Johann Pachelbel - Knowledge (XXG)

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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.

1409: 2365: 1792: 1655: 1472: 1316: 1229: 983: 501: 179: 925: 681:(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. 1129: 1606: 562:. 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. 1779: 1629: 6163: 3799: 1151: 3543: 6173: 2234: 1190:. 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 1602:, 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: 940:) 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. 685: 1214: 1137:

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

493:, 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' – 1591:'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 1173:

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

539:(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 374:(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 907:

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

382:, 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 547:. 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. 1640: 1617: 1158: 1464:

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:

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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.

5038: 948:, 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 712:(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 1715:

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.

2348:, 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 2166:, 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 1337: 1735:; 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 531:). 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 968:" 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 1583:: 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 811:

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.

2383: 992: 1673: 6303: 4354: 1691: 1521: 1017: 356:, 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 2284:, 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 3053: 2855: 2815: 2775: 1810: 1025: 1000: 1361: 1121:

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

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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

489:), and became a close friend of Johann Ambrosius and tutor to his children. However, Pachelbel spent only one year in Eisenach. In 1678, 6318: 6288: 776:. Among the more significant materials are several manuscripts that were lost before and during World War II but partially available as 772:

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.

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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

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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,

490: 306: 3556: 871:(Musical Thoughts on Death; Erfurt, 1683) – a set of chorale variations in memory of his deceased wife and child, and 6047: 5763: 4963: 4749: 4459: 4315: 4293: 3419: 2280:. However, he did influence Johann Sebastian Bach indirectly; the young Johann Sebastian was tutored by his older brother 963: 195: 69: 6189: 6298: 5648: 5107: 4779: 4185: 3894: 3886: 3587: 3231: 3040: 2309: 1373: 584: 157: 3455:

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.

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

876: 797: 516: 504: 423: 3613: 1872:, Gigue), sometimes updated with an extra movement (usually less developed), a more modern dance such as a 6203: 6176: 6166: 6105: 5658: 5515: 5440: 5435: 5405: 5257: 4998: 4509: 4394: 3993: 3623: 3593: 2277: 2269: 2150:, two violins, basso continuo and organ). Pachelbel explores a very wide range of styles: psalm settings ( 2023:

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

2027:. The dance movements of the suites show traces of Italian (in the gigues of suites 2 and 6) and German ( 6042: 5643: 5573: 5530: 5490: 5480: 5370: 5157: 4844: 4789: 4759: 4664: 4529: 4369: 4300: 4208: 3969: 3926: 3712: 3571: 2355: 1531:(1699) played by Tibor Pinter on the sample set of the organ in Zlata Koruna, Czech Republic, built 1699 1424: 1414: 1068:

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

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

3542: 2204:(indeed, the polyphonic passages frequently feature reduction of parts). The texts are taken from the 2031:

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

1503:(1699) played by Tibor Pinter on the sample set of the organ in Smecno, Czech Republic, built ca. 1587 6248: 6243: 6115: 5495: 5395: 5352: 5322: 5317: 5302: 5077: 4784: 4609: 4349: 4246: 4044: 3779: 3380: 3058: 2860: 2820: 2780: 2409: 2293: 2263: 2259: 2230:, is sung by the sopranos, while the six lower parts accompany with passages in shorter note values: 1909: 1897: 1751: 1588: 1289: 1195: 1183: 861: 802: 435: 262: 258: 229: 199: 1932:

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

1408: 6037: 5673: 5628: 5618: 5608: 5465: 5420: 5272: 5262: 5212: 5092: 4929: 4894: 4799: 4674: 4469: 4414: 4399: 4222: 4037: 3910: 3870: 3744: 3392: 2289: 1936:

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

1905: 1856:. Number 29 has all four traditional movements, the other two authentic pieces only have three (no 1461: 1445: 853: 740:

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

719: 678: 627:

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

443: 398: 353: 345: 274: 254: 31: 6172: 2941:, 18. The letter in question is reproduced and translated in the same dissertation, see pp. 31–32. 1391:

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

1125:

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

5613: 5535: 5500: 5450: 5430: 5380: 5142: 5132: 4889: 4819: 4719: 4699: 4599: 4559: 4524: 4519: 4499: 4439: 4424: 4419: 4404: 4384: 4152: 4128: 3977: 3458: 3375: 3136: 2559: 2273: 1755: 1747: 663: 337: 5598: 5162: 4814: 1746:

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

1628: 867:

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

3510:

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

1169:

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

1150: 864:

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

500: 6130: 6074: 5865: 5814: 5415: 5267: 5247: 5227: 5222: 5082: 4899: 4864: 4794: 4684: 4679: 4604: 4359: 4051: 3462: 3439: 3396: 3333: 3211: 3205: 3153: 3062: 2864: 2824: 2784: 2636:

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

2317: 2020: 1933: 1276: 1061: 924: 674: 615: 592: 567: 402: 360:, one of the founders of the Nuremberg musical tradition, who had been at one time a pupil of 286: 243: 57: 4278: 3642: 2706:. Pachelbel's baptism record with his father's and mother's names is also provided in Welter. 1456:("first" through "sixth"). The final piece, which is also the best-known today, is subtitled 6215: 6125: 5994: 5944: 5588: 5540: 5510: 5455: 5332: 5252: 5127: 5087: 5052: 4968: 4909: 4879: 4874: 4834: 4649: 4619: 4569: 4429: 4261: 4237: 4193: 4097: 4073: 3934: 3388: 3043:; Rastall, Richard (2001). "Notation, §III, 4(i): Mensural notation from 1500: General". In 2471: 1966: 1724: 1592: 1128: 884: 781: 780:

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

600: 367: 178: 161: 2233: 2218:. The motets are structured according to the text they use. One important feature found in 860:

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

393:

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

6089: 5979: 5902: 5778: 5603: 5525: 5385: 5365: 5327: 5242: 5097: 5072: 4978: 4973: 4919: 4854: 4704: 4564: 4554: 4549: 4484: 4444: 4409: 4344: 4028: 3853: 3619: 3409: 3352:

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

3132: 2555: 2430: 2305: 2032: 2001: 1767: 828: 540: 427: 341: 207: 5390: 3482:

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

6084: 5819: 5793: 5728: 5638: 5520: 5485: 5187: 5152: 5057: 4884: 4849: 4754: 4739: 4624: 4514: 4489: 4479: 4106: 4001: 3942: 3604: 3014: 2590: 2435: 2413: 2345: 2171: 2142:

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

2135: 2108: 2051: 2008:

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

1957: 1913: 1778: 1736: 1732: 1367:

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

1139: 973: 953: 832: 773: 628: 544: 466: 2170:

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

2058:(the latter reinforces the basso continuo). Of these, the five-part suite in G major ( 1213: 6237: 6120: 5999: 5959: 5907: 5850: 5840: 5718: 5653: 5505: 5460: 5307: 5297: 5292: 5232: 5117: 5112: 5021: 4958: 4948: 4934: 4914: 4904: 4839: 4829: 4694: 4669: 4584: 4579: 4574: 4504: 4474: 4464: 4137: 3844: 3329: 3322: 3044: 2846: 2806: 2766: 2450: 2439: 2424:, experienced a surge in popularity during the 1970s. This is due to a recording by 2390: 2285: 2181: 1962: 1949: 1917: 1893: 1853: 1844: 1599: 1556: 1191: 1078: 909: 836: 697: 559: 474: 463: 361: 285:, much of which features exceptionally rich instrumentation. Pachelbel explored many 278: 215: 2316:. The latter became one of the first European composers to take up residence in the 576:("Musical Thoughts on Death", Erfurt, 1683), was probably influenced by this event. 6227: 6064: 6059: 6032: 5969: 5550: 5282: 5277: 5067: 4824: 4804: 4769: 4729: 4659: 4634: 4614: 4594: 4161: 3258:"Canon in the 1990s: From Spiritualized to Coolio, Regurgitating Pachelbel's Canon" 3119: 2341: 2321: 2247: 2214: 2193: 2016: 2012: 1144: 1082: 1008: 888: 843:

religious practice where congregants sang the chorales. Household instruments like

677:; he declined both. Meanwhile, in Nuremberg, when the St. Sebaldus Church organist 448: 439: 330: 270: 3567: 2845:

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

2070:) it updates the German suite model by using the latest French dances such as the 1697:

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

414: 2381: 1808: 1689: 1671: 1519: 1491: 1383: 1359: 1335: 1245: 1024: 999: 960:; it is one of the very few Pachelbel chorales with cantus firmus in the tenor. " 696:

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

6020: 6015: 5932: 5743: 5738: 5708: 5583: 5563: 5312: 5147: 5137: 4774: 4744: 4534: 4389: 4379: 4336: 4215: 4201: 3564:, includes a complete catalogue of Pachelbel's works compiled by Hideo Tsukamoto 2421: 2009: 1970: 1929: 1925: 1877: 1849: 1728: 1580: 1437: 1293: 1175: 1122: 1118: 892: 580: 478: 282: 5984: 5892: 5860: 5758: 5723: 5698: 4434: 4113: 3635: 3551: 3317: 2401: 2227: 2178: 2119: 2024: 1953: 1822: 1706: 1540: 1400: 1262: 1187: 1069: 1038: 848: 730: 723: 684: 387: 203: 2054:

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

1559:'s works, may or may not have influenced Johann Sebastian Bach's early organ 1221:(bars 15–18). Fugue subject that appears once in this excerpt is highlighted. 784:

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

579:

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

5937: 5207: 4449: 4330: 3466: 2329: 2201: 2200:. Most of this music is harmonically simple and makes little use of complex 2028: 1869: 1861: 1848:

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

1343:

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

957: 937: 844: 777: 632: 583:, on 24 August 1684. They had five sons and two daughters. Two of the sons, 532: 322: 314: 266: 3232:"Pachelbel's Canon in D works surprisingly well as a pop-punk instrumental" 793: 2627:

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

1182:

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

5989: 5964: 5912: 5897: 5870: 5688: 5663: 3150:

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

2036: 1921: 1865: 1298: 1284: 1280: 1179: 1170: 969: 880: 840: 459: 214:

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

17: 1579:

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

769:

particularly while serving as court musician in Eisenach and Stuttgart.

6110: 5917: 5887: 5855: 5845: 5798: 5773: 5768: 5703: 5683: 3491:, Affetti Musicali cond. by János Malina. Hungaroton Classic, HCD 31736 2898: 2896: 2894: 2131: 2127: 2115: 2104: 2096: 2071: 2055: 1997: 1912:

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

1873: 1572: 1560: 1199: 1073: 1057: 824: 765: 726: 648: 604: 596: 401:. Since the latter was greatly influenced by Italian composers such as 326: 225: 6069: 5927: 3503:

The Magnificat Fugues of Johann Pachelbel: Alternation or Intonation?

