:and originally paired with a 1739:, close to similar pieces by 1733:toccata di durezze e ligature 1417:(the title is a reference to 953:Wir glauben all an einen Gott 695:, and, most importantly, the 646:Erster Theil etlicher Choräle 6348:Pupils of Heinrich Schwemmer 4175:Landstads reviderte salmebok 3884:Evangelical Lutheran Worship 3876:Evangelical Lutheran Hymnary 3577:Choral Public Domain Library 3515:. Diss., Harvard University. 3508:. Diss., Indiana University. 3501:. Diss., Indiana University. 3399:UK public library membership 3321:. Indiana University Press. 1969:begins with an introductory 1885:is much less virtuosic than 1707: 1411:In 1699 Pachelbel published 1286:Buxtehude's chaconnes). The 574:Wilhelm Hieronymus Pachelbel 447:In 1677, Pachelbel moved to 386:) Prentz, once a student of 7: 6258:17th-century male musicians 3427:. Lanham: Scarecrow Press. 3423:Perreault, Jean M. (2004). 2674:, (accessed 21 March 2007) 2588:, xvii, Jg.viii/2 (1901/R). 2323:Grundlage einer Ehrenpforte 2177:Other vocal music includes 2057:Partie a 4 in F-sharp minor 1750: 1555: 982:Nun komm der Heiden Heiland 361:Grundlage einer Ehrenpforte 270:and, most importantly, his 10: 6364: 6308:German classical organists 6278:18th-century German people 4167:Psalmebog for Kirke og Hus 3603:Pachelbel free sheet music 3596:of Pachelbel's works from 3478:Pachelbel: Arias and Duets 3333:. Originally published as 3299: 2246: 1228:Fugue in C major for organ 578:Charles Theodore Pachelbel 61:1 September] 1653 18: 6283:18th-century keyboardists 6253:17th-century keyboardists 6130: 6087: 5997: 5817: 5796: 5661: 5538: 5340: 5165: 5026: 5020:List of Baroque composers 5017: 4932: 4714:Christian Heinrich Postel 4579:Bernhard Severin Ingemann 4318: 4249: 4225: 4140: 4116: 4085: 4061: 4009: 3950: 3840: 3782: 3754: 3693: 3684: 3511:Woodward, Henry L. 1952. 3494:, JAMS, ix (1956), 19–24. 2716:Hewlett, Walter B. 1978. 2291:Johann Heinrich Buttstett 2228:Gott ist unser Zuversicht 2209:Gott ist unser Zuversicht 2145:Christ lag in Todesbanden 2141:Gott ist unser Zuversicht 1035: 951: 733:, a Protestant cemetery. 630:War of the Grand Alliance 347:Johann Erasmus Kindermann 165: 160: 141: 91: 81: 65: 53: 37: 30: 6333:Musicians from Nuremberg 6303:German Baroque composers 6298:Composers for pipe organ 4629:Magnus Brostrup Landstad 3999:Evangelisches Gesangbuch 3892:Lutheran Book of Worship 3497:Nyquist, Roger T. 1968. 3469:Gauger, Ronald R. 1974. 3046:(2nd ed.). London: 2848:(2nd ed.). London: 2808:(2nd ed.). London: 2768:(2nd ed.). London: 2597:The inscription reads: " 2445: 2315:Johann Gottfried Walther 2081:Johann Gottfried Walther 1431:Ferdinand Tobias Richter 1260:Chaconnes and variations 777:(1692, currently at the 736: 677:Pachelbel's tomb at the 588:. One of the daughters, 466:. He met members of the 329:, who later became the 4859:N. Samuel of Tranquebar 4799:Johann Balthasar Schupp 4754:Gottfried Wilhelm Sacer 4679:Johann Matthäus Meyfart 4634:Ludvig Mathias Lindeman 4529:Fredrik Gabriel Hedberg 4159:Landstads kirkesalmebog 3940:Service Book and Hymnal 3504:Sarber, Gayle V. 1983. 3374:Oxford University Press 3362:. In Butt, John (ed.). 3015:(subscription required) 2671:Oxford Reference Online 2295:Andreas Nicolaus Vetter 2119:, 2 violins, 3 violas, 1712:Pachelbel composed six 866:white mensural notation 779:Biblioteka Jagiellońska 409:Saint Stephen Cathedral 308:Johann (Hans) Pachelbel 281: 57:11 September [ 6323:German music educators 6095:Common practice period 4724:Bartholomäus Ringwaldt 4619:Johann Balthasar König 4384:Birgitte Cathrine Boye 4344:Albert von Brandenburg 4072:Sálmabók Føroya kirkju 3983:Praxis pietatis melica 3763:Musicalische Ergötzung 3490:Nolte, Ewald V. 1956. 3483:Nolte, Ewald V. 1954. 2599: 2578:, pp. 27–29, and 2502: 2415:Jean-François Paillard 2357: 2267:Georg Philipp Telemann 2259:George Frideric Handel 2231: 2143:), chorale concertos ( 1967:Musikalische Ergötzung 1934:Musicalische Ergötzung 1784: 1772: 1647: 1637: 1614: 1464: 1408: 1308: 1221: 1211: 1155: 1122: 975: 918: 787:Johann Valentin Eckelt 692:Musicalische Ergötzung 682: 632:. His next job was in 609: 501: 421:Johann Jakob Froberger 299: 240:Johann Jakob Froberger 6017:British Baroque music 4953:In continental Europe 4779:Johann Hermann Schein 4519:Andreas Hammerschmidt 4484:Frans Michael Franzén 4359:Johann Sebastian Bach 4198:Norsk Salmebok (1985) 3959:First Lutheran hymnal 3916:Lutheran Service Book 3702:Hexachordum Apollinis 3639:Magnificat in D major 3632:Logos Virtual Library 3174:Fink, Robert (2010). 2677:(subscription access) 2551:date is 11 September. 2356: 2271:Johann Christoph Bach 2225: 2157:Magnificat in C major 2069:Partie a 4 in G major 2053:Partie a 4 in G major 2049:Partie a 5 in G major 1783: 1770: 1646: 1620: 1597: 1518:Hexachordum Apollinis 1490:Hexachordum Apollinis 1463: 1414:Hexachordum Apollinis 1404:Hexachordum Apollinis 1400: 1307: 1220: 1205: 1142: 1120: 974: 925:, i.e., the original 916: 798:Neumeister Collection 704:Hexachordum Apollinis 698:Hexachordum Apollinis 676: 657:Johann Sebastian Bach 607: 526:Johann Christoph Bach 514:Johann Sebastian Bach 492: 476:Johann Ambrosius Bach 369:University of Altdorf 294: 228:Hexachordum Apollinis 5435:Jacquet de La Guerre 5365:Bodin de Boismortier 4914:Carl David af Wirsén 4774:Heinrich Scheidemann 4704:Hallgrímur Pétursson 4599:Balthasar Kindermann 4339:Johann Georg Albinus 3687:List of compositions 3611:has compositions by 3048:Macmillan Publishers 2850:Macmillan Publishers 2810:Macmillan Publishers 2770:Macmillan Publishers 2660:"Pachelbel, Johann" 2629:, pp. 252–253). 