Johann Pachelbel displayed prodigious talent from an early age. He received his first musical training from his father, who was a skilled organist. Recognizing his son's potential, Pachelbel's father provided him with comprehensive musical education. Pachelbel further honed his skills through his studies with renowned composers such as Heinrich Schwemmer and Jean Caspar Kerll.
The Story Behind "Canon In D Major" by Pachelbel
Like his other works, Pachelbel's Canon went out of style, and remained in obscurity for centuries. A 1968 arrangement and recording of it by the Jean-François Paillard chamber orchestra gained popularity over the next decade, and in the 1970s the piece began to be recorded by many ensembles; by the early 1980s its presence as background music was deemed inescapable. From the 1970s onward, elements of the piece, especially its chord progression, were used in a variety of pop songs. Since the 1980s, it has also found increasingly common use in weddings and funeral ceremonies in the Western world.
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Baroque music (US: /bəˈroʊk/ or UK: /bəˈrɒk/) is a period or style of Western art music composed from approximately 1600 to 1750.[1] This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the "classical music" canon, and is now widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel.
The Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this kind of arrangement has continued to be used in almost all Western popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.
During the period, composers and performers used more elaborate[clarification needed] musical ornamentation (typically improvised by performers), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata, fugue and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works.
The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl".[2] Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, and later (1750) in a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome; and from Jean Jacques Rousseau in 1768 in the Encyclopédie in his criticism of music that was overly complex and unnatural. Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term "baroque" was adopted from Heinrich Wölfflin's art-history vocabulary to designate a historical period in music.
Baroque Music Collection
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Johann Pachelbel - Vom Himmel hoch da komm ich her
Johann Pachelbel (baptised 1 September 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.
Pachelbel's music enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, as well as the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.
He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites.
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Baroque music is a period or style of Western art music composed from approximately 1600 to 1750.[1] This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the "classical music" canon, and is now widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel.
The Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this kind of arrangement has continued to be used in almost all Western popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.
During the period, composers and performers used more elaborate[clarification needed] musical ornamentation (typically improvised by performers), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata, fugue and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works.
The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl".[2] Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, and later (1750) in a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome; and from Jean Jacques Rousseau in 1768 in the Encyclopédie in his criticism of music that was overly complex and unnatural. Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term "baroque" was adopted from Heinrich Wölfflin's art-history vocabulary to designate a historical period in music.
CD 1 - An Excess Of Pleasure
CD 2 - The Winged Lion
An Excess Of Pleasure (CD 1)
Marco Uccellini (1603-1680)
Aria Sopra La Bergamasca
Nicola Matteis (fl. 1670)
Ayres for the Violin: Aria Sagnuola A Due Corde · Diverse Bizzarie Sopra La Vecchia Sarabanda o pur Ciaconna
Matthew Locke (1621/2-1677)
Broken Consort In D: Pavan · Ayre · Galliard · Ayre · Saraband
Christopher Simpson (c.1605-1669)
Divisions Of John Come Kiss Me Now
John Blow (1649-1708)
Sonata In A: Slow · Untitled · Brisk
Biagio Marini (c.1587-1663)
Sonata
Anon (c.1660)
Ciaconna
Franceso Geminiani (1687-1762)
Scots Airs: Auld Bob Morrice · Lady Ann Bothwell's Lament · Sleepy Body
Nicolas Matteis
Ayres For The Violin: · Andamento Con Divisione · Aria · Grave · Ground In D, La Sol Re Per Fa La Mano
Henry Purcell (1659-1695)
Two In One Upon A Ground
Nicola Matteis
Bizzarie All'imor Scozzeze
The Winged Lion (CD2)
Dario Castello (fl. 1620)
Sonata Duodecima
Giovanni Battista Vitali (1632-1692)
Ciaconnna
Marcelo Uccelini (1603-1680)
Sonata Quarto
Antoni Vivaldi (1676-1741)
Concerto in F major RV 100 · Allegro · Untitled · Allegro
Giovanni Battista Buonamente (d.1642)
Suite (Book III 1626)
Gagliarda Seconda · Corrente terza e quarta · Brando terza · Avanti il Brando · Brando Quarto
Franceso Cavalli (1607-1676)
Canzon
Santiago De Murcia (fl..1700)
El Amor · La Jota
Franceso Turini (1589-1656)
Sonata a tre
Antonio Vivaldi
Concerto in D major RV.84: Untitled · Largo · Allegro
Marco Uccelini
Aria undecima detta 'Il Caporal Simon' · Aria decimaquarta 'la mia pedrina' · Aira decimaquinta sopra 'le scatola da gli ogghi'
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