1	Chaconne En Fa Mineur		6:39
2	Prelude En Sol Mineur	1:06
3	Fantaisie En Sol Mineur	3:04
4	Choral Warum Betrubst Du Dich Meine Seele	3:16
5	Fantaisie En Mi Bemol Majeur		2:54
6	Choral Was Gott Tut Das Ist Wohl Getan	9:08
7	Choral Vom Himmel Hoch Da Komm Ich Her	2:07
8	Toccata En Fa Majeur	2:28
9	Choral Wie Schon Leuchtet Der Morgenstern	2:56
10	Aria Sexta Sebaldina	8:17
11	Choral Wir Glauben All An Einen Gott	3:48
12	Toccata En Fa Majeur	2:05
13	Choral O Lamm Gottes Unschuldig 	4:29
14	Toccata En Ut Mineur	2:15
15	Fugue En Ut Mineur	1:38
16	Ricercar En Ut Mineur	4:42
17	Toccata En Mi Mineur	1:42
18	Prelude En Sol Majeur	0:52
19	Choral Allein Gott in Der Hoh Sei Her	3:41
20	Chaconne En Re Majeur	7:46

Olivier Vernet – organ

Sein 350. Geburtstag bringt dem großen Barockmeister Johann Pachelbel endlich wieder die Aufmerksamkeit, die er verdient. Verdeckt durch die einseitige Bach-Rezeption des 19. und 20. Jahrhunderts, die in den Meistern des 17. Jahrhunderts nur Vorläufer des Leipziger Thomaskantors zu sehen vermochte, geriet der in Nürnberg geborene und verstorbene Pachelbel ins Abseits. Mit ihm, der süd- wie norddeutsche Elemente der freien und gebundenen Orgelkunst in sich vereinte, wusste die Zeit nicht allzu viel anzufangen, beschränken sich doch im Gegensatz etwa zu Buxtehude auch seine Anforderungen an die Spieltechnik häufig aufs Manualspiel und auf Orgelpunkte im Pedal. Dass große Kompostionskunst aber nicht von den Anforderungen an die Spieltechnik abhängt, das demonstriert diese CD vorzüglich. Die großen Variationsformen sind vertreten durch die Chaconne f-Moll, die Partita „Was Gott tut, das ist wohlgetan", durch die Aria „Sebaldina“ aus dem „Hexacordum Apollinis“ (Nürnberg 1699) und die Chaconne D-Dur. Die verschiedenen Toccaten- und Fantasieformen sind wiedergegeben durch mehrere Beispiele, darunter die Durezza in g-Moll, verschiedene Choralbearbeitungen ergänzen die Werkübersicht.

Die 1999 erbaute Orgel mit 27 Stimmen auf zwei Manualen und Pedal in St. Etienne in Baigorry des elsässischen Orgelbauers Rémy Mahler in Pfaffenhoffen ist für Pachelbels Werk ein durchaus geeignetes Instrument, nur wenige Einschwinggeräusche von Gedackten irritieren den Hörer. Das Booklet verschweigt leider die genaue Stimmung (tempérament légèrement inégal) und die Stimmtonhöhe.

Schade nur, dass mit Olivier Vernet ein in barocker Spielpraxis nicht tief versierter Organist am Instrument saß. So erklingt die Chaconne f-Moll in vielfach wechselnden Registrierungen bei instabilem Tempo, das Programm vereint absichtlich verschiedene Stücke nach Tonarten und „Gehalt“, so z.B. Toccata c-Moll mit Fuge c-Moll und dem Ricercare c-Moll, als wäre hier irgendein Bezug deutlich zu machen. Verschiedene Choralbearbeitungen aus den „Acht Chorälen zum Praeambulieren“ (Nürnberg 1693 und wohl schon in Erfurt vor 1690 gedruckt) sind über die CD verstreut, ohne dass ihre Zusammengehörigkeit und Zweckbestimmung im leider nur fanzösisch/englischen Booklettext auch nur erwähnt würde. Dieses gibt auch die Größe der Instrumente, die Pachelbel in Erfurt (Ludwig Compenius 1649, II/24) und Nürnberg (Traxdorf/Leyser 1444/1691, II/18) zur Verfügung standen, falsch wieder. Statt dessen verweist der Autor Gilles Cantagrel auf häusliche Vespern, in denen Pachelbels Kinder auf dem Spinett ihre Fertigkeiten vorgeführt hätten! Über solche hausgemachte Ideen vergisst er aber die liturgische Vesperpraxis mit ihren alternatim gestalteten Magnificat-Aufführungen in den evangelischen Kirchen an der Wende zum 18. Jahrhundert zu erwähnen. So beweist diese CD, dass es auch heute noch einen Weg zurückzulegen gilt, um sich musikwissenschaftlich und spieltechnisch einwandfrei und unbelastet von vorgegebenen Urteilen und Praxen dem großen Meister und Lehrer Johann Pachelbel zu nähern. ---Rainer Goede, kirchmusik.kirchkunst.de