2503:Aussprachewörterbuch 2283:Johann Adam Reincken 2243:Posthumous influence 2213:Nun danket alle Gott 2199:Nun danket alle Gott 2115:uses four trumpets, 1841:are used, including 1828:Other keyboard music 1741:Girolamo Frescobaldi 1488:The fifth aria from 1193:Ricercare in C major 1185:meantone temperament 812:Much of Pachelbel's 541:Zur silbernen Tasche 425:Alessandro Poglietti 252:Alessandro Poglietti 248:Girolamo Frescobaldi 231:, a set of keyboard 189:German organ schools 86:List of compositions 6288:Cathedral organists 6027:early music revival 5598:Frederick the Great 4919:Catherine Winkworth 4884:Philipp Wackernagel 4789:Cyriakus Schneegass 4664:Wilhelmi Malmivaara 4499:Bartholomäus Gesius 4404:Dieterich Buxtehude 4389:Hans Adolph Brorson 4212:Norsk salmebok 2013 4027:Den Danske Salmebog 3900:The Lutheran Hymnal 3860:Common Service Book 3734:Chaconne in F minor 3727:Chaconne in D minor 3282:www.telegraph.co.uk 3007:"Pachelbel, Johann" 2732:, page 55, note 64. 2582:'s introduction to 2521:[paˈxɛlbl̩] 2515:[ˈpaxl̩bɛl] 2509:[ˈpaxɛlbl̩] 2279:Dieterich Buxtehude 1917:: it consists of a 1451:St. Sebaldus Church 1435:Dieterich Buxtehude 1364:Chaconne in D minor 1340:Chaconne in F minor 1316:Chaconne in F minor 731:St. Rochus Cemetery 709:Dieterich Buxtehude 679:St. Rochus Cemetery 668:Georg Caspar Wecker 433:Johann Caspar Kerll 388:Johann Caspar Kerll 365:Auditorio Aegediano 343:Georg Caspar Wecker 335:St. Sebaldus Church 264:Dieterich Buxtehude 246:, Italians such as 244:Johann Caspar Kerll 223:Chaconne in F minor 69:before 9 March 1706 21:Pachelbel (surname) 5327:Torrejón y Velasco 4938:Luther § Hymnodist 4879:Gottfried Vopelius 4809:Nikolaus Selnecker 4709:Michael Praetorius 4689:Erdmann Neumeister 4589:Sigfrid Karg-Elert 4549:Valerius Herberger 4514:Britt G. Hallqvist 4509:N. F. S. Grundtvig 4489:Erik Gustaf Geijer 4444:Ludmilla Elisabeth 4429:Wolfgang Dachstein 4414:Elisabeth Cruciger 4409:Christian Cappelen 4394:Johan Nordahl Brun 4374:Sigmund von Birken 4293:(in Swedish, 1891) 4271:(in Swedish, 1553) 4268:Een liten Songbook 4048:Thomissøn's hymnal 4010:In other languages 3967:Erfurt Enchiridion 3643:by Canto Armonico. 3535:Works by or about 3525:General references 3448:Harvard University 3446:(PHD). Cambridge: 3365:Grove Music Online 3107:Translation from: 2957:Grove Music Online 2549:Gregorian calendar 2358: 2299:Wilhelm Hieronymus 2263:Domenico Scarlatti 2232: 1958:and sometimes the 1791:Prelude in A minor 1785: 1773: 1745:Giovanni de Macque 1672:Toccata in F major 1654:Toccata in E minor 1648: 1638: 1623:Toccata in C major 1615: 1600:Toccata in D major 1465: 1409: 1309: 1222: 1212: 1156: 1123: 976: 945:, a paraphrase of 919: 683: 640:music collection: 610: 608:Pachelbel's letter 502: 373:Gymnasium Poeticum 327:Heinrich Schwemmer 322:, near Nuremberg. 300: 147:Wilhelm Hieronymus 6174: 6173: 6136:Renaissance music 5804:Baroque orchestra 4977: 4976: 4889:Johan Olof Wallin 4854:Melchior Teschner 4784:Benjamin Schmolck 4674:Felix Mendelssohn 4669:Hemminki of Masku 4594:Christian Keymann 4349:Michael Altenburg 4314: 4313: 4245: 4244: 4221: 4220: 4136: 4135: 4112: 4111: 4081: 4080: 4057: 4056: 4034:Guldberg's hymnal 3852:Christian Worship 3800: 3799: 3769:Pachelbel's Canon 3750: 3749: 3641:– for voices only 3397:(subscription or 3257:on 11 August 2017 3206:978-0-307-47771-2 3148:978-0-253-33181-6 3057:978-1-56159-239-5 2859:978-1-56159-239-5 2819:978-1-56159-239-5 2779:978-1-56159-239-5 2707:, "Introduction". 2531:[ˈjoːhan] 2399:Pachelbel's Canon 2373: 2307:American colonies 1869:, except for two 1821: 1820: 1800: 1681: 1663: 1511: 1483: 1449:, a reference to 1375: 1351: 1327: 1237: 1049:, diminution and 1016: 991: 664:Oxford University 626:Magdalena Sibylla 582:American colonies 392:Giacomo Carissimi 211:Pachelbel's music 174: 173: 47:Holy Roman Empire 6355: 6313:German Lutherans 6215: 6214: 6213: 6203: 6202: 6201: 6191: 6190: 6189: 6182: 6164: 6154: 6153: 6069:polychoral style 5984:sonata da chiesa 5545: 5347: 5169: 5034: 5004: 4997: 4990: 4981: 4980: 4958:Lutheran chorale 4864:Zachris Topelius 4824:Lazarus Spengler 4769:Martin Schalling 4699:Johann Pachelbel 4559:Johannes Hermann 4449:Princess Eugénie 4247: 4246: 4223: 4222: 4183:Nynorsk salmebok 4138: 4137: 4114: 4113: 4083: 4082: 4059: 4058: 4014: 4013: 3924:Lutheran Worship 3834:Lutheran hymnody 3827: 3820: 3813: 3804: 3803: 3790: 3789: 3716: 3715: 3678:Johann Pachelbel 3671: 3664: 3657: 3648: 3647: 3613:Johann Pachelbel 3557:Johann Pachelbel 3537:Johann Pachelbel 3534: 3459: 3438: 3419: 3411: 3402: 3395: 3361: 3352: 3351:on 3 March 2006. 