2994:"Berühmte Verstorbene – Evang.-Luth. Friedhofsverband Nürnberg" 2205: 2143: 2122:

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

1742:

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

1429: 528: 520: 508: 298:

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

3358:. Vol. 5. St. Louis: Concordia Publishing House. Archived from 2296:, played a more important role in the development of Bach's talent. 1988:

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

1575:

by Pachelbel survive, including several brief pieces referred to as

852:

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

30:"Pachelbel" redirects here. For other people with this surname, see 3813: 3657: 1448:. Each set follows the "aria and variations" model, arias numbered 434:

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

5974: 5954: 5949: 5922: 5788: 5693: 3186: 2965:

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

2681: 2508: 2417: 2232: 2197: 2189: 2163: 1993: 1937: 1857: 1777: 1627: 1604: 1407: 1212: 1149: 1127: 913: 733: 683: 644: 614: 499: 301: 211: 2046:

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

336:

During his early youth, Pachelbel received musical training from

5835: 5783: 5753: 5748: 5733: 5713: 4990: 2196:. Of the eleven extant motets, ten are scored for two four-part 2147: 2100: 2040: 1881: 1433: 523:, succeeding Johann Effler (c. 1640–1711; Effler later preceded 4994: 3817: 3661: 3436:

The Thematic Catalogue of the Musical Works of Johann Pachelbel

378:

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

2765:

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

2486: 879:

when writing out numerous compositions (several chorales, all

815:

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

497:. With this document, Pachelbel left Eisenach on 18 May 1678. 3187:"Prisoners of Pachelbel: An Essay in Post-Canonic Musicology" 2480: 1178:, particularly those with broken chord figuration. The three 511:

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

2585:, p. xlviii. The text of the contract is also given in 2517:

lists three possible German pronunciations for the surname:

2363: 2344:

started considering him an important composer, particularly

1790: 1653: 1470: 1314: 1227: 981: 2495: 1727:. Three of them (the A minor, C major and one of the two D 807:, which includes the only known Pachelbel autographs). The 722:. Also composed in the final years were Italian-influenced 3148:

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

2884:

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

352:). Some sources indicate that Pachelbel also studied with 3152:. Bloomington, Ind: Indiana Univ. Press. pp. 82–83. 2805:

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

2074:

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

2412:, a piece of chamber music scored for three violins and 2111:) and exceptional knowledge of contemporary techniques. 1279:

is evident from his organ works that explore the genre:

515:

In June 1678, Pachelbel was employed as organist of the

442:

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

249:

He was influenced by southern German composers, such as

591:, also became organ composers; the latter moved to the 535:

to Johann Ambrosius' daughter, Johanna Juditha, taught

206:

music, and his contributions to the development of the

3524:

A Study of the Tenbury Manuscripts of Johann Pachelbel

3420:"Classic Contract between Pachelbel and Erfurt Church" 1598:

Many of Pachelbel's toccatas explore a single melodic

202:

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

6349:

Organists and composers in the South German tradition

6187: 2949: 2947: 2489: 2483: 2260:

Pachelbel's Canon § Rediscovery and rise to fame

3131:

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

2581:

For the discussion of the contract in question, see

2498: 2492: 2477: 2114:

These latter features are also found in Pachelbel's

611:

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

462:, where he found employment as court organist under 309:, which played an important role in Pachelbel's life 6098: 6008: 5828: 5807: 5672: 5549: 5351: 5176: 5037: 4329: 4260: 4236: 4151: 4127: 4096: 4072: 4027: 4020: 3961: 3851: 3765: 3729: 3704: 3204:Wilson, Jan; Hickman, Beth Wilson (28 April 2010). 2558:in use in Nuremberg at the time. The corresponding 2474: 2264:

