Johann Pachelbel organ works vol. II Matthew Owens The Frobenius Organ at Canongate Kirk, Edinburgh Johann Pachelbel (1653-1706) organ works vol. II Matthew Owens The Frobenius Organ at Canongate Kirk, Edinburgh 1 Toccata in G minor [1.43] 10 Fugue in C major [0.45] 2 Nun komm der Heiden Heiland [2.56] 11 Vater unser im Himmelreich [3.12] 3 Herr Christ, der einig Gottes Sohn [4.16] 12 Ich ruf zu dir, Herr Jesu Christ [3.40] 4 Wir glauben all an einen Gott [4.29] 13 Nun lob, mein Seel, den Herren [2.07] 5 Wie schön leuchtet der Morgenstern [3.10] 14 An Wasserflüssen Babylon [5.48] 6 Aria Prima in D minor [10.15] 15 Fugue in D minor [1.22] 7 Fugue in A minor [2.18] 16 An Wasserflüssen Babylon [4.40] 8 Jesus Christus, unser Heiland, der von uns [3.14] 17 Magnificat tertii toni [15.56] 9 Dies sind die heilgen zehn Gebot [2.04] Total playing time [72.01] Recorded on 13-14 October 2005 24-bit digital editing: Adam Binks Photography © Delphian Records Delphian Records Ltd – Edinburgh – UK at Canongate Kirk, Edinburgh 24-bit digital mastering: Paul Baxter Design: Drew Padrutt www.delphianrecords.co.uk Producer & Engineer: Paul Baxter Photography: Raymond Parks Booklet editor: John Fallas With thanks to Mrs Alison Robertson and Dr John Willmett Johann Pachelbel (1653-1706) organ works vol. II Matthew Owens The Frobenius Organ at Canongate Kirk, Edinburgh 1 Toccata in G minor [1.43] 10 Fugue in C major [0.45] 2 Nun komm der Heiden Heiland [2.56] 11 Vater unser im Himmelreich [3.12] 3 Herr Christ, der einig Gottes Sohn [4.16] 12 Ich ruf zu dir, Herr Jesu Christ [3.40] 4 Wir glauben all an einen Gott [4.29] 13 Nun lob, mein Seel, den Herren [2.07] 5 Wie schön leuchtet der Morgenstern [3.10] 14 An Wasserflüssen Babylon [5.48] 6 Aria Prima in D minor [10.15] 15 Fugue in D minor [1.22] 7 Fugue in A minor [2.18] 16 An Wasserflüssen Babylon [4.40] 8 Jesus Christus, unser Heiland, der von uns [3.14] 17 Magnificat tertii toni [15.56] 9 Dies sind die heilgen zehn Gebot [2.04] Total playing time [72.01] Recorded on 13-14 October 2005 24-bit digital editing: Adam Binks Photography © Delphian Records Delphian Records Ltd – Edinburgh – UK at Canongate Kirk, Edinburgh 24-bit digital mastering: Paul Baxter Design: Drew Padrutt www.delphianrecords.co.uk Producer & Engineer: Paul Baxter Photography: Raymond Parks Booklet editor: John Fallas With thanks to Mrs Alison Robertson and Dr John Willmett Notes on the music Recent years have been kind to the reputation him clearly in the direction of a number of the the following year and the period of mourning Protestant churches of the time, and the of Johann Pachelbel as a south German baroque greatest Italian composers of the day. Prentz that followed considerably stunted the regular contract made it clear that the prelude was composer. For many years following his death was himself a pupil of Johann Kaspar Kerll, pursuits of the court and its musicians. Pachelbel to be composed beforehand and not to be in 1706 he was mainly accepted as a significant who was in turn a pupil of Italian composer left Eisenach in 1678 to become the organist of extemporised at the organ. It was this body of contributor to the keyboard genre, and notably Giacomo Carissimi, and perhaps even the Predigerkirche in the central German town of works – and in particular the chorale preludes – as a composer of organ works generally illustrious Girolamo Frescobaldi. Pachelbel’s Erfurt – his longest tenure in any one place. By that Pachelbel composed at Erfurt that propelled intended for use in the church. However, this south German predecessors included Samuel the time Pachelbel left the church at Erfurt in him into the front rank of German composers of long-held and admirable standing has now Scheidt (who had studied in Amsterdam under 1690, his renown as a composer and teacher the time. In his subsequent and final post at St blossomed to the point that he is widely Jan Pieterszoon Sweelinck) and Johann Jakob had become widespread and he took up the Sebaldus in Nuremberg, Pachelbel also wrote a regarded as one of the principal and pioneering Froberger (who was possibly a pupil of Scheidt). post of court musician and organist, this time at great number of Magnificat fugues to precede composers of his day – not just of keyboard The composers of the Nuremberg School also the Württemburg court in Stuttgart. Misfortune the singing of the Magnificat text at Vespers, forms, but also of chamber and vocal music, had some influence on Pachelbel; they included prevailed again, however, and two years later he which served to further augment his by then both sacred and secular. such names as Johann Erasmus Kindermann, left the court and Stuttgart in order to escape considerable recognition. Georg