3332: 3317:. Translated by 3316: 3293: 3292: 3290: 3288: 3273: 3267: 3266: 3264: 3262: 3253:. Archived from 3242: 3236: 3235: 3233: 3231: 3217: 3211: 3210: 3190: 3184: 3183: 3180:Hamburg Jahrbuch 3171: 3162: 3159: 3153: 3152: 3134: 3128: 3118: 3112: 3105: 3099: 3093: 3087: 3081: 3075: 3069: 3063: 3061: 3026: 3017: 3016: 3002:Wendy Thompson, 3000: 2994: 2993: 2991: 2989: 2979: 2973: 2967: 2961: 2952: 2946: 2940: 2931: 2925: 2919: 2913: 2907: 2901: 2895: 2889: 2878: 2871: 2865: 2863: 2831: 2825: 2823: 2791: 2785: 2783: 2751: 2745: 2739: 2733: 2727: 2721: 2714: 2708: 2702: 2696: 2684: 2678: 2658: 2652: 2646: 2630: 2623: 2617: 2610: 2604: 2602: 2595: 2589: 2568: 2562: 2558: 2552: 2541: 2535: 2533: 2523: 2517: 2511: 2505: 2495:in English. The 2494: 2493: 2490: 2489: 2486: 2483: 2480: 2477: 2474: 2471: 2468: 2465: 2455: 2437: 2375: 2374: 2364:Canon in D major 2355: 2303:Charles Theodore 2181:, arias and two 1993:. They have two 1991:French overtures 1832:Around 20 dance 1802: 1801: 1782: 1763: 1762: 1683: 1682: 1665: 1664: 1645: 1636: 1635: 1634: 1632: 1621:Opening bars of 1613: 1612: 1611: 1609: 1513: 1512: 1485: 1484: 1462: 1377: 1376: 1353: 1352: 1329: 1328: 1306: 1239: 1238: 1219: 1154: 1153: 1152: 1150: 1018: 1017: 993: 992: 973: 956: 955: 892:Chorale preludes 880:heads and omits 818:chorale preludes 795: 771:Bodleian Library 590:Amalia Pachelbel 545:Trinitatiskirche 402:Prentz left for 357:Johann Mattheson 177:Johann Pachelbel 170: 155:Charles Theodore 132: 130: 114: 112: 72: 32:Johann Pachelbel 28: 27: 6363: 6362: 6358: 6357: 6356: 6354: 6353: 6352: 6223: 6222: 6221: 6211: 6209: 6199: 6197: 6193:Classical music 6187: 6185: 6177: 6175: 6170: 6147: 6143:Classical music 6139: 6126: 6083: 6079:Galant Schemata 5993: 5892:concerto grosso 5813: 5792: 5664: 5657: 5534: 5370:G. B. Bononcini 5336: 5161: 5030: 5022: 5013: 5008: 4978: 4973: 4972: 4968:Chorale cantata 4963:Chorale setting 4943:Hymns by Luther 4928: 4909:Olle Widestrand 4844:Jesper Swedberg 4804:Heinrich Schütz 4694:Philipp Nicolai 4554:Nikolaus Herman 4544:Ludwig Helmbold 4539:Johann Heermann 4474:Melchior Franck 4434:Nikolaus Decius 4399:Joachim a Burck 4334:Mikael Agricola 4324: 4322: 4310: 4241: 4236:Culto Cristiano 4217: 4132: 4108: 4077: 4053: 4005: 3946: 3836: 3831: 3801: 3796: 3778: 3746: 3714: 3689: 3680: 3675: 3609:Mutopia Project 3522: 3466: 3464:Further reading 3435: 3396: 3392: 3329: 3302: 3297: 3296: 3286: 3284: 3274: 3270: 3260: 3258: 3243: 3239: 3229: 3227: 3219: 3218: 3214: 3207: 3191: 3187: 3172: 3165: 3160: 3156: 3149: 3135: 3131: 3119: 3115: 3106: 3102: 3094: 3090: 3082: 3078: 3070: 3066: 3058: 3027: 3020: 3014: 3001: 2997: 2987: 2985: 2981: 2980: 2976: 2968: 2964: 2953: 2949: 2941: 2934: 2926: 2922: 2914: 2910: 2902: 2898: 2890: 2881: 2872: 2868: 2860: 2832: 2828: 2820: 2792: 2788: 2780: 2752: 2748: 2740: 2736: 2728: 2724: 2715: 2711: 2703: 2699: 2685: 2681: 2666:Michael Kennedy 2659: 2655: 2647: 2643: 2638: 2633: 2624: 2620: 2614:Vom Himmel hoch 2611: 2607: 2596: 2592: 2569: 2565: 2559: 2555: 2545:Julian calendar 2542: 2538: 2462: 2458: 2456: 2452: 2448: 2435: 2420:Ordinary People 2396: 2395: 2387: 2385: 2384: 2383: 2382: 2376: 2369: 2366: 2359: 2353: 2255: 2245: 2161:violas da gamba 2078: 1891:Mystery Sonatas 1879: 1830: 1817: 1816: 1808: 1806: 1805: 1804: 1803: 1796: 1793: 1786: 1780: 1753: 1726:countersubjects 1710: 1701: 1700: 1692: 1690: 1689: 1688: 1687: 1684: 1677: 1674: 1668: 1667: 1666: 1659: 1656: 1649: 1643: 1630: 1627: 1626: 1607: 1604: 1603: 1558: 1535: 1534: 1526: 1524: 1523: 1522: 1521: 1514: 1507: 1504: 1495: 1494: 1493: 1486: 1479: 1476: 1466: 1460: 1395: 1394: 1386: 1384: 1383: 1382: 1381: 1378: 1371: 1368: 1359: 1358: 1357: 1354: 1347: 1344: 1335: 1334: 1333: 1330: 1323: 1320: 1310: 1304: 1262: 1257: 1256: 1248: 1246: 1245: 1244: 1243: 1240: 1233: 1230: 1223: 1217: 1148: 1145: 1144: 1038: 1033: 1032: 1024: 1022: 1021: 1020: 1019: 1012: 1009: 1003: 1002: 1001: 994: 987: 984: 977: 971: 963:sixteenth notes 894: 810: 789: 739: 602: 534:church services 530:chorale prelude 400: 289: 284: 197:chorale prelude 137: 134: 131: 1684) 126: 122: 116: 108: 104: 101: 77: 74: 70: 49: 33: 24: 17: 12: 11: 5: 6361: 6351: 6350: 6345: 6340: 6335: 6330: 6325: 6320: 6315: 6310: 6305: 6300: 6295: 6290: 6285: 6280: 6275: 6270: 6265: 6260: 6255: 6250: 6245: 6240: 6235: 6220: 6219: 6207: 6195: 6172: 6171: 6169: 6168: 6158: 6140: 6132: 6131: 6128: 6127: 6125: 6124: 6123: 6122: 6117: 6112: 6107: 6097: 6091: 6089: 6085: 6084: 6082: 6081: 6076: 6071: 6066: 6064:notes inégales 6061: 6056: 6051: 6046: 6045: 6044: 6039: 6034: 6024: 6019: 6014: 6013: 6012: 6001: 5999: 5995: 5994: 5992: 5991: 5986: 5981: 5976: 5971: 5966: 5961: 5956: 5951: 5946: 5941: 5936: 5931: 5930: 5929: 5924: 5919: 5914: 5909: 5904: 5894: 5889: 5884: 5879: 5874: 5873: 5872: 5867: 5857: 5852: 5847: 5842: 5837: 5832: 5827: 5821: 5819: 5815: 5814: 5812: 5811: 5809:Basso continuo 5806: 5800: 5798: 5794: 5793: 5791: 5790: 5785: 5780: 5775: 5770: 5765: 5760: 5755: 5750: 5745: 5740: 5735: 5730: 5725: 5720: 5715: 5710: 5705: 5700: 5695: 5690: 5685: 5680: 5675: 5669: 5667: 5659: 5658: 5656: 5655: 5650: 5645: 5640: 5635: 5630: 5625: 5620: 5615: 5610: 5605: 5600: 5595: 5590: 5585: 5580: 5575: 5570: 5565: 5560: 5555: 5549: 5547: 5536: 5535: 5533: 5532: 5527: 5522: 5517: 5512: 5507: 5502: 5497: 5492: 5487: 5482: 5477: 5472: 5467: 5462: 5457: 5452: 5447: 5442: 5440:Leclair l'aîné 5437: 5432: 5427: 5422: 5417: 5412: 5407: 5402: 5397: 