Pachelbel's Canon § Influence on popular music

1436:), a collection of six variations set in different 451:, who too served as a professional musician of the 171: 152: 102: 92: 76: 64: 48: 41: 3562:Pachelbel Street – Archives of J.Pachelbel's Works 3418: 3368: 3321: 1194:requires a more flexible tuning than the standard 1056:are a prime example). The contrapuntal devices of 87:Free Imperial City of Nuremberg, Holy Roman Empire 1908:'s Opus 1 and Opus 2 chamber sonatas. The famous 422:. At the time, Vienna was the center of the vast 1418:, showing the fourth variation of the first aria 944:contemporary chorale techniques is reflected in 3346:Geschichte der Orgel- und Klaviermusik bis 1700 3054:The New Grove Dictionary of Music and Musicians 2856:The New Grove Dictionary of Music and Musicians 2816:The New Grove Dictionary of Music and Musicians 2776:The New Grove Dictionary of Music and Musicians 1916:, and paired with a gigue in the same key. The 469:(also a native of Nuremberg), in the employ of 269:tradition. He preferred a lucid, uncomplicated 5006: 3829: 3673: 3641:Works by Pachelbel in MIDI and MP3 format at 2888:, Vol. 14, No. 2. (Summer, 1961), p. 200 2886:Journal of the American Musicological Society 670:, then nine years old, met Johann Pachelbel. 265:, French composers, and the composers of the 8: 3393:10.1093/gmo/9781561592630.article.6002278237 3180: 3178: 2700:, 9. See also article "Johann Pachelbel" in 2609: 2512: 2000:. The other four sonatas are reminiscent of 1948:("Musical Delight") is a set of six chamber 1860:), and the rest follow the classical model ( 1412:A page from the original printed edition of 961: 409:1673–1690: Career (Vienna, Eisenach, Erfurt) 236:, the Toccata in E minor for organ, and the 3035: 3033: 2389:Arrangement for violins, harps and bass by 1077:that they served to help singers establish 6304:German classical composers of church music 5013: 4999: 4991: 4257: 4233: 4148: 4124: 4093: 4069: 4024: 3836: 3822: 3814: 3726: 3680: 3666: 3658: 3256:Chamings, Andrew Wallace (30 April 2013). 2442:. Despite its centuries-old heritage, the 2356:historically informed performance practice 2050:) and four standalone suites scored for a 1731:pieces) are sectional compositions in 3/2 1154:A typical Pachelbel repercussion subject. 38: 3598:International Music Score Library Project 3289:"Pop hits 'stealing ideas from classics'" 3106: 2637: 228:. Today, Pachelbel is best known for the 2103:choir, 2 violins, 3 violas, 4 trumpets, 1147:with simultaneous use of both subjects. 923: 887:); a notational system that uses hollow 757:List of compositions by Johann Pachelbel 603:, achieved recognition as a painter and 481:in Eisenach (which was the home city of 27:German composer and organist (1653–1706) 6194: 3370:"Pachelbel [Bachelbel], Johann" 2652: 2461: 831:, is relatively simple and written for 124: 1681; died 1683) 2980: 2953: 2938: 2926: 2914: 2752: 2740: 2697: 2673:The Concise Oxford Dictionary of Music 2586: 2399: 1820: 1704: 1538: 1398: 1260: 1036: 875:(Nuremberg, 1693). Pachelbel employed 3324:The History of Keyboard Music to 1700 3094: 2902: 2715: 2703:Die Musik in Geschichte und Gegenwart 2659: 2582: 2540: 2530: 2524: 2518: 2174:, bassoon, basso continuo and organ. 1920:shares an important quality with the 1527:The sixth aria (Aria Sebaldina) from 1444:(a friend from the Vienna years) and 1288:Pachelbel's chaconnes are distinctly 313:Johann Pachelbel was born in 1653 in 232:; other well known works include the 7: 3487:Malina, János. 1998. Liner notes to 3082: 2351:Denkmäler der Tonkunst in Österreich 2124:Jauchzet dem Herrn, alle Welt (in C) 2039:, and the fourth suite contains two 2140:Lobet den Herrn in seinem Heiligtum 1219:Magnificat Fugue octavi toni No. 12 839:is required. This is partly due to 495:einen perfekten und raren Virtuosen 317:into a middle-class family, son of 6284:18th-century German male musicians 3355:The Musical Heritage of the Church 2679:, (Oxford University Press, 1996) 2066:) and the third standalone suite ( 1876:or a ballet. All movements are in 1705:Problems playing these files? See 1539:Problems playing these files? See 1399:Problems playing these files? See 1275:Pachelbel's apparent affinity for 1037:Problems playing these files? See 194:; baptised 11 September [ 25: 6053:historically informed performance 4375:Emilie Juliane of Barby-Mühlingen 3498:. Diss., Northwestern University. 3484:. Diss., University of Wisconsin. 2237:Excerpt from the ending of motet 1011:, Switzerland by Burghard Fischer 919:Wenn mein Stündlein vorhanden ist 566:published work, a set of chorale 6274:18th-century classical composers 6254:17th-century classical composers 6221: 6209: 6197: 6171: 6162: 6161: 3798: 3797: 3541: 3210:. Crown/Archetype. p. 131. 2470: 2400:Problems playing this file? See 2379: 2212:which uses a short passage from 1821:Problems playing this file? See 1806: 1766:Almost all pieces designated as 1687: 1669: 1517: 1489: 1381: 1357: 1333: 1261:Problems playing this file? See 1243: 1022: 1018:Ach Gott vom Himmel, sieh darein 997: 796:) compiled by Pachelbel's pupil 177: 6339:German male classical organists 6329:German male classical composers 4655:Matthäus Apelles von Löwenstern 3919:Lutheran Hymnal with Supplement 3720:Musicalische Sterbens-Gedancken 3636:"Pachelbel - my favorite works" 3594:Free scores by Johann Pachelbel 3584:Free scores by Johann Pachelbel 2308:, and two of Pachelbel's sons, 2160:Was Gott tut, das ist wohlgetan 2158:), sets of chorale variations ( 1782:Prelude in A minor (full score) 1552:Musicalische Sterbens-Gedancken 1440:. It is dedicated to composers 1007:Performed on a church organ in 946:Acht Choräle zum Praeambulieren 869:Musikalische Sterbens-Gedancken 862:southern German organ tradition 653:Acht Chorale zum Praeambulieren 635:under the patronage of Duchess 573:Musicalische Sterbens-Gedancken 139: 121: 54:Free Imperial City of Nuremberg 3986:Eyn geystlich Gesangk Buchleyn 3879:Evangelical Lutheran Hymn-Book 3417:Nolte, Ewald Valentin (1957). 3367:Nolte, Ewald Valentin (2001). 3348:by Bärenreiter-Verlag, Kassel. 3022:The Oxford Companion to Music. 2662:, "3. Liturgical organ music". 2048:Aria con variazioni in A major 827:organ music, particularly the 729:and a set of more than ninety 491:Bernhard II, Duke of Saxe-Jena 307:St. Sebaldus Church, Nuremberg 1: 6354:Pupils of Georg Caspar Wecker 6279:18th-century German composers 6259:17th-century German composers 5554: 5356: 5178: 5043: 4750:Christian Knorr von Rosenroth 4545:Christian Fürchtegott Gellert 4316:Den svenska psalmboken (1986) 4309:Den svenska psalmboken (1937) 4294:Den svenska psalmboken (1819) 4287:Den svenska psalmboken (1695) 3752:Erster Theil etlicher Choräle 3453:Welter, Kathryn Jane (1998). 3287:Pav Akhtar (7 October 2002). 2416:and originally paired with a 1750:, close to similar pieces by 1744:toccata di durezze e ligature 1428:(the title is a reference to 964:Wir glauben all an einen Gott 706:, and, most importantly, the 657:Erster Theil etlicher Choräle 6359:Pupils of Heinrich Schwemmer 4186:Landstads reviderte salmebok 3895:Evangelical Lutheran Worship 3887:Evangelical Lutheran Hymnary 3588:Choral Public Domain Library 3526:. Diss., Harvard University. 3519:. Diss., Indiana University. 3512:. Diss., Indiana University. 3410:UK public library membership 3332:. Indiana University Press. 1980:begins with an introductory 1896:is much less virtuosic than 1422:In 1699 Pachelbel published 1297:Buxtehude's chaconnes). The 585:Wilhelm Hieronymus Pachelbel 458:In 1677, Pachelbel moved to 397:) Prentz, once a student of 6269:17th-century male musicians 3438:. Lanham: Scarecrow Press. 3434:Perreault, Jean M. (2004). 2685:, (accessed 21 March 2007) 2599:, xvii, Jg.viii/2 (1901/R). 2334:Grundlage einer Ehrenpforte 2188:Other vocal music includes 2068:Partie a 4 in F-sharp minor 993:Nun komm der Heiden Heiland 372:Grundlage einer Ehrenpforte 281:and, most importantly, his 6375: 6319:German classical organists 6289:18th-century German people 4178:Psalmebog for Kirke og Hus 3614:Pachelbel free sheet music 3607:of Pachelbel's works from 3489:Pachelbel: Arias and Duets 3344:. Originally published as 2257: 1239:Fugue in C major for organ 589:Charles Theodore Pachelbel 72:1 September] 1653 29: 6294:18th-century keyboardists 6264:17th-century keyboardists 6141: 5031:List of Baroque composers 5028: 4943: 4725:Christian Heinrich Postel 4590:Bernhard Severin Ingemann 3793: 3695: 3522:Woodward, Henry L. 1952. 