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01 [I] Präludium in dm
02 [II] Fuga in dm
03 [III] Ciacona in dm
04 Choral: Nun komm, der Heiden Heiland
05 Choral: Meine Seele erhebet den Herren
06 Magnificat – Fuga
07 Choral: Gelobet seist du, Jesu Christ
08 Choral: Vom Himmel hoch, da komm ich her (I)
09 Choral: Vom Himmel hoch, da komm ich her (II)
10 Toccata in F
11 Choral: Wie schön leuchtet der Morgenstern
12 Ciacona in fm
13 Partita s. Choral Christus, der is mein Leben
14 [I] Präludium in cm
15 [II] Fuga in cm
16 Aria Sebaldina com variazioni
17 [I] Toccata in cm
18 [II] Ricercare in cm

Werner Jacob – organ

This is my favorite CD! Interesting compositions with complex accompaniments, performed wonderfully on the 1833 Joseph Callinet organ of St. Jean Baptiste, in Mollau, Alsace. This fascinating French organ has several bright reed stops, great mixtures, and a captivating variety of flutes, including an ethereal one and a unique transverse flute! Pachelbel's (lesser-known) organ music is absolutely delightful! Several selections feature the beautiful solo stops while giving you a joyous melody to remember and hum. ---Richard B. Snyder, amazon.com

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(01) Partie I in F
(sonata. allegro; allemand; courant; ballet - variatio; saraband; gigue)

(02) Partie II in c minor
(sonata; gavotte - variatio; trezza; aria; saraband; gigue)

(03) Partie III in E flat
(sonata. allegro; allemand; courant; gavotte; saraband; gigue)

(04) Partie IV in e minor
(sonata. adagio; aria; courant; aria; ciacona)

(05) Partie V in C
(sonata; aria; trezza; ciacona)

(06) Partie VI in B flat
(sonata. adagio; aria; courant; gavotte - variatio; saraband; gigue)

Musica Antiqua Köln:
Stephan Schardt - violin
Reinhard Goebel - violin
Klaus-Dieter Brandt - cello
Léon Berben – harpsichord

recorded: Sept 20, 2003, WDR-Funkhaus (Klaus-von-Bismarck-Saal), Cologne

The title of this release and the glowering skyscape on its cover are pure marketing – the piece from which the title comes is not about April weather at all – but I don’t think anyone lured by it into buying a disc of 17th-century chamber music need feel aggrieved. We don’t get enough reminders that Pachelbel was a real composer of quality chamber music, yet here is his complete Musikalische Ergötzung of 1695, consisting of six ‘Parthien’ (or suites) for two violins and continuo. Add in a seventh, unpublished suite, six secular songs and the Canon and Gigue, and these are ‘musical pleasures’ indeed.

If April is a red herring, the presence elsewhere in the artwork of Brueghel is more apt, for Pachelbel’s music has a strong sense of connection with the world. The songs deal feelingly with death, the perfidy of princes (that’s the April showers one), ‘Good Councillor Walther’ and a nameless patron, while the suites, for all their restless counterpoint, never lose touch with their grounded choreographic roots. Fine music, then, but not rarefied.