5392: 5387: 5382: 5377: 5372: 5367: 5362: 5357: 5351: 5349: 5338: 5337: 5335: 5334: 5329: 5324: 5319: 5314: 5309: 5304: 5299: 5294: 5289: 5284: 5279: 5274: 5269: 5264: 5259: 5254: 5249: 5244: 5239: 5234: 5229: 5224: 5219: 5214: 5209: 5204: 5199: 5194: 5192:H. I. F. Biber 5189: 5184: 5179: 5173: 5171: 5163: 5162: 5160: 5159: 5154: 5149: 5144: 5139: 5134: 5129: 5124: 5119: 5114: 5109: 5104: 5099: 5094: 5089: 5084: 5079: 5074: 5069: 5064: 5059: 5054: 5049: 5044: 5038: 5036: 5024: 5023: 5018: 5015: 5014: 5007: 5006: 4999: 4992: 4984: 4975: 4974: 4971: 4970: 4965: 4960: 4955: 4950: 4945: 4940: 4934: 4933: 4930: 4929: 4927: 4926: 4921: 4916: 4911: 4906: 4901: 4896: 4891: 4886: 4881: 4876: 4874:Jaroslav Vajda 4871: 4866: 4861: 4856: 4851: 4849:Jiří Třanovský 4846: 4841: 4839:Paul Stockmann 4836: 4834:Philipp Spitta 4831: 4826: 4821: 4816: 4811: 4806: 4801: 4796: 4791: 4786: 4781: 4776: 4771: 4766: 4761: 4756: 4751: 4749:Johan Runeberg 4746: 4744:Daniel Rumpius 4741: 4736: 4731: 4729:Martin Rinkart 4726: 4721: 4716: 4711: 4706: 4701: 4696: 4691: 4686: 4681: 4676: 4671: 4666: 4661: 4656: 4651: 4646: 4641: 4636: 4631: 4626: 4621: 4616: 4614:Johann Kolross 4611: 4606: 4601: 4596: 4591: 4586: 4581: 4576: 4571: 4566: 4561: 4556: 4551: 4546: 4541: 4536: 4531: 4526: 4521: 4516: 4511: 4506: 4504:Johannes Gigas 4501: 4496: 4491: 4486: 4481: 4479:Salomon Franck 4476: 4471: 4469:Michael Franck 4466: 4461: 4456: 4451: 4446: 4441: 4436: 4431: 4426: 4421: 4416: 4411: 4406: 4401: 4396: 4391: 4386: 4381: 4376: 4371: 4366: 4361: 4356: 4354:Anna Sophia II 4351: 4346: 4341: 4336: 4330: 4328: 4316: 4315: 4312: 4311: 4309: 4308: 4301: 4294: 4290:Hemlandssånger 4286: 4279: 4272: 4264: 4260:Swenske songer 4255: 4253: 4243: 4242: 4240: 4239: 4231: 4229: 4219: 4218: 4216: 4215: 4208: 4201: 4194: 4187: 4179: 4171: 4163: 4155: 4146: 4144: 4134: 4133: 4131: 4130: 4122: 4120: 4110: 4109: 4107: 4106: 4099: 4096:Siionin Virret 4091: 4089: 4079: 4078: 4076: 4075: 4067: 4065: 4055: 4054: 4052: 4051: 4044: 4041:Kingo's hymnal 4037: 4030: 4022: 4020: 4011: 4007: 4006: 4004: 4003: 3995: 3991:Becker Psalter 3987: 3979: 3971: 3963: 3954: 3952: 3951:German hymnals 3948: 3947: 3945: 3944: 3936: 3932:ReClaim Hymnal 3928: 3920: 3912: 3904: 3896: 3888: 3880: 3872: 3864: 3856: 3847: 3845: 3838: 3837: 3830: 3829: 3822: 3815: 3807: 3798: 3797: 3795: 3794: 3783: 3780: 3779: 3777: 3776: 3766: 3758: 3756: 3752: 3751: 3748: 3747: 3745: 3744: 3737: 3730: 3722: 3720: 3713: 3712: 3705: 3697: 3695: 3691: 3690: 3685: 3682: 3681: 3674: 3673: 3666: 3659: 3651: 3645: 3644: 3634: 3628: 3616: 3615: 3605: 3600: 3590: 3580: 3564: 3563: 3554: 3548: 3543: 3521: 3520:External links 3518: 3517: 3516: 3509: 3502: 3495: 3488: 3481: 3474: 3465: 3462: 3461: 3460: 3439: 3433: 3420: 3403: 3390: 3353: 3338: 3327: 3301: 3298: 3295: 3294: 3268: 3251:DrownedInSound 3237: 3212: 3205: 3185: 3163: 3154: 3147: 3129: 3113: 3100: 3098:, p. 224. 3096:Perreault 2004 3088: 3076: 3074:, p. 660. 3064: 3056: 3034:Sadie, Stanley 3030:Chew, Geoffrey 3018: 3004:Basil Smallman 2995: 2974: 2962: 2947: 2932: 2920: 2908: 2896: 2879: 2866: 2858: 2836:Sadie, Stanley 2826: 2818: 2796:Sadie, Stanley 2786: 2778: 2756:Sadie, Stanley 2746: 2734: 2722: 2709: 2697: 2679: 2653: 2640: 2639: 2637: 2634: 2632: 2631: 2627:Perreault 2004 2618: 2605: 2590: 2563: 2553: 2536: 2528:is pronounced 2449: 2447: 2444: 2403:basso continuo 2386: 2377: 2367: 2362: 2361: 2360: 2351: 2350: 2349: 2335:Philipp Spitta 2244: 2241: 2125:basso continuo 2098:basso continuo 2077: 2074: 2041:string quartet 1965:Each suite of 1947:basso continuo 1903:basso continuo 1878: 1875: 1829: 1826: 1819: 1818: 1807: 1794: 1789: 1788: 1787: 1778: 1777: 1776: 1774: 1752: 1749: 1709: 1706: 1691: 1685: 1675: 1670: 1669: 1657: 1652: 1651: 1650: 1641: 1640: 1639: 1602:(bars 10–14). 1557: 1554: 1525: 1515: 1505: 1497: 1496: 1487: 1477: 1469: 1468: 1467: 1458: 1457: 1456: 1447:Aria Sebaldina 1385: 1379: 1369: 1361: 1360: 1355: 1345: 1337: 1336: 1331: 1321: 1313: 1312: 1311: 1302: 1301: 1300: 1281:in style; the 1266:variation form 1261: 1258: 1247: 1241: 1231: 1226: 1225: 1224: 1215: 1214: 1213: 1037: 1034: 1023: 1010: 1005: 1004: 995: 985: 980: 979: 978: 969: 968: 967: 943:Johann Gramann 893: 890: 886:black notation 809: 808:Keyboard music 806: 763:Louis Couperin 751: 750: 738: 735: 601: 598: 506:Predigerkirche 494:Predigerkirche 460:Johann Georg I 456:Daniel Eberlin 399: 396: 339:Sebalduskirche 310:(born 1613 in 288: 285: 283: 280: 172: 171: 163: 162: 158: 157: 143: 139: 138: 136: 135: 124: 121:Judith Drommer 120: 119: 117: 106: 102: 100:Barbara Gabler 99: 98: 95: 93: 89: 88: 83: 79: 78: 75: 73:(aged 52) 67: 63: 62: 55: 51: 50: 41: 39: 35: 34: 31: 15: 9: 6: 4: 3: 2: 6360: 6349: 6346: 6344: 6341: 6339: 6336: 6334: 6331: 6329: 6326: 6324: 6321: 6319: 6316: 6314: 6311: 6309: 6306: 6304: 6301: 6299: 6296: 6294: 6291: 6289: 6286: 6284: 6281: 6279: 6276: 6274: 6271: 6269: 6266: 6264: 6261: 6259: 6256: 6254: 6251: 6249: 6246: 6244: 6241: 6239: 6236: 6234: 6231: 6230: 6228: 6218: 6208: 6206: 6196: 6194: 6184: 6183: 6180: 6167: 6163: 6159: 6157: 6149: 6148: 6145: 6144: 6138: 6137: 6129: 6121: 6118: 6116: 6113: 6111: 6108: 6106: 6103: 6102: 6101: 6098: 6096: 6093: 6092: 6090: 6086: 