3505:, JAMS, ix (1956), 19–24. 2727:Hewlett, Walter B. 1978. 2302:Johann Heinrich Buttstett 2239:Gott ist unser Zuversicht 2220:Gott ist unser Zuversicht 2156:Christ lag in Todesbanden 2152:Gott ist unser Zuversicht 962: 744:, a Protestant cemetery. 641:War of the Grand Alliance 358:Johann Erasmus Kindermann 176: 6344:Musicians from Nuremberg 6314:German Baroque composers 6309:Composers for pipe organ 4640:Magnus Brostrup Landstad 4010:Evangelisches Gesangbuch 3903:Lutheran Book of Worship 3508:Nyquist, Roger T. 1968. 3480:Gauger, Ronald R. 1974. 3057:(2nd ed.). London: 2859:(2nd ed.). London: 2819:(2nd ed.). London: 2779:(2nd ed.). London: 2608:The inscription reads: " 2326:Johann Gottfried Walther 2092:Johann Gottfried Walther 1442:Ferdinand Tobias Richter 1271:Chaconnes and variations 788:(1692, currently at the 688:Pachelbel's tomb at the 599:. One of the daughters, 477:. He met members of the 340:, who later became the 4870:N. Samuel of Tranquebar 4810:Johann Balthasar Schupp 4765:Gottfried Wilhelm Sacer 4690:Johann Matthäus Meyfart 4645:Ludvig Mathias Lindeman 4540:Fredrik Gabriel Hedberg 4170:Landstads kirkesalmebog 3951:Service Book and Hymnal 3515:Sarber, Gayle V. 1983. 3385:Oxford University Press 3373:. In Butt, John (ed.). 3026:(subscription required) 2682:Oxford Reference Online 2306:Andreas Nicolaus Vetter 2130:, 2 violins, 3 violas, 1723:Pachelbel composed six 877:white mensural notation 790:Biblioteka Jagiellońska 420:Saint Stephen Cathedral 319:Johann (Hans) Pachelbel 68:11 September [ 6334:German music educators 6106:Common practice period 4735:Bartholomäus Ringwaldt 4630:Johann Balthasar König 4395:Birgitte Cathrine Boye 4355:Albert von Brandenburg 4083:Sálmabók Føroya kirkju 3994:Praxis pietatis melica 3774:Musicalische Ergötzung 3501:Nolte, Ewald V. 1956. 3494:Nolte, Ewald V. 1954. 2610: 2589:, pp. 27–29, and 2513: 2426:Jean-François Paillard 2368: 2278:Georg Philipp Telemann 2270:George Frideric Handel 2242: 2154:), chorale concertos ( 1978:Musikalische Ergötzung 1945:Musicalische Ergötzung 1795: 1783: 1658: 1648: 1625: 1475: 1419: 1319: 1232: 1222: 1166: 1133: 986: 929: 798:Johann Valentin Eckelt 703:Musicalische Ergötzung 693: 643:. His next job was in 620: 512: 432:Johann Jakob Froberger 310: 251:Johann Jakob Froberger 6028:British Baroque music 4964:In continental Europe 4790:Johann Hermann Schein 4530:Andreas Hammerschmidt 4495:Frans Michael Franzén 4370:Johann Sebastian Bach 4209:Norsk Salmebok (1985) 3970:First Lutheran hymnal 3927:Lutheran Service Book 3713:Hexachordum Apollinis 3650:Magnificat in D major 3643:Logos Virtual Library 3185:Fink, Robert (2010). 2688:(subscription access) 2562:date is 11 September. 2367: 2282:Johann Christoph Bach 2236: 2168:Magnificat in C major 2080:Partie a 4 in G major 2064:Partie a 4 in G major 2060:Partie a 5 in G major 1794: 1781: 1657: 1631: 1608: 1529:Hexachordum Apollinis 1501:Hexachordum Apollinis 1474: 1425:Hexachordum Apollinis 1415:Hexachordum Apollinis 1411: 1318: 1231: 1216: 1153: 1131: 985: 936:, i.e., the original 927: 809:Neumeister Collection 715:Hexachordum Apollinis 709:Hexachordum Apollinis 687: 668:Johann Sebastian Bach 618: 537:Johann Christoph Bach 525:Johann Sebastian Bach 503: 487:Johann Ambrosius Bach 380:University of Altdorf 305: 239:Hexachordum Apollinis 5446:Jacquet de La Guerre 5376:Bodin de Boismortier 4925:Carl David af Wirsén 4785:Heinrich Scheidemann 4715:Hallgrímur Pétursson 4610:Balthasar Kindermann 4350:Johann Georg Albinus 3698:List of compositions 3622:has compositions by 3059:Macmillan Publishers 2861:Macmillan Publishers 2821:Macmillan Publishers 2781:Macmillan Publishers 2671:"Pachelbel, Johann" 2640:, pp. 252–253). 2514:Aussprachewörterbuch 2294:Johann Adam Reincken 2254:Posthumous influence 2224:Nun danket alle Gott 2210:Nun danket alle Gott 2126:uses four trumpets, 1852:are used, including 1839:Other keyboard music 1752:Girolamo Frescobaldi 1499:The fifth aria from 1204:Ricercare in C major 1196:meantone temperament 823:Much of Pachelbel's 552:Zur silbernen Tasche 436:Alessandro Poglietti 263:Alessandro Poglietti 259:Girolamo Frescobaldi 242:, a set of keyboard 200:German organ schools 97:List of compositions 6299:Cathedral organists 6038:early music revival 5609:Frederick the Great 4930:Catherine Winkworth 4895:Philipp Wackernagel 4800:Cyriakus Schneegass 4675:Wilhelmi Malmivaara 4510:Bartholomäus Gesius 4415:Dieterich Buxtehude 4400:Hans Adolph Brorson 4223:Norsk salmebok 2013 4038:Den Danske Salmebog 3911:The Lutheran Hymnal 3871:Common Service Book 3745:Chaconne in F minor 3738:Chaconne in D minor 3293:www.telegraph.co.uk 3018:"Pachelbel, Johann" 2743:, page 55, note 64. 2593:'s introduction to 2532:[paˈxɛlbl̩] 2526:[ˈpaxl̩bɛl] 2520:[ˈpaxɛlbl̩] 2290:Dieterich Buxtehude 1928:: it consists of a 1462:St. Sebaldus Church 1446:Dieterich Buxtehude 1375:Chaconne in D minor 1351:Chaconne in F minor 1327:Chaconne in F minor 742:St. Rochus Cemetery 720:Dieterich Buxtehude 690:St. Rochus Cemetery 679:Georg Caspar Wecker 444:Johann Caspar Kerll 399:Johann Caspar Kerll 376:Auditorio Aegediano 354:Georg Caspar Wecker 346:St. Sebaldus Church 275:Dieterich Buxtehude 257:, Italians such as 255:Johann Caspar Kerll 234:Chaconne in F minor 80:before 9 March 1706 32:Pachelbel (surname) 5338:Torrejón y Velasco 4949:Luther § Hymnodist 4890:Gottfried Vopelius 4820:Nikolaus Selnecker 4720:Michael Praetorius 4700:Erdmann Neumeister 4600:Sigfrid Karg-Elert 4560:Valerius Herberger 4525:Britt G. Hallqvist 4520:N. F. S. Grundtvig 4500:Erik Gustaf Geijer 4455:Ludmilla Elisabeth 4440:Wolfgang Dachstein 4425:Elisabeth Cruciger 4420:Christian Cappelen 4405:Johan Nordahl Brun 4385:Sigmund von Birken 4304:(in Swedish, 1891) 4282:(in Swedish, 1553) 4279:Een liten Songbook 4059:Thomissøn's hymnal 4021:In other languages 3978:Erfurt Enchiridion 3654:by Canto Armonico. 3546:Works by or about 3536:General references 3459:Harvard University 3457:(PHD). Cambridge: 3376:Grove Music Online 3118:Translation from: 2968:Grove Music Online 2560:Gregorian calendar 2369: 2310:Wilhelm Hieronymus 2274:Domenico Scarlatti 2243: 1969:and sometimes the 1802:Prelude in A minor 1796: 1784: 1756:Giovanni de Macque 1683:Toccata in F major 1665:Toccata in E minor 1659: 1649: 1634:Toccata in C major 1626: 1611:Toccata in D major 1476: 1420: 1320: 1233: 1223: 1167: 1134: 987: 956:, a paraphrase of 930: 694: 651:music collection: 621: 619:Pachelbel's letter 513: 384:Gymnasium Poeticum 338:Heinrich Schwemmer 333:, near Nuremberg. 311: 158:Wilhelm Hieronymus 6185: 6184: 6147:Renaissance music 5815:Baroque orchestra 4988: 4987: 4900:Johan Olof Wallin 4865:Melchior Teschner 4795:Benjamin Schmolck 4685:Felix Mendelssohn 4680:Hemminki of Masku 4605:Christian Keymann 4360:Michael Altenburg 4325: 4324: 4256: 4255: 4232: 4231: 4147: 4146: 4123: 4122: 4092: 4091: 4068: 4067: 4045:Guldberg's hymnal 3863:Christian Worship 3811: 3810: 3780:Pachelbel's Canon 3761: 3760: 3652:– for voices only 3408:(subscription or 3268:on 11 August 2017 3217:978-0-307-47771-2 3159:978-0-253-33181-6 3068:978-1-56159-239-5 2870:978-1-56159-239-5 2830:978-1-56159-239-5 2790:978-1-56159-239-5 2718:, "Introduction". 2542:[ˈjoːhan] 2410:Pachelbel's Canon 2384: 2318:American colonies 1880:, except for two 1832: 1831: 1811: 1692: 1674: 1522: 1494: 1460:, a reference to 1386: 1362: 1338: 1248: 1060:, diminution and 1027: 1002: 675:Oxford University 637:Magdalena Sibylla 593:American colonies 403:Giacomo Carissimi 222:Pachelbel's music 185: 184: 58:Holy Roman Empire 16:(Redirected from 6366: 6324:German Lutherans 6226: 6225: 6224: 6214: 6213: 6212: 6202: 6201: 6200: 6193: 6175: 6165: 6164: 6080:polychoral style 5995:sonata da chiesa 5556: 5358: 5180: 5045: 5015: 5008: 5001: 4992: 4969:Lutheran chorale 4875:Zachris Topelius 4835:Lazarus Spengler 4780:Martin Schalling 4710:Johann Pachelbel 4570:Johannes Hermann 4460:Princess Eugénie 4258: 4234: 4194:Nynorsk salmebok 4149: 4125: 4094: 4070: 4025: 3935:Lutheran Worship 3845:Lutheran hymnody 3838: 3831: 3824: 3815: 3801: 3800: 3727: 3689:Johann Pachelbel 3682: 3675: 3668: 3659: 3624:Johann Pachelbel 3568:Johann Pachelbel 3548:Johann Pachelbel 3545: 3470: 3449: 3430: 3422: 3413: 3406: 3372: 3363: 3362:on 3 March 2006. 