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Johann Pachelbel's beautiful interweaving of melody & harmony--one of the great works of music! Performed on original instruments by Voices of Music. Featuring Katherine Kyme, Carla Moore & Cynthia Freivogel, baroque violin; Tanya Tomkins, baroque cello, Hanneke van Proosdij, baroque organ; David Tayler, theorbo.
Soundtrack at voicesofmusic.org and
magnatune.com
HiDefinition version at
http://www.vimeo.com/1653186 in full stereo!
About the performance: the canon is played using not only the instruments but also the bowing techniques from the time of Pachelbel. As you can see from the video, especially if you look at the high definition version on Vimeo, the string instruments are not only baroque, but they are in baroque setup: this means that the strings, fingerboard, bridge and other parts of the violin appear just as they did in Pachelbel's time. No metal hardware such as chinrests, clamps or fine tuners are used on the violins, allowing the violin to vibrate freely. A good example of baroque bowing can be seen in the extended passage of repeated notes: the musicians play these notes on one bow—the shorter & lighter baroque bow--to created a gliding effect. The players also hold the bow very differently which affects the balance and touch. The organ used is made entirely of wood, based on German baroque instruments, and the pipes are voiced to provide a smooth accompaniment to the strings, instead of a more soloistic sound. The large bass lute, or theorbo, provides a complement to the organ not only in the texture of the chords but also the long strings which occasionally sound the bass notes an octave lower. The continuo players play supporting chords and voices to the canon, carefully avoiding parallels and doublings of the parts.

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JOHANN SEBASTIAN BACH (1685-1750)

Brandenburg concerto No. 5 for violin, transverse flute, harpsichord, ripieno violins, viola, cello and violone in D major BWV1050

1. Allegro

Performed by Concerto Italiano
Conducted by Rinaldo Alessandrini

*Winner of the Grammaphone editor's Choice award, and the 2006 Grammaphone award for best baroque intrumental recording

*It is believed that this concerto was written in 1719, to show off a new harpsichord by Michael Mietke which Bach had brought back from Berlin for the Cöthen court. It is also thought that Bach wrote it for a competition at Dresden with the French composer and organist Louis Marchand; in the central movement, Bach uses one of Marchand's themes. Marchand fled before the competition could take place, apparently scared off in the face of Bach's great reputation of virtuosity and improvisation.

The concerto is well suited throughout to showing off the qualities of a fine harpsichord and the virtuosity of its player, but especially in the lengthy solo 'cadenza' to the first movement. It seems almost certain that Bach, considered a great organ and harpsichord virtuoso, was the harpsichord soloist at the premiere. Scholars have seen in this work the origins of the solo keyboard concerto; indeed it is said to be the first-ever example.

**For OedipusColoneus, the biggest Concerto Italiano fan I know :)

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The ultimate version!

Extrait de Johann Pachelbel, une réjouissance musicale
(Belgique, 2006, 43mn)
ARTE / RTBF K
Konzert Johann Pachelbel in Brüssel
Musik (Belgien 2006, ARTE / RTBF)

Chef d'orchestre: Jean Tubéry
Chanteur: Les solistes du Choeur de Chambre de Namur

Une émission de la RTBF et de Arte G.E.I.E

L'histoire semble n'avoir retenu de l'oeuvre de Johann Pachelbel, organiste et brillant précurseur de Jean-Sébastien Bach, que son célébrissime Canon. Il a pourtant écrit de nombreuses autres pages d'une musique éclatante, simple et efficace. Le chef d'orchestre Jean Tubéry nous en fait découvrir quelques-unes, tirées des Psaumes de David, des Concerts spirituels et de plusieurs autres pièces instrumentales.

Johann Pachelbel war Barockkomponist, Organist und ein Zeitgenosse von Johann Sebastian Bachs Vater. Pachelbels Kompositionen waren ihrer Zeit weit voraus, denn sie verweisen bereits auf die Werke von Johann Sebastian Bach. Dies stellt das Konzert mit dem Ensemble "Les Agrémens" erneut unter Beweis. Auf dem Programm stehen die Kantaten "Jauchzet dem Herrn alle Welt" und "Christ lag in Todesbanden", sowie die Sonate für Streicher und Bass aus "Musikalische Ergötzung"

Von Johann Pachelbel scheint die Musikgeschichte heute nur noch eines zu kennen: seinen berühmten Kanon. Dabei hat der Organist und Freund von Johann Sebastian Bachs Vater, Johann Ambrosius Bach, den Leipziger Thomaskantor maßgeblich beeinflusst.
Dass Pachelbel mit Fug und Recht als ein brillanter Vorgänger Bachs bezeichnet werden kann, beweist das Konzert des Ensembles "Les Agrémens" und der Solisten des Kammerchors von Namur unter der Leitung von Jean Tubéry. Sie lassen Pachelbels schlichte, doch eingängige Werke in voller Schönheit erstrahlen.
Auf dem Programm stehen die Kantaten "Jauchzet dem Herrn alle Welt" und "Christ lag in Todesbanden", sowie die Sonate für Streicher und Bass aus "Musikalische Ergötzung" und als Zugabe der Kanon

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