In Gli Incogniti it finds itself in expert hands. There is depth and sweetness to their sound, clarity and busyness to their counterpoint, and buoyancy to their expression of rhythm and line. They are as able to inhabit serious melancholy (in Partie IV for instance) as to access a sense of fun for dances such as the Aria of the ‘Partie a 4’ (to which they add a rat-a-tat finger-on-wood accompaniment) or in the occasional playful burst of pizzicato. Likewise, in the unassumingly strophic songs, they can quickly summon a mood, most movingly when viola-comforted death is the subject; Hans Jörg Mammel’s clear but plangent tenor helps, though I wish he had more ease of movement. The Canon is intelligently done, its slowly changing countenance subtly observed, and closing not in grandiose climax but gentle farewell. Less chiselled than London Baroque’s muscly 1994 recording, and more in tune than that of Les Cyclopes (7/95), this release is well worth your time. --- Lindsay Kemp, gramophone.co.uk

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1. Deus In Adjutorium
2. Christ Lag In Todesbanden
3. Halleluja! Lobet Den Herrn
4. Christ Ist Erstanden
5. Jauchzet Dem Herrn
6. Magnificat In C Major 

La Capella Ducale
Musica Fiata
Roland Wilson - conductor

While the ubiquitous Canon and Gigue in D refuses to suffer in obscurity--or even to stop reproducing and multiplying like a rampant tumor--recordings devoted to Johann Pachelbel's vocal music are extremely rare. It's a shame because Pachelbel's vocal works are often remarkably heartfelt and stirring. J.S. Bach was certainly impressed. Listen for instance to Pachelbel's richly textured, contrapuntal chorale cantata Christ lag in Todesbanden (Christ lay in the bonds of death) and compare it to Bach's famous later treatment (BWV 4). Bach's harmonic structure and thematic development throughout are remarkably similar to Pachelbel's earlier model. In fact, Pachelbel's subtler, seamless gradations between vocal and instrumental parts arguably heighten the solemn nature of Luther's familiar hymn more effectively than the master. For those who missed Rolf Schweizer's stunning, reverential, and long-deleted performance on Da Camera Magna (with Bachorchester Pforzheim), this leaner, more focused rendering by Roland Wilson with La Capella Ducale and Musica Fiata serves Pachelbel equally well. Like his nearly exact contemporary Heinrich Biber, Pachelbel was regarded in his day as quite the progressive, often extravagantly augmenting his vocal scores with antiphonal choirs and plenty of rousing brass and percussion. Though every work on this program incorporates these elements to some extent, the cantata Halleluja! Lobet den Herrn (Praise the Lord) offers the grandest, most celebratory display. The splendor of this unusually large setting for five trumpets, trombone, timpani, bells, strings, two oboes, harp, dulcian, full concertante and ripieno voices, and basso continuo is further complemented by Pachelbel's frequent use of permutation fugues (two or three contrasting themes played simultaneously in revolving cycles) that Wilson and his forces effortlessly negotiate. The disc's concluding Magnificat in C major, though longer and with slightly less instrumentation, equally impresses.

CPO's warmly reverberant, spacious yet detailed sound ideally suits the grand scale and often colorful scoring of these very appealing works. Pachelbel's vocal music is highly underrated, and listeners who are even remotely interested in music of this period are strongly encouraged to take a chance here. --John Greene, ClassicsToday.com

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Partie VI B Flat Major

1. Sonata Adagio
2. Aria
3. Courant
4. Gavotte-Variatio
5. Saraband              play
6. Gigue

Partie III E Flat Major

7. Sonata Allegro
8. Allemand
9. Courant
10. Gavotte
11. Saraband
12. Gigue

Partie IV E Minor

13. Sonata Adagio
14. Aria
15. Courant
16. Aria
17. Ciacona

Partie I F Major

18. Sonata Allegro
19. Allemand
20. Courant
21. Ballet-Variatio
22. Saraband
23. Gigue

Partie II C Minor

24. Sonata
25. Gavotte-Variatio
26. Trezza
27. Aria
28. Saraband
29. Gigue

Partie V C Major

30. Sonata
31. Aria                play
32. Trezza
33. Ciacona

Les Cyclopes

Laura Johnson, violin
Manfredo Kraemer, violin
Nina Diehl, cello
Thierry Maeder, positive organ
Bibiane Lapointe, harpsichord

Johann Pachelbel (baptized September 1, 1653 – buried March 9, 1706) was a German Baroque composer, organist and teacher, who brought the south German organ tradition to its 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, the only canon he wrote - although a true canon at the unison in three parts, it is often regarded more as a passacaglia, and it is in this mode that it has been arranged and transcribed for many different media. In addition to the canon, his most well-known works include the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.