3343: 3328:. Translated by 3327: 3304: 3303: 3301: 3299: 3284: 3278: 3277: 3275: 3273: 3264:. Archived from 3253: 3247: 3246: 3244: 3242: 3228: 3222: 3221: 3201: 3195: 3194: 3191:Hamburg Jahrbuch 3182: 3173: 3170: 3164: 3163: 3145: 3139: 3129: 3123: 3116: 3110: 3104: 3098: 3092: 3086: 3080: 3074: 3072: 3037: 3028: 3027: 3013:Wendy Thompson, 3011: 3005: 3004: 3002: 3000: 2990: 2984: 2978: 2972: 2963: 2957: 2951: 2942: 2936: 2930: 2924: 2918: 2912: 2906: 2900: 2889: 2882: 2876: 2874: 2842: 2836: 2834: 2802: 2796: 2794: 2762: 2756: 2750: 2744: 2738: 2732: 2725: 2719: 2713: 2707: 2695: 2689: 2669: 2663: 2657: 2641: 2634: 2628: 2621: 2615: 2613: 2606: 2600: 2579: 2573: 2569: 2563: 2552: 2546: 2544: 2534: 2528: 2522: 2516: 2506:in English. The 2505: 2504: 2501: 2500: 2497: 2494: 2491: 2488: 2485: 2482: 2479: 2476: 2466: 2448: 2386: 2385: 2375:Canon in D major 2366: 2314:Charles Theodore 2192:, arias and two 2004:. They have two 2002:French overtures 1843:Around 20 dance 1813: 1812: 1793: 1774: 1773: 1694: 1693: 1676: 1675: 1656: 1647: 1646: 1645: 1643: 1632:Opening bars of 1624: 1623: 1622: 1620: 1524: 1523: 1496: 1495: 1473: 1388: 1387: 1364: 1363: 1340: 1339: 1317: 1250: 1249: 1230: 1165: 1164: 1163: 1161: 1029: 1028: 1004: 1003: 984: 967: 966: 903:Chorale preludes 891:heads and omits 829:chorale preludes 806: 782:Bodleian Library 601:Amalia Pachelbel 556:Trinitatiskirche 413:Prentz left for 368:Johann Mattheson 188:Johann Pachelbel 181: 166:Charles Theodore 143: 141: 125: 123: 83: 43:Johann Pachelbel 39: 21: 6374: 6373: 6369: 6368: 6367: 6365: 6364: 6363: 6234: 6233: 6232: 6222: 6220: 6210: 6208: 6204:Classical music 6198: 6196: 6188: 6186: 6181: 6158: 6154:Classical music 6150: 6137: 6094: 6090:Galant Schemata 6004: 5903:concerto grosso 5824: 5803: 5675: 5668: 5545: 5381:G. B. Bononcini 5347: 5172: 5041: 5033: 5024: 5019: 4989: 4984: 4983: 4979:Chorale cantata 4974:Chorale setting 4954:Hymns by Luther 4939: 4920:Olle Widestrand 4855:Jesper Swedberg 4815:Heinrich Schütz 4705:Philipp Nicolai 4565:Nikolaus Herman 4555:Ludwig Helmbold 4550:Johann Heermann 4485:Melchior Franck 4445:Nikolaus Decius 4410:Joachim a Burck 4345:Mikael Agricola 4335: 4333: 4321: 4252: 4247:Culto Cristiano 4228: 4143: 4119: 4088: 4064: 4016: 3957: 3847: 3842: 3812: 3807: 3789: 3757: 3725: 3700: 3691: 3686: 3620:Mutopia Project 3533: 3477: 3475:Further reading 3452: 3446: 3433: 3416: 3407: 3403: 3366: 3351: 3340: 3316: 3313: 3308: 3307: 3297: 3295: 3286: 3285: 3281: 3271: 3269: 3255: 3254: 3250: 3240: 3238: 3230: 3229: 3225: 3218: 3203: 3202: 3198: 3184: 3183: 3176: 3171: 3167: 3160: 3147: 3146: 3142: 3130: 3126: 3117: 3113: 3105: 3101: 3093: 3089: 3081: 3077: 3069: 3039: 3038: 3031: 3025: 3012: 3008: 2998: 2996: 2992: 2991: 2987: 2979: 2975: 2964: 2960: 2952: 2945: 2937: 2933: 2925: 2921: 2913: 2909: 2901: 2892: 2883: 2879: 2871: 2844: 2843: 2839: 2831: 2804: 2803: 2799: 2791: 2764: 2763: 2759: 2751: 2747: 2739: 2735: 2726: 2722: 2714: 2710: 2696: 2692: 2677:Michael Kennedy 2670: 2666: 2658: 2654: 2649: 2644: 2635: 2631: 2625:Vom Himmel hoch 2622: 2618: 2607: 2603: 2580: 2576: 2570: 2566: 2556:Julian calendar 2553: 2549: 2473: 2469: 2467: 2463: 2459: 2446: 2431:Ordinary People 2407: 2406: 2398: 2396: 2395: 2394: 2393: 2387: 2380: 2377: 2370: 2364: 2266: 2256: 2172:violas da gamba 2089: 1902:Mystery Sonatas 1890: 1841: 1828: 1827: 1819: 1817: 1816: 1815: 1814: 1807: 1804: 1797: 1791: 1764: 1737:countersubjects 1721: 1712: 1711: 1703: 1701: 1700: 1699: 1698: 1695: 1688: 1685: 1679: 1678: 1677: 1670: 1667: 1660: 1654: 1641: 1639: 1638: 1637: 1618: 1616: 1615: 1614: 1569: 1546: 1545: 1537: 1535: 1534: 1533: 1532: 1525: 1518: 1515: 1506: 1505: 1504: 1497: 1490: 1487: 1477: 1471: 1406: 1405: 1397: 1395: 1394: 1393: 1392: 1389: 1382: 1379: 1370: 1369: 1368: 1365: 1358: 1355: 1346: 1345: 1344: 1341: 1334: 1331: 1321: 1315: 1273: 1268: 1267: 1259: 1257: 1256: 1255: 1254: 1251: 1244: 1241: 1234: 1228: 1159: 1157: 1156: 1155: 1049: 1044: 1043: 1035: 1033: 1032: 1031: 1030: 1023: 1020: 1014: 1013: 1012: 1005: 998: 995: 988: 982: 974:sixteenth notes 905: 821: 800: 750: 613: 545:church services 541:chorale prelude 411: 300: 295: 208:chorale prelude 148: 145: 142: 1684) 137: 133: 127: 119: 115: 112: 88: 85: 81: 60: 44: 35: 28: 23: 22: 15: 12: 11: 5: 6372: 6370: 6362: 6361: 6356: 6351: 6346: 6341: 6336: 6331: 6326: 6321: 6316: 6311: 6306: 6301: 6296: 6291: 6286: 6281: 6276: 6271: 6266: 6261: 6256: 6251: 6246: 6236: 6235: 6231: 6230: 6218: 6206: 6183: 6182: 6180: 6179: 6169: 6151: 6143: 6142: 6139: 6138: 6136: 6135: 6134: 6133: 6128: 6123: 6118: 6108: 6102: 6100: 6096: 6095: 6093: 6092: 6087: 6082: 6077: 6075:notes inégales 6072: 6067: 6062: 6057: 6056: 6055: 6050: 6045: 6035: 6030: 6025: 6024: 6023: 6012: 6010: 6006: 6005: 6003: 6002: 5997: 5992: 5987: 5982: 5977: 5972: 5967: 5962: 5957: 5952: 5947: 5942: 5941: 5940: 5935: 5930: 5925: 5920: 5915: 5905: 5900: 5895: 5890: 5885: 5884: 5883: 5878: 5868: 5863: 5858: 5853: 5848: 5843: 5838: 5832: 5830: 5826: 5825: 5823: 5822: 5820:Basso continuo 5817: 5811: 5809: 5805: 5804: 5802: 5801: 5796: 5791: 5786: 5781: 5776: 5771: 5766: 5761: 5756: 5751: 5746: 5741: 5736: 5731: 5726: 5721: 5716: 5711: 5706: 5701: 5696: 5691: 5686: 5680: 5678: 5670: 5669: 5667: 5666: 5661: 5656: 5651: 5646: 5641: 5636: 5631: 5626: 5621: 5616: 5611: 5606: 5601: 5596: 5591: 5586: 5581: 5576: 5571: 5566: 5560: 5558: 5547: 5546: 5544: 5543: 5538: 5533: 5528: 5523: 5518: 5513: 5508: 5503: 5498: 5493: 5488: 5483: 5478: 5473: 5468: 5463: 5458: 5453: 5451:Leclair l'aîné 5448: 5443: 5438: 5433: 5428: 5423: 5418: 5413: 5408: 5403: 5398: 5393: 5388: 5383: 5378: 5373: 5368: 5362: 5360: 5349: 5348: 5346: 5345: 5340: 5335: 5330: 5325: 5320: 5315: 5310: 5305: 5300: 5295: 5290: 5285: 5280: 5275: 5270: 5265: 5260: 5255: 5250: 5245: 5240: 5235: 5230: 5225: 5220: 5215: 5210: 5205: 5203:H. I. F. Biber 5200: 5195: 5190: 5184: 5182: 5174: 5173: 5171: 5170: 5165: 5160: 5155: 5150: 5145: 5140: 5135: 5130: 5125: 5120: 5115: 5110: 5105: 5100: 5095: 5090: 5085: 5080: 5075: 5070: 5065: 5060: 5055: 5049: 5047: 5035: 5034: 5029: 5026: 5025: 5020: 5018: 5017: 5010: 5003: 4995: 4986: 4985: 4982: 4981: 4976: 4971: 4966: 4961: 4956: 4951: 4945: 4944: 4941: 4940: 4938: 4937: 4932: 4927: 4922: 4917: 4912: 4907: 4902: 4897: 4892: 4887: 4885:Jaroslav Vajda 4882: 4877: 4872: 4867: 4862: 4860:Jiří Třanovský 4857: 4852: 4850:Paul Stockmann 4847: 4845:Philipp Spitta 4842: 4837: 4832: 4827: 4822: 4817: 4812: 4807: 4802: 4797: 4792: 4787: 4782: 4777: 4772: 4767: 4762: 4760:Johan Runeberg 4757: 4755:Daniel Rumpius 4752: 4747: 4742: 4740:Martin Rinkart 4737: 4732: 4727: 4722: 4717: 4712: 4707: 4702: 4697: 4692: 4687: 4682: 4677: 4672: 4667: 4662: 4657: 4652: 4647: 4642: 4637: 4632: 4627: 4625:Johann Kolross 4622: 4617: 4612: 4607: 4602: 4597: 4592: 4587: 4582: 4577: 4572: 4567: 4562: 4557: 4552: 4547: 4542: 4537: 4532: 4527: 4522: 4517: 4515:Johannes Gigas 4512: 4507: 4502: 4497: 4492: 4490:Salomon Franck 4487: 4482: 4480:Michael Franck 4477: 4472: 4467: 4462: 4457: 4452: 4447: 4442: 4437: 4432: 4427: 4422: 4417: 4412: 4407: 4402: 4397: 4392: 4387: 4382: 4377: 4372: 4367: 4365:Anna Sophia II 4362: 4357: 4352: 4347: 4341: 4339: 4327: 4326: 4323: 4322: 4320: 4319: 4312: 4305: 4301:Hemlandssånger 4297: 4290: 4283: 4275: 4271:Swenske songer 4266: 4264: 4254: 4253: 4251: 4250: 4242: 4240: 4230: 4229: 4227: 4226: 4219: 4212: 4205: 4198: 4190: 4182: 4174: 4166: 4157: 4155: 4145: 4144: 4142: 4141: 4133: 4131: 4121: 4120: 4118: 4117: 4110: 4107:Siionin Virret 4102: 4100: 4090: 4089: 4087: 4086: 4078: 4076: 4066: 4065: 4063: 4062: 4055: 4052:Kingo's hymnal 4048: 4041: 4033: 4031: 4022: 4018: 4017: 4015: 4014: 4006: 4002:Becker Psalter 3998: 3990: 3982: 3974: 3965: 3963: 3962:German hymnals 3959: 3958: 3956: 3955: 3947: 3943:ReClaim Hymnal 3939: 3931: 3923: 3915: 3907: 3899: 3891: 3883: 3875: 3867: 3858: 3856: 3849: 3848: 3843: 3841: 3840: 3833: 3826: 3818: 3809: 3808: 3806: 3805: 3794: 3791: 3790: 3788: 3787: 3777: 3769: 3767: 3763: 3762: 3759: 3758: 3756: 3755: 3748: 3741: 3733: 3731: 3724: 3723: 3716: 3708: 3706: 3702: 3701: 3696: 3693: 3692: 3687: 3685: 3684: 3677: 3670: 3662: 3656: 3655: 3645: 3639: 3627: 3626: 3616: 3611: 3601: 3591: 3575: 3574: 3565: 3559: 3554: 3532: 3531:External links 3529: 3528: 3527: 3520: 3513: 3506: 3499: 3492: 3485: 3476: 3473: 3472: 3471: 3450: 3444: 3431: 3414: 3401: 3364: 3349: 3338: 3312: 3309: 3306: 3305: 3279: 3262:DrownedInSound 3248: 3223: 3216: 3196: 3174: 3165: 3158: 3140: 3124: 3111: 3109:, p. 224. 