6080: 6077: 6075: 6072: 6070: 6067: 6065: 6062: 6060: 6057: 6055: 6052: 6050: 6047: 6043: 6040: 6038: 6035: 6033: 6030: 6029: 6028: 6025: 6023: 6020: 6018: 6015: 6011: 6008: 6007: 6006: 6003: 6002: 6000: 5996: 5990: 5987: 5985: 5982: 5980: 5977: 5975: 5972: 5970: 5967: 5965: 5962: 5960: 5957: 5955: 5952: 5950: 5947: 5945: 5942: 5940: 5937: 5935: 5932: 5928: 5925: 5923: 5920: 5918: 5915: 5913: 5910: 5908: 5905: 5903: 5900: 5899: 5898: 5895: 5893: 5890: 5888: 5885: 5883: 5880: 5878: 5875: 5871: 5868: 5866: 5863: 5862: 5861: 5858: 5856: 5853: 5851: 5848: 5846: 5843: 5841: 5838: 5836: 5833: 5831: 5828: 5826: 5823: 5822: 5820: 5818:Musical forms 5816: 5810: 5807: 5805: 5802: 5801: 5799: 5795: 5789: 5786: 5784: 5781: 5779: 5776: 5774: 5771: 5769: 5766: 5764: 5761: 5759: 5756: 5754: 5751: 5749: 5746: 5744: 5741: 5739: 5736: 5734: 5731: 5729: 5726: 5724: 5721: 5719: 5716: 5714: 5711: 5709: 5706: 5704: 5701: 5699: 5696: 5694: 5691: 5689: 5686: 5684: 5681: 5679: 5676: 5674: 5671: 5670: 5668: 5666: 5660: 5654: 5651: 5649: 5646: 5644: 5641: 5639: 5636: 5634: 5631: 5629: 5626: 5624: 5621: 5619: 5616: 5614: 5613:Padre Martini 5611: 5609: 5606: 5604: 5601: 5599: 5596: 5594: 5591: 5589: 5586: 5584: 5581: 5579: 5576: 5574: 5571: 5569: 5566: 5564: 5561: 5559: 5558:C. P. E. Bach 5556: 5554: 5551: 5550: 5548: 5541: 5537: 5531: 5528: 5526: 5523: 5521: 5518: 5516: 5513: 5511: 5508: 5506: 5503: 5501: 5498: 5496: 5493: 5491: 5488: 5486: 5483: 5481: 5478: 5476: 5473: 5471: 5468: 5466: 5463: 5461: 5458: 5456: 5453: 5451: 5448: 5446: 5443: 5441: 5438: 5436: 5433: 5431: 5428: 5426: 5423: 5421: 5418: 5416: 5413: 5411: 5408: 5406: 5403: 5401: 5398: 5396: 5393: 5391: 5388: 5386: 5383: 5381: 5378: 5376: 5373: 5371: 5368: 5366: 5363: 5361: 5358: 5356: 5353: 5352: 5350: 5343: 5339: 5333: 5330: 5328: 5325: 5323: 5320: 5318: 5315: 5313: 5310: 5308: 5305: 5303: 5300: 5298: 5295: 5293: 5290: 5288: 5285: 5283: 5280: 5278: 5275: 5273: 5270: 5268: 5265: 5263: 5260: 5258: 5255: 5253: 5250: 5248: 5245: 5243: 5240: 5238: 5235: 5233: 5230: 5228: 5225: 5223: 5220: 5218: 5215: 5213: 5210: 5208: 5205: 5203: 5200: 5198: 5195: 5193: 5190: 5188: 5185: 5183: 5180: 5178: 5175: 5174: 5172: 5164: 5158: 5155: 5153: 5150: 5148: 5145: 5143: 5140: 5138: 5135: 5133: 5132:M. Praetorius 5130: 5128: 5125: 5123: 5120: 5118: 5115: 5113: 5110: 5108: 5105: 5103: 5100: 5098: 5095: 5093: 5090: 5088: 5085: 5083: 5080: 5078: 5075: 5073: 5070: 5068: 5065: 5063: 5060: 5058: 5055: 5053: 5050: 5048: 5045: 5043: 5040: 5039: 5037: 5029: 5025: 5021: 5016: 5012: 5011:Baroque music 5005: 5000: 4998: 4993: 4991: 4986: 4985: 4982: 4969: 4966: 4964: 4961: 4959: 4956: 4954: 4951: 4949: 4948:Lutheran hymn 4946: 4944: 4941: 4939: 4936: 4935: 4931: 4925: 4924:Johannes Zahn 4922: 4920: 4917: 4915: 4912: 4910: 4907: 4905: 4904:Georg Weissel 4902: 4900: 4899:Michael Weiße 4897: 4895: 4894:Johann Walter 4892: 4890: 4887: 4885: 4882: 4880: 4877: 4875: 4872: 4870: 4869:Leonard Typpö 4867: 4865: 4862: 4860: 4857: 4855: 4852: 4850: 4847: 4845: 4842: 4840: 4837: 4835: 4832: 4830: 4829:Paul Speratus 4827: 4825: 4822: 4820: 4819:Haquin Spegel 4817: 4815: 4812: 4810: 4807: 4805: 4802: 4800: 4797: 4795: 4792: 4790: 4787: 4785: 4782: 4780: 4777: 4775: 4772: 4770: 4767: 4765: 4762: 4760: 4757: 4755: 4752: 4750: 4747: 4745: 4742: 4740: 4737: 4735: 4732: 4730: 4727: 4725: 4722: 4720: 4717: 4715: 4712: 4710: 4707: 4705: 4702: 4700: 4697: 4695: 4692: 4690: 4687: 4685: 4684:Georg Neumark 4682: 4680: 4677: 4675: 4672: 4670: 4667: 4665: 4662: 4660: 4659:Martin Luther 4657: 4655: 4652: 4650: 4647: 4645: 4642: 4640: 4639:Elias Lönnrot 4637: 4635: 4632: 4630: 4627: 4625: 4622: 4620: 4617: 4615: 4612: 4610: 4609:Børre Knudsen 4607: 4605: 4602: 4600: 4597: 4595: 4592: 4590: 4587: 4585: 4582: 4580: 4577: 4575: 4574:Konrad Hubert 4572: 4570: 4569:Anders Hovden 4567: 4565: 4564:Sebald Heyden 4562: 4560: 4557: 4555: 4552: 4550: 4547: 4545: 4542: 4540: 4537: 4535: 4532: 4530: 4527: 4525: 4522: 4520: 4517: 4515: 4512: 4510: 4507: 4505: 4502: 4500: 4497: 4495: 4494:Paul Gerhardt 4492: 4490: 4487: 4485: 4482: 4480: 4477: 4475: 4472: 4470: 4467: 4465: 4464:Johann Franck 4462: 4460: 4457: 4455: 4454:Jacobus Finno 4452: 4450: 4447: 4445: 4442: 4440: 4437: 4435: 4432: 4430: 4427: 4425: 4422: 4420: 4419:Johann Crüger 4417: 4415: 4412: 4410: 4407: 4405: 4402: 4400: 4397: 4395: 4392: 4390: 4387: 4385: 4382: 4380: 4377: 4375: 4372: 4370: 4367: 4365: 4362: 4360: 4357: 4355: 4352: 4350: 4347: 4345: 4342: 4340: 4337: 4335: 4332: 4331: 4329: 4327: 4321: 4317: 4307: 4306: 4302: 4300: 4299: 4295: 4292: 4291: 4287: 4285: 4284: 4280: 4278: 4277: 4273: 4270: 4269: 4265: 4262: 4261: 4257: 4256: 4254: 4252: 4248: 4238: 4237: 4233: 4232: 4230: 4228: 4224: 4214: 4213: 4209: 4207: 4206: 4202: 4200: 4199: 4195: 4193: 4192: 4188: 4185: 4184: 4180: 4177: 4176: 4172: 4169: 4168: 4164: 4161: 4160: 4156: 4153: 4152: 4148: 4147: 4145: 4143: 4139: 4129: 4128: 4127:Passion Hymns 4124: 4123: 4121: 4119: 4115: 4105: 4104: 4100: 4098: 4097: 4093: 4092: 4090: 4088: 4084: 4074: 4073: 4069: 4068: 4066: 4064: 4060: 4050: 4049: 4045: 4043: 4042: 4038: 4036: 4035: 4031: 4029: 4028: 4024: 4023: 4021: 4019: 4015: 4012: 4008: 4001: 4000: 3996: 3993: 3992: 3988: 3985: 3984: 