Pachelbel's music was influenced by southern German composers, such as Johann Jakob Froberger and Johann Kaspar 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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Buxtehude
1.Sonata in G major BuxWV 271 - Sonata In G Major BuxWV 271

Sonata B-dur BuxWV 273
2. (Sonata:) Ciaccona - Adagio - Allegro/Adagio/Allegro
3. Allemande
4. Courante 
5. Sarabande
6. Gigue

7.Sonata in C major BuxWV 266 

Pachelbel
Partie (Suite) in G major
8. Sonatina 
9. Allemande 
10. Gavotte 
11. Courante 
12. Aria 
13. Sarabande 
14. Gigue 
15. Finale. Adagio 

Partie (Suite) in E minor
16. Sonata. Adagio - Aria 
17. Courante 
18. Aria 
19. Ciaccona 

20. Aria con variazioni in A major 

Canon and Gigue in D major
21. Canon 
22. Gigue 

Musica Antiqua Köln
Reinhard Goebel – conductor

A marvelous treatment of Pachelbel's lesser known works with a definitive performance of the all-too famous Canon. Too many interpreters of the Canon use the wrong tempo for this work, too slow and sentimental. This group does not and they have made it possible to listen to this work without gagging. They also do a wonderful job of presenting Buxtehude's chamber music. This composer is too often associated with ponderous Baroque organ music. This has been rectified in recent years by Musica Antigua Koln and the numerous other fine Baroque chamber groups and orchestras which have developed in the past twenty years( Freiburger Barock, Akadamie fur Alte Musik, Philharmonia Baroque, Boston Baroque Portland Baroque, Seattle Baroque, Venice Baroque, Il Giardino Armonico,Jordi Savall....the list goes on and on). Sad to say, Musica Antigua Koln is no more. They disbanded the ensemble a few years ago. If you can get your hands on any of their recordings, you should do so. There will be no more. --- J. Gabrielson, amazon.com

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Jean-Francois Paillard Chamber Orchestra • Canon in D
James Galway & Munich Radio Orchestra with John Georgiadis • Canon in D
Peerless 2x2 (piano duo) • Canon (over a Basso Ostinato)
Isao Tomita & the Plasma Symphony Orchestra • Canon of the Three Stars
Cleo Laine, James Galway & John Dankworth • How, Where, When? (Canon in D)
The Hampton String Quartet • Earth Angel
The Canadian Brass • Canon
BRR (shakuhachi & koto quintet) • Canon in F
The Concord String Quartet • Variations on the Pachelbel Canon in D
Clive Carroll • Canon
Platinum (a cappella vocal ensemble) • Canon
Sakakibara, Matsumoto, Tashiro & Ikeda • Sweet Home (based on Pachelbel's Canon)
Romero, Glaser, Irwin, Washington & Leatherbarrow • Canon
Arthur Fiedler Sinfonietta • Canon in D
Robert Salter & Guildhall String Ensemble with Paul Nicholson • Canon & Gigue in D

Pachelbel's Greatest Hit is an expansion of an earlier RCA Gold Seal staple of the same name (released as RCA Gold Seal 60712-2-RG). Whereas that package was rather stingily limited to only eight tracks, here you get Johann Pachelbel's only contribution to the standard repertoire in no less than 15 versions, all different from one another. This disc seemingly includes everything that was on the earlier disc except in that the "regular" Pachelbel Canon included is a digital recording by the artist and ensemble that initially popularized it on records (Jean-François Paillard) rather than a recording by Ettore Stratta with a pick-up ensemble. Among the new recordings of the famous Canon in D offered here is guitarist Clive Carroll's own solo arrangement, the duo pianists Peerless 2x2 performing Denes Agay's four-hand version, a rendition played on traditional Japanese instruments and Arthur Fiedler's lickety-split 1940 recording with his own Sinfonietta, the first ever made of Pachelbel's piece. Whether you have the patience to sit through all of these incarnations of the same work is up to the taste of the individual listener, and although it was shorter in content, the same held true of the original Gold Seal issue. Consider this, then, the "deluxe" edition of Pachelbel's Greatest Hit -- if you have the old one, you may not need it. But even if you love Pachelbel's Canon in D, this may still be more than you bargained for. ---Uncle Dave Lewis. Rovi

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