3107:Perreault 2004 3099: 3087: 3085:, p. 660. 3075: 3067: 3045:Sadie, Stanley 3041:Chew, Geoffrey 3029: 3015:Basil Smallman 3006: 2985: 2973: 2958: 2943: 2931: 2919: 2907: 2890: 2877: 2869: 2847:Sadie, Stanley 2837: 2829: 2807:Sadie, Stanley 2797: 2789: 2767:Sadie, Stanley 2757: 2745: 2733: 2720: 2708: 2690: 2664: 2651: 2650: 2648: 2645: 2643: 2642: 2638:Perreault 2004 2629: 2616: 2601: 2574: 2564: 2547: 2539:is pronounced 2460: 2458: 2455: 2414:basso continuo 2397: 2388: 2378: 2373: 2372: 2371: 2362: 2361: 2360: 2346:Philipp Spitta 2255: 2252: 2136:basso continuo 2109:basso continuo 2088: 2085: 2052:string quartet 1976:Each suite of 1958:basso continuo 1914:basso continuo 1889: 1886: 1840: 1837: 1830: 1829: 1818: 1805: 1800: 1799: 1798: 1789: 1788: 1787: 1785: 1763: 1760: 1720: 1717: 1702: 1696: 1686: 1681: 1680: 1668: 1663: 1662: 1661: 1652: 1651: 1650: 1613:(bars 10–14). 1568: 1565: 1536: 1526: 1516: 1508: 1507: 1498: 1488: 1480: 1479: 1478: 1469: 1468: 1467: 1458:Aria Sebaldina 1396: 1390: 1380: 1372: 1371: 1366: 1356: 1348: 1347: 1342: 1332: 1324: 1323: 1322: 1313: 1312: 1311: 1292:in style; the 1277:variation form 1272: 1269: 1258: 1252: 1242: 1237: 1236: 1235: 1226: 1225: 1224: 1048: 1045: 1034: 1021: 1016: 1015: 1006: 996: 991: 990: 989: 980: 979: 978: 954:Johann Gramann 904: 901: 897:black notation 820: 819:Keyboard music 817: 774:Louis Couperin 762: 761: 749: 746: 612: 609: 517:Predigerkirche 505:Predigerkirche 471:Johann Georg I 467:Daniel Eberlin 410: 407: 350:Sebalduskirche 321:(born 1613 in 299: 296: 294: 291: 183: 182: 174: 173: 169: 168: 154: 150: 149: 147: 146: 135: 132:Judith Drommer 131: 130: 128: 117: 113: 111:Barbara Gabler 110: 109: 106: 104: 100: 99: 94: 90: 89: 86: 84:(aged 52) 78: 74: 73: 66: 62: 61: 52: 50: 46: 45: 42: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6371: 6360: 6357: 6355: 6352: 6350: 6347: 6345: 6342: 6340: 6337: 6335: 6332: 6330: 6327: 6325: 6322: 6320: 6317: 6315: 6312: 6310: 6307: 6305: 6302: 6300: 6297: 6295: 6292: 6290: 6287: 6285: 6282: 6280: 6277: 6275: 6272: 6270: 6267: 6265: 6262: 6260: 6257: 6255: 6252: 6250: 6247: 6245: 6242: 6241: 6239: 6229: 6219: 6217: 6207: 6205: 6195: 6191: 6178: 6174: 6170: 6168: 6160: 6159: 6156: 6155: 6149: 6148: 6140: 6132: 6129: 6127: 6124: 6122: 6119: 6117: 6114: 6113: 6112: 6109: 6107: 6104: 6103: 6101: 6097: 6091: 6088: 6086: 6083: 6081: 6078: 6076: 6073: 6071: 6068: 6066: 6063: 6061: 6058: 6054: 6051: 6049: 6046: 6044: 6041: 6040: 6039: 6036: 6034: 6031: 6029: 6026: 6022: 6019: 6018: 6017: 6014: 6013: 6011: 6007: 6001: 5998: 5996: 5993: 5991: 5988: 5986: 5983: 5981: 5978: 5976: 5973: 5971: 5968: 5966: 5963: 5961: 5958: 5956: 5953: 5951: 5948: 5946: 5943: 5939: 5936: 5934: 5931: 5929: 5926: 5924: 5921: 5919: 5916: 5914: 5911: 5910: 5909: 5906: 5904: 5901: 5899: 5896: 5894: 5891: 5889: 5886: 5882: 5879: 5877: 5874: 5873: 5872: 5869: 5867: 5864: 5862: 5859: 5857: 5854: 5852: 5849: 5847: 5844: 5842: 5839: 5837: 5834: 5833: 5831: 5829:Musical forms 5827: 5821: 5818: 5816: 5813: 5812: 5810: 5806: 5800: 5797: 5795: 5792: 5790: 5787: 5785: 5782: 5780: 5777: 5775: 5772: 5770: 5767: 5765: 5762: 5760: 5757: 5755: 5752: 5750: 5747: 5745: 5742: 5740: 5737: 5735: 5732: 5730: 5727: 5725: 5722: 5720: 5717: 5715: 5712: 5710: 5707: 5705: 5702: 5700: 5697: 5695: 5692: 5690: 5687: 5685: 5682: 5681: 5679: 5677: 5671: 5665: 5662: 5660: 5657: 5655: 5652: 5650: 5647: 5645: 5642: 5640: 5637: 5635: 5632: 5630: 5627: 5625: 5624:Padre Martini 5622: 5620: 5617: 5615: 5612: 5610: 5607: 5605: 5602: 5600: 5597: 5595: 5592: 5590: 5587: 5585: 5582: 5580: 5577: 5575: 5572: 5570: 5569:C. P. E. Bach 5567: 5565: 5562: 5561: 5559: 5552: 5548: 5542: 5539: 5537: 5534: 5532: 5529: 5527: 5524: 5522: 5519: 5517: 5514: 5512: 5509: 5507: 5504: 5502: 5499: 5497: 5494: 5492: 5489: 5487: 5484: 5482: 5479: 5477: 5474: 5472: 5469: 5467: 5464: 5462: 5459: 5457: 5454: 5452: 5449: 5447: 5444: 5442: 5439: 5437: 5434: 5432: 5429: 5427: 5424: 5422: 5419: 5417: 5414: 5412: 5409: 5407: 5404: 5402: 5399: 5397: 5394: 5392: 5389: 5387: 5384: 5382: 5379: 5377: 5374: 5372: 5369: 5367: 5364: 5363: 5361: 5354: 5350: 5344: 5341: 5339: 5336: 5334: 5331: 5329: 5326: 5324: 5321: 5319: 5316: 5314: 5311: 5309: 5306: 5304: 5301: 5299: 5296: 5294: 5291: 5289: 5286: 5284: 5281: 5279: 5276: 5274: 5271: 5269: 5266: 5264: 5261: 5259: 5256: 5254: 5251: 5249: 5246: 5244: 5241: 5239: 5236: 5234: 5231: 5229: 5226: 5224: 5221: 5219: 5216: 5214: 5211: 5209: 5206: 5204: 5201: 5199: 5196: 5194: 5191: 5189: 5186: 5185: 5183: 5175: 5169: 5166: 5164: 5161: 5159: 5156: 5154: 5151: 5149: 5146: 5144: 5143:M. Praetorius 5141: 5139: 5136: 5134: 5131: 5129: 5126: 5124: 5121: 5119: 5116: 5114: 5111: 5109: 5106: 5104: 5101: 5099: 5096: 5094: 5091: 5089: 5086: 5084: 5081: 5079: 5076: 5074: 5071: 5069: 5066: 5064: 5061: 5059: 5056: 5054: 5051: 5050: 5048: 5040: 5036: 5032: 5027: 5023: 5022:Baroque music 5016: 5011: 5009: 5004: 5002: 4997: 4996: 4993: 4980: 4977: 4975: 4972: 4970: 4967: 4965: 4962: 4960: 4959:Lutheran hymn 4957: 4955: 4952: 4950: 4947: 4946: 4942: 4936: 4935:Johannes Zahn 4933: 4931: 4928: 4926: 4923: 4921: 4918: 4916: 4915:Georg Weissel 4913: 4911: 4910:Michael Weiße 4908: 4906: 4905:Johann Walter 4903: 4901: 4898: 4896: 4893: 4891: 4888: 4886: 4883: 4881: 4880:Leonard Typpö 4878: 4876: 4873: 4871: 4868: 4866: 4863: 4861: 4858: 4856: 4853: 4851: 4848: 4846: 4843: 4841: 4840:Paul Speratus 4838: 4836: 4833: 4831: 4830:Haquin Spegel 4828: 4826: 4823: 4821: 4818: 4816: 4813: 4811: 4808: 4806: 4803: 4801: 4798: 4796: 4793: 4791: 4788: 4786: 4783: 4781: 4778: 4776: 4773: 4771: 4768: 4766: 4763: 4761: 4758: 4756: 4753: 4751: 4748: 4746: 4743: 4741: 4738: 4736: 4733: 4731: 4728: 4726: 4723: 4721: 4718: 4716: 4713: 4711: 4708: 4706: 4703: 4701: 4698: 4696: 4695:Georg Neumark 4693: 4691: 4688: 4686: 4683: 4681: 4678: 4676: 4673: 4671: 4670:Martin Luther 4668: 4666: 4663: 4661: 4658: 4656: 4653: 4651: 4650:Elias Lönnrot 4648: 4646: 4643: 4641: 4638: 4636: 4633: 4631: 4628: 4626: 4623: 4621: 4620:Børre Knudsen 4618: 4616: 4613: 4611: 4608: 4606: 4603: 4601: 4598: 4596: 4593: 4591: 4588: 4586: 4585:Konrad Hubert 4583: 4581: 4580:Anders Hovden 4578: 4576: 4575:Sebald Heyden 4573: 4571: 4568: 4566: 4563: 4561: 4558: 4556: 4553: 4551: 4548: 4546: 4543: 4541: 4538: 4536: 4533: 4531: 4528: 4526: 4523: 4521: 4518: 4516: 4513: 4511: 4508: 4506: 4505:Paul Gerhardt 4503: 4501: 4498: 4496: 4493: 4491: 4488: 4486: 4483: 4481: 4478: 4476: 4475:Johann Franck 4473: 4471: 4468: 4466: 4465:Jacobus Finno 4463: 4461: 4458: 4456: 4453: 4451: 4448: 4446: 4443: 4441: 4438: 4436: 4433: 4431: 4430:Johann Crüger 4428: 4426: 4423: 4421: 4418: 4416: 4413: 4411: 4408: 4406: 4403: 4401: 4398: 4396: 4393: 4391: 4388: 4386: 4383: 4381: 4378: 4376: 4373: 4371: 4368: 4366: 4363: 4361: 4358: 4356: 4353: 4351: 4348: 4346: 4343: 4342: 4340: 4338: 4332: 4328: 4318: 4317: 4313: 4311: 4310: 4306: 4303: 4302: 4298: 4296: 4295: 4291: 4289: 4288: 4284: 4281: 4280: 4276: 4273: 4272: 4268: 4267: 4265: 4263: 4259: 4249: 4248: 4244: 4243: 4241: 4239: 4235: 4225: 4224: 4220: 4218: 4217: 4213: 4211: 4210: 4206: 4204: 4203: 4199: 4196: 4195: 4191: 4188: 4187: 4183: 4180: 4179: 4175: 4172: 4171: 4167: 4164: 4163: 4159: 4158: 4156: 4154: 4150: 4140: 4139: 4138:Passion Hymns 4135: 4134: 4132: 4130: 4126: 4116: 4115: 4111: 4109: 4108: 4104: 4103: 4101: 4099: 4095: 4085: 4084: 4080: 4079: 4077: 4075: 4071: 4061: 4060: 4056: 4054: 4053: 4049: 4047: 4046: 4042: 4040: 4039: 4035: 4034: 4032: 4030: 4026: 4023: 4019: 4012: 4011: 4007: 4004: 4003: 3999: 3996: 3995: 3991: 3988: 3987: 3983: 3980: 3979: 3975: 3972: 3971: 3967: 3966: 3964: 3960: 3953: 3952: 3948: 3945: 3944: 3940: 3937: 3936: 3932: 3929: 3928: 3924: 3921: 3920: 3916: 3913: 3912: 3908: 3905: 3904: 3900: 3897: 3896: 3892: 3889: 3888: 3884: 3881: 3880: 3876: 3873: 3872: 3868: 3865: 3864: 3860: 3859: 3857: 3855: 3850: 3846: 3839: 3834: 3832: 3827: 3825: 3820: 3819: 3816: 3804: 3796: 3795: 3792: 3785: 3781: 3778: 3776: 3775: 3771: 3770: 3768: 3764: 3754: 3753: 3749: 3747: 3746: 3742: 3740: 3739: 3735: 3734: 3732: 3728: 3722: 3721: 3717: 3715: 3714: 3710: 3709: 3707: 3703: 3699: 3694: 3690: 3683: 3678: 3676: 3671: 3669: 3664: 3663: 3660: 3653: 3651: 3648:Recording of 3646: 3644: 3640: 3637: 3634: 3633: 3632: 3631: 3625: 3621: 3617: 3615: 3612: 3610: 3609:Cantorion.org 3606: 3603:Free typeset 3602: 3599: 3595: 3592: 3589: 3585: 3582: 3581: 3580: 3579: 3573: 3569: 3566: 3563: 3560: 3558: 3555: 3553: 3549: 3544: 3540: 3539: 3538: 3537: 3530: 3525: 3521: 3518: 3514: 3511: 3507: 3504: 3500: 3497: 3493: 3490: 3486: 3483: 3479: 3478: 3474: 3468: 3464: 3460: 3456: 3451: 3447: 3445:0-8108-4970-4 3441: 3437: 3432: 3429:(32): xlviii. 