3980: 3977: 3976: 3972: 3969: 3968: 3964: 3961: 3960: 3956: 3955: 3953: 3949: 3942: 3941: 3937: 3934: 3933: 3929: 3926: 3925: 3921: 3918: 3917: 3913: 3910: 3909: 3905: 3902: 3901: 3897: 3894: 3893: 3889: 3886: 3885: 3881: 3878: 3877: 3873: 3870: 3869: 3865: 3862: 3861: 3857: 3854: 3853: 3849: 3848: 3846: 3844: 3839: 3835: 3828: 3823: 3821: 3816: 3814: 3809: 3808: 3805: 3793: 3785: 3784: 3781: 3774: 3770: 3767: 3765: 3764: 3760: 3759: 3757: 3753: 3743: 3742: 3738: 3736: 3735: 3731: 3729: 3728: 3724: 3723: 3721: 3717: 3711: 3710: 3706: 3704: 3703: 3699: 3698: 3696: 3692: 3688: 3683: 3679: 3672: 3667: 3665: 3660: 3658: 3653: 3652: 3649: 3642: 3640: 3637:Recording of 3635: 3633: 3629: 3626: 3623: 3622: 3621: 3620: 3614: 3610: 3606: 3604: 3601: 3599: 3598:Cantorion.org 3595: 3592:Free typeset 3591: 3588: 3584: 3581: 3578: 3574: 3571: 3570: 3569: 3568: 3562: 3558: 3555: 3552: 3549: 3547: 3544: 3542: 3538: 3533: 3529: 3528: 3527: 3526: 3514: 3510: 3507: 3503: 3500: 3496: 3493: 3489: 3486: 3482: 3479: 3475: 3472: 3468: 3467: 3457: 3453: 3449: 3445: 3440: 3436: 3434:0-8108-4970-4 3430: 3426: 3421: 3418:(32): xlviii. 3417: 3416: 3410: 3404: 3400: 3393: 3391:9781561592630 3387: 3383: 3379: 3375: 3371: 3368:. Revised by 3367: 3366: 3360: 3354: 3350: 3346: 3345: 3339: 3336: 3330: 3328:0-253-21141-7 3324: 3320: 3319:Hans Tischler 3315: 3314: 3308: 3304: 3303: 3283: 3279: 3272: 3256: 3252: 3248: 3241: 3226: 3222: 3216: 3208: 3202: 3198: 3197: 3189: 3181: 3177: 3170: 3168: 3158: 3150: 3144: 3140: 3133: 3127: 3123: 3117: 3110: 3104: 3097: 3092: 3085: 3080: 3073: 3068: 3059: 3053: 3049: 3045: 3044: 3039: 3038:Tyrrell, John 3035: 3031: 3025: 3023: 3012: 3008: 3005: 2999: 2984: 2978: 2971: 2966: 2959: 2958: 2951: 2944: 2939: 2937: 2929: 2924: 2917: 2912: 2905: 2900: 2893: 2888: 2886: 2884: 2876: 2870: 2861: 2855: 2851: 2847: 2846: 2841: 2840:Tyrrell, John 2837: 2830: 2821: 2815: 2811: 2807: 2806: 2801: 2800:Tyrrell, John 2797: 2790: 2781: 2775: 2771: 2767: 2766: 2761: 2760:Tyrrell, John 2757: 2750: 2743: 2738: 2731: 2726: 2719: 2713: 2706: 2701: 2694: 2693: 2688: 2683: 2676: 2673: 2672: 2667: 2663: 2657: 2650: 2645: 2641: 2628: 2622: 2615: 2609: 2601: 2594: 2587: 2586: 2581: 2577: 2573: 2567: 2557: 2550: 2546: 2540: 2532: 2527: 2522: 2516: 2510: 2504: 2500: 2499: 2492: 2454: 2450: 2443: 2441: 2440:Pete Waterman 2434: 2430: 2429:Bridal Chorus 2426: 2422: 2421: 2416: 2412: 2408: 2404: 2400: 2394: 2392: 2381: 2380:Kevin MacLeod 2365: 2348: 2346: 2342: 2341: 2336: 2332: 2331:musicologists 2326: 2324: 2320: 2316: 2312: 2308: 2304: 2300: 2296: 2292: 2286: 2284: 2280: 2276: 2272: 2268: 2264: 2260: 2254: 2250: 2240: 2238: 2229: 2224: 2220: 2218: 2214: 2210: 2206: 2205: 2200: 2196: 2192: 2188: 2184: 2180: 2175: 2172: 2171:cantus firmus 2169: 2164: 2162: 2158: 2154: 2151:), concerted 2150: 2146: 2142: 2138: 2134: 2130: 2126: 2122: 2118: 2114: 2110: 2106: 2101: 2099: 2095: 2091: 2087: 2082: 2073: 2070: 2066: 2062: 2058: 2054: 2050: 2046: 2042: 2038: 2033: 2031: 2027: 2023: 2019: 2015: 2011: 2007: 2003: 2000: 1996: 1992: 1988: 1984: 1980: 1976: 1972: 1968: 1963: 1961: 1957: 1953: 1948: 1944: 1940: 1936: 1935: 1930: 1928: 1924: 1920: 1916: 1912: 1908: 1904: 1900: 1896: 1892: 1888: 1884: 1883:chamber music 1877:Chamber music 1874: 1872: 1868: 1864: 1860: 1856: 1852: 1848: 1844: 1843:F-sharp minor 1840: 1835: 1825: 1815: 1813: 1792: 1775: 1769: 1765: 1764: 1761: 1758: 1748: 1746: 1742: 1738: 1734: 1729: 1727: 1723: 1719: 1715: 1705: 1699: 1697: 1673: 1655: 1633: 1624: 1619: 1610: 1601: 1598:Excerpt from 1596: 1592: 1590: 1585: 1583: 1579: 1575: 1571: 1567: 1563: 1553: 1551: 1547: 1543: 1542: 1533: 1531: 1519: 1503: 1501: 1491: 1475: 1473: 1455: 1452: 1448: 1444: 1440: 1436: 1432: 1428: 1424: 1420: 1416: 1415: 1406: 1405: 1399: 1393: 1391: 1367: 1365: 1343: 1341: 1319: 1317: 1299: 1297: 1293: 1289: 1284: 1280: 1275: 1271: 1267: 1255: 1253: 1229: 1209: 1206:Excerpt from 1204: 1200: 1196: 1194: 1190: 1186: 1182: 1181:F-sharp minor 1178: 1174: 1170: 1166: 1161: 1151: 1141: 1137: 1135: 1131: 1130: 1119: 1115: 1113: 1109: 1105: 1101: 1097: 1093: 1089: 1085: 1081: 1077: 1073: 1069: 1064: 1060: 1055: 1052: 1048: 1044: 1031: 1029: 1008: 999: 983: 966: 964: 960: 954: 948: 944: 940: 936: 930: 928: 924: 923:cantus firmus 915: 911: 909: 904: 900: 899:cantus firmus 889: 887: 883: 879: 875: 871: 867: 863: 859: 854: 852: 848: 844: 839: 835: 831: 827: 823: 819: 815: 805: 801: 799: 793: 788: 784: 780: 776: 775:Tabulaturbuch 772: 768: 764: 759: 756: 749: 747: 741: 740: 734: 732: 726: 724: 721: 717: 714: 710: 706: 705: 700: 699: 694: 693: 688: 687:chamber music 680: 675: 671: 669: 665: 660: 658: 654: 649: 647: 643: 639: 635: 631: 627: 623: 619: 614: 606: 597: 595: 591: 587: 583: 579: 575: 571: 566: 564: 563: 558: 552: 550: 549:Sondershausen 546: 542: 537: 535: 531: 527: 523: 519: 515: 511: 507: 499: 495: 491: 487: 485: 481: 477: 473: 469: 465: 464:Saxe-Eisenach 461: 457: 454: 453:Kapellmeister 450: 445: 443: 439: 434: 430: 426: 422: 418: 414: 410: 405: 395: 393: 389: 385: 380: 378: 374: 370: 366: 362: 358: 354: 352: 351:Johann Staden 348: 344: 340: 336: 332: 328: 323: 321: 317: 313: 309: 305: 297: 293: 279: 277: 273: 269: 268:chamber music 265: 261: 257: 253: 249: 