Caspar Wecker and Heinrich Schwemmer, an invasion by the French, becoming the town While Pachelbel has never commanded the the latter of whom gave Pachelbel some of his organist at Gotha in Thuringia from 1692. Pachelbel’s style when composing for the organ same respect and stature as some of his near earliest musical tuition. was one of great lyricism and predominantly contemporaries and successors – Dietrich In 1695 Pachelbel returned to the town of his clear writing. The holding-in-check of musical Buxtehude and Johann Sebastian Bach in Following the completion of his studies, birth, Nuremberg, to succeed Georg Caspar flamboyance in the more reserved South particular – he was without doubt a prolific and Pachelbel was appointed assistant organist Wecker, who had died in service as the dictated that musical line – particularly in the innovative composer of great intellect. In his at St Stephen’s Cathedral in Vienna in 1673, organist of the church of St Sebaldus. This was case of chorale melodies used within Pachelbel’s own lifetime his hard-earned reputation as both possibly through Prentz, allowing him to have to be his final post; Pachelbel remained at St music – was clear and little decorated. In his composer and teacher went far and wide, and he contact with Kerll, who was cathedral organist. Sebaldus until his death eleven years later, and vocal and chamber music, however, which like was fortunate enough, unlike J.S. Bach, not to be While Pachelbel was not necessarily a pupil of it was here that he cemented his position of his organ music was composed throughout his almost totally neglected following his death. Kerll, the older composer’s Italianate influence prominence as a leading composer of his time. career, there was a degree of virtuosity and becomes apparent through Pachelbel’s own flamboyance as well as a more vibrant richness There were a number of venerable influences music, in which he was to develop and It was partly due to the particular circumstances of texture. on Pachelbel’s musical style. Following a encourage a combination of German and Italian of Pachelbel’s employment at different churches wide education that saw him pull out of the baroque forms and practices. that he began to compose specific works. His Pachelbel’s influence on his successors was university in Altdorf due to a shortfall in financial appointment at Erfurt was significant in this significant. As a prolific teacher he had many support from his father, Pachelbel attended Pachelbel’s stay at St Stephen’s was relatively respect, as his contract detailed that he was to pupils, although much of his influence came the Gymnasium Poeticum in Regensburg as short and in 1677 he moved to Eisenach to compose a prelude to be played before the through consequent knowledge of his works a scholarship student from around 1670. become organist at the court of the Duke of singing of each chorale by the congregation rather than directly as a pedagogue. Printing Here he was to study extracurricular music Saxe-Eisenach. His employment here was to and to be based on the chorale melody itself. at this time was uncommon and expensive, with Kaspar Prentz, who would have pointed be even shorter, as the Duke’s brother died This was becoming a regular practice in and, typically, only a relatively small amount Notes on the music Recent years have been kind to the reputation him clearly in the direction of a number of the the following year and the period of mourning Protestant churches of the time, and the of Johann Pachelbel as a south German baroque greatest Italian composers of the day. Prentz that followed considerably stunted the regular contract made it clear that the prelude was composer. For many years following his death was himself a pupil of Johann Kaspar Kerll, pursuits of the court and its musicians. Pachelbel to be composed beforehand and not to be in 1706 he was mainly accepted as a significant who was in turn a pupil of Italian composer left Eisenach in 1678 to become the organist of extemporised at the organ. It was this body of contributor to the keyboard genre, and notably Giacomo Carissimi, and perhaps even the Predigerkirche in the central German town of works – and in particular the chorale preludes – as a composer of organ works generally illustrious Girolamo Frescobaldi. Pachelbel’s Erfurt – his longest tenure in any one place. By that Pachelbel composed at Erfurt that propelled intended for use in the church. However, this south German predecessors included Samuel the time Pachelbel left the church at Erfurt in him into the front rank of German composers of long-held and admirable standing has now Scheidt (who had studied in Amsterdam under 1690, his renown as a composer and teacher the time.