3428: 3427: 3421: 3415: 3411: 3404: 3402:9781561592630 3398: 3394: 3390: 3386: 3382: 3379:. Revised by 3378: 3377: 3371: 3365: 3361: 3357: 3356: 3350: 3347: 3341: 3339:0-253-21141-7 3335: 3331: 3330:Hans Tischler 3326: 3325: 3319: 3315: 3314: 3310: 3294: 3290: 3283: 3280: 3267: 3263: 3259: 3252: 3249: 3237: 3233: 3227: 3224: 3219: 3213: 3209: 3208: 3200: 3197: 3192: 3188: 3181: 3179: 3175: 3169: 3166: 3161: 3155: 3151: 3144: 3141: 3138: 3134: 3128: 3125: 3121: 3115: 3112: 3108: 3103: 3100: 3096: 3091: 3088: 3084: 3079: 3076: 3070: 3064: 3060: 3056: 3055: 3050: 3049:Tyrrell, John 3046: 3042: 3036: 3034: 3030: 3023: 3019: 3016: 3010: 3007: 2995: 2989: 2986: 2982: 2977: 2974: 2970: 2969: 2962: 2959: 2955: 2950: 2948: 2944: 2940: 2935: 2932: 2928: 2923: 2920: 2916: 2911: 2908: 2904: 2899: 2897: 2895: 2891: 2887: 2881: 2878: 2872: 2866: 2862: 2858: 2857: 2852: 2851:Tyrrell, John 2848: 2841: 2838: 2832: 2826: 2822: 2818: 2817: 2812: 2811:Tyrrell, John 2808: 2801: 2798: 2792: 2786: 2782: 2778: 2777: 2772: 2771:Tyrrell, John 2768: 2761: 2758: 2754: 2749: 2746: 2742: 2737: 2734: 2730: 2724: 2721: 2717: 2712: 2709: 2705: 2704: 2699: 2694: 2691: 2687: 2684: 2683: 2678: 2674: 2668: 2665: 2661: 2656: 2653: 2646: 2639: 2633: 2630: 2626: 2620: 2617: 2612: 2605: 2602: 2598: 2597: 2592: 2588: 2584: 2578: 2575: 2568: 2565: 2561: 2557: 2551: 2548: 2543: 2538: 2533: 2527: 2521: 2515: 2511: 2510: 2503: 2465: 2462: 2456: 2454: 2452: 2451:Pete Waterman 2445: 2441: 2440:Bridal Chorus 2437: 2433: 2432: 2427: 2423: 2419: 2415: 2411: 2405: 2403: 2392: 2391:Kevin MacLeod 2376: 2359: 2357: 2353: 2352: 2347: 2343: 2342:musicologists 2337: 2335: 2331: 2327: 2323: 2319: 2315: 2311: 2307: 2303: 2297: 2295: 2291: 2287: 2283: 2279: 2275: 2271: 2265: 2261: 2253: 2251: 2249: 2240: 2235: 2231: 2229: 2225: 2221: 2217: 2216: 2211: 2207: 2203: 2199: 2195: 2191: 2186: 2183: 2182:cantus firmus 2180: 2175: 2173: 2169: 2165: 2162:), concerted 2161: 2157: 2153: 2149: 2145: 2141: 2137: 2133: 2129: 2125: 2121: 2117: 2112: 2110: 2106: 2102: 2098: 2093: 2086: 2084: 2081: 2077: 2073: 2069: 2065: 2061: 2057: 2053: 2049: 2044: 2042: 2038: 2034: 2030: 2026: 2022: 2018: 2014: 2011: 2007: 2003: 1999: 1995: 1991: 1987: 1983: 1979: 1974: 1972: 1968: 1964: 1959: 1955: 1951: 1947: 1946: 1941: 1939: 1935: 1931: 1927: 1923: 1919: 1915: 1911: 1907: 1903: 1899: 1895: 1894:chamber music 1888:Chamber music 1887: 1885: 1883: 1879: 1875: 1871: 1867: 1863: 1859: 1855: 1854:F-sharp minor 1851: 1846: 1838: 1836: 1826: 1824: 1803: 1786: 1780: 1776: 1775: 1772: 1769: 1761: 1759: 1757: 1753: 1749: 1745: 1740: 1738: 1734: 1730: 1726: 1718: 1716: 1710: 1708: 1684: 1666: 1644: 1635: 1630: 1621: 1612: 1609:Excerpt from 1607: 1603: 1601: 1596: 1594: 1590: 1586: 1582: 1578: 1574: 1566: 1564: 1562: 1558: 1554: 1553: 1544: 1542: 1530: 1514: 1512: 1502: 1486: 1484: 1466: 1463: 1459: 1455: 1451: 1447: 1443: 1439: 1435: 1431: 1427: 1426: 1417: 1416: 1410: 1404: 1402: 1378: 1376: 1354: 1352: 1330: 1328: 1310: 1308: 1304: 1300: 1295: 1291: 1286: 1282: 1278: 1270: 1266: 1264: 1240: 1220: 1217:Excerpt from 1215: 1211: 1207: 1205: 1201: 1197: 1193: 1192:F-sharp minor 1189: 1185: 1181: 1177: 1172: 1162: 1152: 1148: 1146: 1142: 1141: 1130: 1126: 1124: 1120: 1116: 1112: 1108: 1104: 1100: 1096: 1092: 1088: 1084: 1080: 1075: 1071: 1066: 1063: 1059: 1055: 1046: 1042: 1040: 1019: 1010: 994: 977: 975: 971: 965: 959: 955: 951: 947: 941: 939: 935: 934:cantus firmus 926: 922: 920: 915: 911: 910:cantus firmus 902: 900: 898: 894: 890: 886: 882: 878: 874: 870: 865: 863: 859: 855: 850: 846: 842: 838: 834: 830: 826: 818: 816: 812: 810: 804: 799: 795: 791: 787: 786:Tabulaturbuch 783: 779: 775: 770: 767: 760: 758: 752: 751: 747: 745: 743: 737: 735: 732: 728: 725: 721: 717: 716: 711: 710: 705: 704: 699: 698:chamber music 691: 686: 682: 680: 676: 671: 669: 665: 660: 658: 654: 650: 646: 642: 638: 634: 630: 625: 617: 610: 608: 606: 602: 598: 594: 590: 586: 582: 577: 575: 574: 569: 563: 561: 560:Sondershausen 557: 553: 548: 546: 542: 538: 534: 530: 526: 522: 518: 510: 506: 502: 498: 496: 492: 488: 484: 480: 476: 475:Saxe-Eisenach 472: 468: 465: 464:Kapellmeister 461: 456: 454: 450: 445: 441: 437: 433: 429: 425: 421: 416: 408: 406: 404: 400: 396: 391: 389: 385: 381: 377: 373: 369: 365: 363: 362:Johann Staden 359: 355: 351: 347: 343: 339: 334: 332: 328: 324: 320: 316: 308: 304: 297: 292: 290: 288: 284: 280: 279:chamber music 276: 272: 268: 264: 260: 256: 252: 247: 245: 241: 240: 235: 231: 227: 223: 219: 217: 213: 209: 205: 201: 197: 193: 189: 180: 175: 170: 167: 163: 159: 156:8, including 155: 151: 129: 108: 107: 105: 101: 98: 95: 91: 79: 75: 71: 67: 63: 59: 55: 51: 47: 40: 37: 33: 19: 6152: 6145: 6116:Architecture 6065:Folk baroque 6060:Figured bass 6033:counterpoint 6009:Other topics 5881:18th-century 5876:17th-century 5501:D. Scarlatti 5318:A. Scarlatti 5288:J. Pachelbel 5287: 5039:Transitional 4825:Eyvind Skeie 4805:Johann Schop 4770:Lina Sandell 4730:Adam Reusner 4709: 4665:Sigurd Lunde 4660:Matthias Loy 4635:Julius Krohn 4615:Thomas Kingo 4595:Justus Jonas 4470:Paul Fleming 4337:hymnologists 4314: 4307: 4299: 4292: 4285: 4277: 4269: 4245: 4221: 4214: 4207: 4200: 4192: 4184: 4176: 4168: 4162:Nokre salmar 4160: 4136: 4112: 4105: 4081: 4057: 4050: 4043: 4036: 4008: 4000: 3992: 3984: 3976: 3968: 3949: 3941: 3933: 3925: 3917: 3909: 3901: 3893: 3885: 3877: 3869: 3861: 3772: 3750: 3743: 3736: 3718: 3711: 3688: 3649: 3629: 3628: 3608: 3590:(ChoralWiki) 3577: 3576: 3535: 3534: 3523: 3516: 3509: 3502: 3495: 3488: 3481: 3454: 3435: 3426:The Diapason 3424: 3374: 3360:the original 3354: 3345: 3323: 3296:. Retrieved 3292: 3282: 3270:. Retrieved 3266:the original 3261: 3251: 3239:. Retrieved 3235: 3226: 3206: 3199: 3190: 3168: 3149: 3143: 3133:Erbhuldigung 3127: 3120:Peter Wollny 3114: 3102: 3090: 3078: 3052: 3021: 3009: 2997:. Retrieved 2988: 2976: 2966: 2961: 2934: 2922: 2910: 2905:, "1. Life". 2885: 2880: 2854: 2840: 2814: 2800: 2774: 2760: 2748: 2736: 2728: 2723: 2711: 2701: 2693: 2680: 2672: 2667: 2655: 2632: 2624: 2619: 2604: 2594: 2577: 2567: 2550: 2536: 2507: 2464: 2443: 2429: 2420:in the same 2408: 2349: 2338: 2333: 2322:musicologist 2298: 2267: 2248:Missa brevis 2244: 2238: 2223: 2219: 2215:Ecclesiastes 2213: 2209: 2208:, except in 2187: 2176: 2167: 2159: 2155: 2151: 2139: 2123: 2113: 2090: 2079: 2075: 2067: 2063: 2059: 2047: 2045: 2017:eighth notes 2005: 1992:three-voice 1989: 1985: 1981: 1977: 1975: 1956:violins and 1943: 1942: 1901: 1892:Pachelbel's 1891: 1842: 1833: 1765: 1743: 1741: 1722: 1713: 1633: 1610: 1597: 1576: 1570: 1550: 1547: 1528: 1510: 1500: 1482: 1457: 1453: 1449: 1423: 1421: 1413: 1374: 1350: 1326: 1290:south German 1274: 1218: 1208: 1203: 1168: 1145:counterpoint 1138: 1135: 1114: 1111:septimi toni 1110: 1106: 1102: 1098: 1094: 1091:secundi toni 1090: 1086: 1083:church modes 1067: 1050: 1009:Trubschachen 945: 942: 933: 931: 918: 906: 896: 873:Acht Choräle 872: 868: 866: 858:Marienkirche 822: 813: 785: 771: 763: 753: 738: 713: 707: 701: 695: 692:in Nuremberg 672: 661: 656: 652: 626: 622: 578: 571: 564: 555: 551: 549: 514: 494: 483:J. S. Bach's 457: 452: 440:Georg Muffat 428:cosmopolitan 412: 394: 392: 383: 375: 371: 366: 349: 335: 331:Feuchtwangen 312: 271:contrapuntal 248: 237: 220: 191: 187: 186: 82:(1706-03-09) 36: 6249:1706 deaths 6244:1653 births 6085:Style brisé 6021:Chamber pop 6016:Baroque pop 5960:grand motet 5933:passacaglia 5744:lautenwerck 5739:harpsichord 5709:double bass 5676:Instruments 5634:Mondonville 5466:A. Marcello 5396:F. Couperin 5343:Vejvanovský 5293:J. Playford 5273:J.