245: 241: 236: 234: 230: 229: 224: 220: 216: 212: 208: 206: 202: 198: 194: 190: 186: 182: 178: 169: 164: 159: 156: 152: 148: 145:8, including 144: 140: 118: 97: 96: 94: 90: 87: 84: 80: 68: 64: 60: 56: 52: 48: 44: 40: 36: 29: 26: 22: 6141: 6134: 6105:Architecture 6054:Folk baroque 6049:Figured bass 6022:counterpoint 5998:Other topics 5870:18th-century 5865:17th-century 5490:D. Scarlatti 5307:A. Scarlatti 5277:J. Pachelbel 5276: 5028:Transitional 4814:Eyvind Skeie 4794:Johann Schop 4759:Lina Sandell 4719:Adam Reusner 4698: 4654:Sigurd Lunde 4649:Matthias Loy 4624:Julius Krohn 4604:Thomas Kingo 4584:Justus Jonas 4459:Paul Fleming 4326:hymnologists 4303: 4296: 4288: 4281: 4274: 4266: 4258: 4234: 4210: 4203: 4196: 4189: 4181: 4173: 4165: 4157: 4151:Nokre salmar 4149: 4125: 4101: 4094: 4070: 4046: 4039: 4032: 4025: 3997: 3989: 3981: 3973: 3965: 3957: 3938: 3930: 3922: 3914: 3906: 3898: 3890: 3882: 3874: 3866: 3858: 3850: 3761: 3739: 3732: 3725: 3707: 3700: 3677: 3638: 3618: 3617: 3597: 3579:(ChoralWiki) 3566: 3565: 3524: 3523: 3512: 3505: 3498: 3491: 3484: 3477: 3470: 3443: 3424: 3415:The Diapason 3413: 3363: 3349:the original 3343: 3334: 3312: 3285:. Retrieved 3281: 3271: 3259:. Retrieved 3255:the original 3250: 3240: 3228:. Retrieved 3224: 3215: 3195: 3188: 3179: 3157: 3138: 3132: 3122:Erbhuldigung 3116: 3109:Peter Wollny 3103: 3091: 3079: 3067: 3041: 3010: 2998: 2986:. Retrieved 2977: 2965: 2955: 2950: 2923: 2911: 2899: 2894:, "1. Life". 2874: 2869: 2843: 2829: 2803: 2789: 2763: 2749: 2737: 2725: 2717: 2712: 2700: 2690: 2682: 2669: 2661: 2656: 2644: 2621: 2613: 2608: 2593: 2583: 2566: 2556: 2539: 2525: 2496: 2453: 2432: 2418: 2409:in the same 2397: 2388: 2338: 2327: 2322: 2311:musicologist 2287: 2256: 2237:Missa brevis 2233: 2227: 2212: 2208: 2204:Ecclesiastes 2202: 2198: 2197:, except in 2176: 2165: 2156: 2148: 2144: 2140: 2128: 2112: 2102: 2079: 2068: 2064: 2056: 2052: 2048: 2036: 2034: 2006:eighth notes 1994: 1981:three-voice 1978: 1974: 1970: 1966: 1964: 1945:violins and 1932: 1931: 1890: 1881:Pachelbel's 1880: 1831: 1822: 1809: 1754: 1732: 1730: 1711: 1702: 1693: 1622: 1599: 1586: 1565: 1559: 1539: 1536: 1527: 1517: 1499: 1489: 1471: 1446: 1442: 1438: 1412: 1410: 1402: 1387: 1363: 1339: 1315: 1279:south German 1263: 1249: 1207: 1197: 1192: 1157: 1134:counterpoint 1127: 1124: 1103: 1100:septimi toni 1099: 1095: 1091: 1087: 1083: 1080:secundi toni 1079: 1075: 1072:church modes 1056: 1039: 1025: 998:Trubschachen 934: 931: 922: 920: 907: 895: 885: 862:Acht Choräle 861: 857: 855: 847:Marienkirche 811: 802: 774: 760: 752: 742: 727: 702: 696: 690: 684: 681:in Nuremberg 661: 650: 645: 641: 615: 611: 567: 560: 553: 544: 540: 538: 503: 483: 472:J. S. Bach's 446: 441: 429:Georg Muffat 417:cosmopolitan 401: 383: 381: 372: 364: 360: 355: 338: 324: 320:Feuchtwangen 301: 260:contrapuntal 237: 226: 209: 180: 176: 175: 71:(1706-03-09) 25: 6238:1706 deaths 6233:1653 births 6074:Style brisé 6010:Chamber pop 6005:Baroque pop 5949:grand motet 5922:passacaglia 5733:lautenwerck 5728:harpsichord 5698:double bass 5665:Instruments 5623:Mondonville 5455:A. Marcello 5385:F. Couperin 5332:Vejvanovský 5282:J. Playford 5262:J.-B. Lully 5227:Charpentier 5182:d'Anglebert 5067:Frescobaldi 5031:and early ( 4764:Carl Schalk 4734:Johann Rist 4524:Claus Harms 4379:Carl Boberg 4369:Martin Behm 4205:Salmer 1997 4191:Salmer 1973 3594:sheet music 3307:Apel, Willi 2988:3 September 2970:Welter 1998 2943:Buszin 1959 2928:Welter 1998 2916:Welter 1998 2904:Welter 1998 2742:Welter 1998 2730:Welter 1998 2687:Welter 1998 2576:Welter 1998 2457:Pronounced 2313:and writer 2217:note values 2076:Vocal music 2014:note values 1960:subdominant 1919:ground bass 1915:passacaglia 1867:binary form 1737:accidentals 1578:Frescobaldi 1570:pedal point 1472:Aria Quinta 1283:duple meter 1173:Frescobaldi 1165:harpsichord 1129:style brisé 1112:common time 1104:octavi toni 1092:quinti toni 1088:quarti toni 1084:tertii toni 838:clavichords 790: [ 689:collection 618:Württemberg 570:coppersmith 468:Bach family 442:Stephansdom 272:vocal music 6227:Categories 6088:Background 5974:recitative 5882:concertato 5850:canzonetta 5713:fortepiano 5688:clavichord 5638:Sammartini 5618:Mysliveček 5578:Boccherini 5568:W. F. Bach 5563:J. C. Bach 5360:J. S. Bach 5287:H. Purcell 5207:Cabanilles 5122:Monteverdi 5097:Kapsberger 5087:O. Gibbons 5082:C. Gibbons 5077:V. Galilei 5057:J. Dowland 5047:G. Caccini 4424:Simon Dach 4320:Hymnodists 4103:Virsikirja 3773:variations 3619:Recordings 3541:Wikisource 3372:. Oxford: 3287:8 February 3261:31 October 3230:31 October 3225:Classic FM 3084:Nolte 2001 2892:Nolte 2001 2705:Nolte 2001 2649:Nolte 2001 2636:References 2572:Nolte 1957 2391:media help 2275:Georg Böhm 2247:See also: 2168:plainchant 2109:concertato 2067:movement. 1943:scordatura 1923:variations 1899:Canon in D 1812:media help 1696:media help 1566:toccatinas 1546:Georg Böhm 1530:media help 1500:Aria Sexta 1443:Aria sexta 1439:Aria prima 1390:media help 1252:media help 1177:alla breve 1102:and 13 in 1096:sexti toni 1076:primi toni 1059:Magnificat 1028:media help 814:liturgical 767:microfilms 755:liturgical 720:Magnificat 713:concertato 638:liturgical 557:variations 462:, Duke of 377:Regensburg 233:variations 219:Canon in D 6205:Biography 6120:Sculpture 6037:ensembles 6032:festivals 5927:sarabande 5855:capriccio 5797:Ensembles 5628:L. Mozart 5530:de Zumaya 5465:Pergolesi 5445:Locatelli 5430:Heinichen 5415:Gorczycki 5410:Geminiani 5390:Delalande 5312:Stradella 5267:M. 