-B. Lully 5238:Charpentier 5193:d'Anglebert 5078:Frescobaldi 5042:and early ( 4775:Carl Schalk 4745:Johann Rist 4535:Claus Harms 4390:Carl Boberg 4380:Martin Behm 4216:Salmer 1997 4202:Salmer 1973 3605:sheet music 3318:Apel, Willi 2999:3 September 2981:Welter 1998 2954:Buszin 1959 2939:Welter 1998 2927:Welter 1998 2915:Welter 1998 2753:Welter 1998 2741:Welter 1998 2698:Welter 1998 2587:Welter 1998 2468:Pronounced 2324:and writer 2228:note values 2087:Vocal music 2025:note values 1971:subdominant 1930:ground bass 1926:passacaglia 1878:binary form 1748:accidentals 1589:Frescobaldi 1581:pedal point 1483:Aria Quinta 1294:duple meter 1184:Frescobaldi 1176:harpsichord 1140:style brisé 1123:common time 1115:octavi toni 1103:quinti toni 1099:quarti toni 1095:tertii toni 849:clavichords 801: [ 700:collection 629:Württemberg 581:coppersmith 479:Bach family 453:Stephansdom 283:vocal music 6238:Categories 6099:Background 5985:recitative 5893:concertato 5861:canzonetta 5724:fortepiano 5699:clavichord 5649:Sammartini 5629:Mysliveček 5589:Boccherini 5579:W. F. Bach 5574:J. C. Bach 5371:J. S. Bach 5298:H. Purcell 5218:Cabanilles 5133:Monteverdi 5108:Kapsberger 5098:O. Gibbons 5093:C. Gibbons 5088:V. Galilei 5068:J. Dowland 5058:G. Caccini 4435:Simon Dach 4331:Hymnodists 4114:Virsikirja 3784:variations 3630:Recordings 3552:Wikisource 3383:. Oxford: 3298:8 February 3272:31 October 3241:31 October 3236:Classic FM 3095:Nolte 2001 2903:Nolte 2001 2716:Nolte 2001 2660:Nolte 2001 2647:References 2583:Nolte 1957 2402:media help 2286:Georg Böhm 2258:See also: 2179:plainchant 2120:concertato 2078:movement. 1954:scordatura 1934:variations 1910:Canon in D 1823:media help 1707:media help 1577:toccatinas 1557:Georg Böhm 1541:media help 1511:Aria Sexta 1454:Aria sexta 1450:Aria prima 1401:media help 1263:media help 1188:alla breve 1113:and 13 in 1107:sexti toni 1087:primi toni 1070:Magnificat 1039:media help 825:liturgical 778:microfilms 766:liturgical 731:Magnificat 724:concertato 649:liturgical 568:variations 473:, Duke of 388:Regensburg 244:variations 230:Canon in D 6216:Biography 6131:Sculpture 6048:ensembles 6043:festivals 5938:sarabande 5866:capriccio 5808:Ensembles 5639:L. Mozart 5541:de Zumaya 5476:Pergolesi 5456:Locatelli 5441:Heinichen 5426:Gorczycki 5421:Geminiani 5401:Delalande 5323:Stradella 5278:M. Marais 5258:Froberger 5223:Carissimi 5213:Buxtehude 5168:Sweelinck 4450:Paul Eber 4153:Norwegian 4129:Icelandic 3997:(1640/47) 3638:. YouTube 3412:required) 3381:John Butt 3137:abstract) 3083:Apel 1972 2591:Botstiber 2330:Mattheson 2202:polyphony 2029:allemande 2021:imitative 2019:in a non- 1994:fughettas 1940:writing. 1906:Buxtehude 1870:Sarabande 1862:Allemande 1725:fantasias 1719:Fantasias 1593:rhapsodic 1585:Froberger 1571:About 20 1513:for organ 1485:for organ 1377:for organ 1353:for organ 1329:for organ 1281:chaconnes 1180:ricercars 1062:inversion 1054:J.S. Bach 958:Psalm 103 938:hymn tune 893:bar lines 885:fantasias 881:ricercars 854:Buxtehude 845:virginals 835:only: no 655:in 1693 ( 633:Stuttgart 631:court at 533:godfather 415:Eichstätt 323:Wunsiedel 315:Nuremberg 287:variation 267:Nuremberg 192:Bachelbel 172:Signature 18:Pachelbel 6167:Category 6144: ← 6126:Painting 5990:ricercar 5965:madrigal 5945:fantasia 5913:courante 5898:concerto 5871:chaconne 5764:recorder 5689:carillon 5659:Telemann 5604:Corrette 5599:F. Brixi 5584:F. Benda 5516:Telemann 5481:Pisendel 5431:Graupner 5366:Albinoni 5303:Reincken 5268:Legrenzi 5253:Diletsky 5177:Middle ( 5083:Gabrieli 3852:English 3803:Category 3705:Keyboard 3572:AllMusic 3467:42665284 3320:(1972). 3051:(eds.). 2853:(eds.). 2813:(eds.). 2773:(eds.). 2731:, p. 61. 2198:choruses 2037:chaconne 1986:Sonatina 1967:dominant 1952:for two 1922:chaconne 1866:Courante 1768:preludes 1762:Preludes 1573:toccatas 1567:Toccatas 1561:partitas 1452:through 1299:ostinato 1285:ostinato 1105:, 10 in 1101:, 12 in 1093:, 11 in 1089:, 10 in 1085:: 23 in 970:bicinium 950:the hymn 841:Lutheran 605:engraver 485:father, 460:Eisenach 424:Habsburg 370:, whose 327:baptized 153:Children 65:Baptised 6190:Portals 6157:→ 6111:Baroque 5980:prelude 5918:gavotte 5888:chorale 5856:canzona 5846:cantata 5799:violone 5779:trumpet 5774:theorbo 5769:sackbut 5704:cornett 5684:bassoon 5674:Musical 5614:Galuppi 5536:Zelenka 5526:Vivaldi 5511:Tartini 5486:Porpora 5471:Pepusch 5411:Fischer 5386:Caldara 5333:Torelli 5328:Strozzi 5248:Corelli 5228:Cavalli 5198:Bassani 5153:Scheidt 5103:d'India 5053:Allegri 4262:Swedish 4238:Spanish 4098:Finnish 4074:Faroese 3854:hymnals 3766:Chamber 3600:(IMSLP) 3596:at the 3586:in the 3311:Sources 2144:cymbals 2132:violone 2128:timpani 2116:Vespers 2105:timpani 2097:soprano 2072:gavotte 2056:violone 2013:quarter 1998:stretti 1990:Allegro 1973:notes. 1874:gavotte 1307:F minor 1303:D minor 1200:Baroque 1198:of the 1171:bicinia 1109:, 8 in 1097:, 8 in 1074:Vespers 1058:stretto 883:, some 833:manuals 727:Vespers 664:Ohrdruf 597:Jamaica 570:called 226:Germany 216:Baroque 204:secular 144: 136: 126: 118: 114: 103:Spouses 6177:Portal 6070:monody 5928:minuet 5841:ballet 5794:violin 5729:guitar 5644:Quantz 5551:Galant 5506:Seixas 5496:Rameau 5491:Quantz 5436:Handel 5391:Campra 5308:Sabini 5283:Muffat 5243:Clarke 5188:Amodei 5163:Schütz 5158:Schein 5128:Merula 5123:Michna 5073:Franck 5063:Coelho 4274:(1536) 4197:(1925) 4189:(1924) 4181:(1873) 4173:(1870) 4165:(1869) 4029:Danish 4013:(1993) 4005:(1602) 3989:(1524) 3981:(1524) 3973:(1524) 3954:(1958) 3946:(2006) 3938:(1982) 3930:(2006) 3922:(1989) 3914:(1941) 3906:(1978) 3898:(2006) 3890:(1996) 3882:(1912) 3874:(1917) 3866:(1993) 3578:Scores 3465: 3442: 3399: 3336: 3214: 3156: 3065: 2867: 2827: 2787: 2675:, Ed. 2537:Johann 2529:, and 2436:Wagner 2292:, and 2262:, and 2206:psalms 2194:masses 2190:motets 2164:motets 2076:Finale 2033:French 2010:dotted 2006:Adagio 1982:Sonata 1950:suites 1845:suites 1729:Dorian 1642:Listen 1619:Listen 1430:Apollo 1160:Listen 1047:Fugues 794:Kraków 734:fugues 529:Weimar 521:Erfurt 509:Erfurt 507:, the 395:Caspar 342:cantor 190:(also 162:Amalia 6228:Music 6121:Dance 6000:suite 5975:opera 5955:fugue 5950:folia 5923:gigue 5908:dance 5851:canon 5789:viola 5759:organ 5719:flute 5694:cello 5654:Soler 5619:Hasse 5594:Boyce 5557:1720) 5531:Weiss 5521:Vinci 5461:Lotti 5406:Fasch 5359:1700) 5263:Kerll 5233:Cesti 5181:1650) 5148:Rossi 5118:Lawes 5113:Landi 5046:1600) 3730:Organ 2983:, 14. 2929:, 16. 2917:, 15. 2755:, 12. 2572:that. 2509:Duden 2457:Notes 2447:' 2444:Canon 2418:gigue 2041:arias 1963:tonic 1938:fugal 1918:canon 1898:Biber 1882:arias 1858:gigue 1600:motif 1079:pitch 914:fugue 837:pedal 805:] 748:Works 645:Gotha 558:) in 449:Haydn 218:era. 212:fugue 138:( 134: 120:( 116: 93:Works 5970:mass 5836:aria 5784:viol 5754:oboe 5749:lute 5734:harp 5714:drum 5664:Zach 5564:Arne 5353:Late 5313:Sanz 5208:Blow 5138:Peri 3618:The 3463:OCLC 3440:ISBN 3397:ISBN 3334:ISBN 3300:2023 3274:2019 3243:2019 3212:ISBN 3154:ISBN 3063:ISBN 3001:2024 2865:ISBN 2825:ISBN 2785:ISBN 2312:and 2222:and 2148:harp 2134:and 2107:and 2101:SATB 2015:and 1996:and 1924:and 1850:keys 1733:time 1587:and 1438:keys 1434:lyre 1305:and 889:note 587:and 293:Life 261:and 253:and 210:and 196:O.S. 164:and 77:Died 70:O.S. 49:Born 5416:Fux 4334:and 3570:at 3550:at 3389:doi 2596:DTÖ 2438:'s 2422:key 2332:'s 2276:or 1984:or 1904:or 1900:'s 1754:or 1432:'s 1119:bar 1072:at 952:by 899:). 856:'s 847:or 792:in 718:to 659:). 527:in 519:in 386:at 344:of 6240:: 5555:c. 5357:c. 5179:c. 5044:c. 3461:. 3423:. 3395:. 3387:. 3291:. 3260:. 3234:. 3189:. 3177:^ 3061:. 3047:; 3032:^ 3020:, 2946:^ 2893:^ 2863:. 2849:; 2823:. 2809:; 2783:. 2769:; 2614:" 2535:. 2523:, 2487:əl 2481:ɑː 2453:. 2336:. 2304:, 2288:, 2272:, 2146:, 2138:; 2099:, 2043:. 1965:, 1884:. 1868:, 1864:, 1758:. 1739:. 1563:. 976:. 921:: 803:ca 736:. 607:. 438:. 364:. 246:. 160:, 140:m. 122:m. 56:, 6192:: 5553:( 5355:( 5014:e 5007:t 5000:v 3837:e 3830:t 3823:v 3786:) 3782:( 3681:e 3674:t 3667:v 3469:. 3448:. 3405:. 3391:: 3342:. 3302:. 3276:. 3245:. 3220:. 3193:. 3162:. 3097:. 3073:‎ 3071:. 3003:. 2956:. 2875:‎ 2873:. 2835:‎ 2833:. 2795:‎ 2793:. 2545:. 2502:/ 2499:l 2496:ɛ 2493:b 2490:ˌ 2484:k 2478:p 2475:ˈ 2472:/ 2404:. 1825:. 1709:. 1543:. 1403:. 1265:. 1041:. 759:. 348:( 34:. 20:)

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