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Benda 5505:Telemann 5470:Pisendel 5420:Graupner 5355:Albinoni 5292:Reincken 5257:Legrenzi 5242:Diletsky 5166:Middle ( 5072:Gabrieli 3841:English 3792:Category 3694:Keyboard 3561:AllMusic 3456:42665284 3309:(1972). 3040:(eds.). 2842:(eds.). 2802:(eds.). 2762:(eds.). 2720:, p. 61. 2187:choruses 2026:chaconne 1975:Sonatina 1956:dominant 1941:for two 1911:chaconne 1855:Courante 1757:preludes 1751:Preludes 1562:toccatas 1556:Toccatas 1550:partitas 1441:through 1288:ostinato 1274:ostinato 1094:, 10 in 1090:, 12 in 1082:, 11 in 1078:, 10 in 1074:: 23 in 959:bicinium 939:the hymn 830:Lutheran 594:engraver 474:father, 449:Eisenach 413:Habsburg 359:, whose 316:baptized 142:Children 54:Baptised 6179:Portals 6146:→ 6100:Baroque 5969:prelude 5907:gavotte 5877:chorale 5845:canzona 5835:cantata 5788:violone 5768:trumpet 5763:theorbo 5758:sackbut 5693:cornett 5673:bassoon 5663:Musical 5603:Galuppi 5525:Zelenka 5515:Vivaldi 5500:Tartini 5475:Porpora 5460:Pepusch 5400:Fischer 5375:Caldara 5322:Torelli 5317:Strozzi 5237:Corelli 5217:Cavalli 5187:Bassani 5142:Scheidt 5092:d'India 5042:Allegri 4251:Swedish 4227:Spanish 4087:Finnish 4063:Faroese 3843:hymnals 3755:Chamber 3589:(IMSLP) 3585:at the 3575:in the 3300:Sources 2133:cymbals 2121:violone 2117:timpani 2105:Vespers 2094:timpani 2086:soprano 2061:gavotte 2045:violone 2002:quarter 1987:stretti 1979:Allegro 1962:notes. 1863:gavotte 1296:F minor 1292:D minor 1189:Baroque 1187:of the 1160:bicinia 1098:, 8 in 1086:, 8 in 1063:Vespers 1047:stretto 872:, some 822:manuals 716:Vespers 653:Ohrdruf 586:Jamaica 559:called 215:Germany 205:Baroque 193:secular 133: 125: 115: 107: 103: 92:Spouses 6166:Portal 6059:monody 5917:minuet 5830:ballet 5783:violin 5718:guitar 5633:Quantz 5540:Galant 5495:Seixas 5485:Rameau 5480:Quantz 5425:Handel 5380:Campra 5297:Sabini 5272:Muffat 5232:Clarke 5177:Amodei 5152:Schütz 5147:Schein 5117:Merula 5112:Michna 5062:Franck 5052:Coelho 4263:(1536) 4186:(1925) 4178:(1924) 4170:(1873) 4162:(1870) 4154:(1869) 4018:Danish 4002:(1993) 3994:(1602) 3978:(1524) 3970:(1524) 3962:(1524) 3943:(1958) 3935:(2006) 3927:(1982) 3919:(2006) 3911:(1989) 3903:(1941) 3895:(1978) 3887:(2006) 3879:(1996) 3871:(1912) 3863:(1917) 3855:(1993) 3567:Scores 3454: 3431: 3388: 3325: 3203: 3145: 3054: 2856: 2816: 2776: 2664:, Ed. 2526:Johann 2518:, and 2425:Wagner 2281:, and 2251:, and 2195:psalms 2183:masses 2179:motets 2153:motets 2065:Finale 2022:French 1999:dotted 1995:Adagio 1971:Sonata 1939:suites 1834:suites 1718:Dorian 1631:Listen 1608:Listen 1419:Apollo 1149:Listen 1036:Fugues 783:Kraków 723:fugues 518:Weimar 510:Erfurt 498:Erfurt 496:, the 384:Caspar 331:cantor 179:(also 151:Amalia 6217:Music 6110:Dance 5989:suite 5964:opera 5944:fugue 5939:folia 5912:gigue 5897:dance 5840:canon 5778:viola 5748:organ 5708:flute 5683:cello 5643:Soler 5608:Hasse 5583:Boyce 5546:1720) 5520:Weiss 5510:Vinci 5450:Lotti 5395:Fasch 5348:1700) 5252:Kerll 5222:Cesti 5170:1650) 5137:Rossi 5107:Lawes 5102:Landi 5035:1600) 3719:Organ 2972:, 14. 2918:, 16. 2906:, 15. 2744:, 12. 2561:that. 2498:Duden 2446:Notes 2436:' 2433:Canon 2407:gigue 2030:arias 1952:tonic 1927:fugal 1907:canon 1887:Biber 1871:arias 1847:gigue 1589:motif 1068:pitch 903:fugue 826:pedal 794:] 737:Works 634:Gotha 547:) in 438:Haydn 207:era. 201:fugue 127:( 123: 109:( 105: 82:Works 5959:mass 5825:aria 5773:viol 5743:oboe 5738:lute 5723:harp 5703:drum 5653:Zach 5553:Arne 5342:Late 5302:Sanz 5197:Blow 5127:Peri 3607:The 3452:OCLC 3429:ISBN 3386:ISBN 3323:ISBN 3289:2023 3263:2019 3232:2019 3201:ISBN 3143:ISBN 3052:ISBN 2990:2024 2854:ISBN 2814:ISBN 2774:ISBN 2301:and 2211:and 2137:harp 2123:and 2096:and 2090:SATB 2004:and 1985:and 1913:and 1839:keys 1722:time 1576:and 1427:keys 1423:lyre 1294:and 878:note 576:and 282:Life 250:and 242:and 199:and 185:O.S. 153:and 66:Died 59:O.S. 38:Born 5405:Fux 4323:and 3559:at 3539:at 3378:doi 2585:DTÖ 2427:'s 2411:key 2321:'s 2265:or 1973:or 1893:or 1889:'s 1743:or 1421:'s 1108:bar 1061:at 941:by 888:). 845:'s 836:or 781:in 707:to 648:). 516:in 508:in 375:at 333:of 6229:: 5544:c. 5346:c. 5168:c. 5033:c. 3450:. 3412:. 3384:. 3376:. 3280:. 3249:. 3223:. 3178:. 3166:^ 3050:. 3036:; 3021:^ 3009:, 2935:^ 2882:^ 2852:. 2838:; 2812:. 2798:; 2772:. 2758:; 2603:" 2524:. 2512:, 2476:əl 2470:ɑː 2442:. 2325:. 2293:, 2277:, 2261:, 2135:, 2127:; 2088:, 2032:. 1954:, 1873:. 1857:, 1853:, 1747:. 1728:. 1552:. 965:. 910:: 792:ca 725:. 596:. 427:. 353:. 235:. 149:, 129:m. 111:m. 45:, 6181:: 5542:( 5344:( 5003:e 4996:t 4989:v 3826:e 3819:t 3812:v 3775:) 3771:( 3670:e 3663:t 3656:v 3458:. 3437:. 3394:. 3380:: 3331:. 3291:. 3265:. 3234:. 3209:. 3182:. 3151:. 3086:. 3062:‎ 3060:. 2992:. 2945:. 2864:‎ 2862:. 2824:‎ 2822:. 2784:‎ 2782:. 2534:. 2491:/ 2488:l 2485:ɛ 2482:b 2479:ˌ 2473:k 2467:p 2464:ˈ 2461:/ 2393:. 1814:. 1698:. 1532:. 1392:. 1254:. 1030:. 748:. 337:( 23:.

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