III
We have remarked that Froberger's importance is derived especially from his introduction of the traditions of Frescobaldi, although he impressed upon them the stamp of his own individuality and less exalted ambitions.
Johann Pachelbel was also destined to absorb some of the reflected genius of the great organist, two generations later; but he availed himself of it in a wholly individual manner, imbuing it with his own keen sense of the religious. Caspar Kerl,[43] who had studied in Rome at a time when the influence of Frescobaldi was still potent, gave Pachelbel his first insight into the characteristics of the master's work.
They became acquainted in Vienna; Kerl was organist at St. Stephen's, and Pachelbel was sufficiently advanced in his art to warrant his engagement as substitute for the former. Excepting his stay in Vienna, Pachelbel led a somewhat restless life, although in a smaller circle than that traversed by Froberger. Born at Nuremberg (September 1, 1653), he learned the elements of composition from Prentz, at Regensburg, after which he occupied several positions as organist, the succession of which is not accurately known, as regards dates; we know, however, that he was at Eisenach from 1675 to 1678. The other years were divided between Erfurt, Stuttgart, and Gotha; finally, upon the death of the organist Wecker, he settled in Nuremberg, in 1695. He died there March 3, 1706.
Despite this apparent restlessness, Pachelbel's life was quiet, full of that peace of mind which is characteristic of a profoundly pious nature.
His works betray the influence of such a sentiment, although he did not force upon his compositions that religious tone which a more studied method of procedure would have imparted to them. Their inherent character is purely emotional. To his chorale-preludes he lends a mystical significance, a devotional intimacy which was then unparalleled. While following the example of Scheidt in announcing or accompanying every melodic phrase by a counterpoint based upon a fragment of the phrase itself, he greatly improved the whole by making the movement more flowing; again, by a more intelligent choice of themes he attained the unity of expression demanded by the true sentiment of the chorale. These counterpoints are often symbolic in nature, as is so often the case with Bach; and the harmony is most expressive of that calm and plenitude which suggests the infinite, the essence of all religious music.
Pachelbel rarely varied the melody of the chorale. Heralded by the figuration of the accompanying parts, the cantus establishes itself over all, intensifying in its progression in even notes (for the most part diatonic) the exalted seriousness of the sacred text.
The Chorale is charged with having accustomed the German people, for the past three hundred years, to express their sorrows and their rejoicings in the same tone;[44] especially is ascribed to it that heavy rhythm, which has been likened to a "parade step." But precisely from this contrast between a melody which moves, wholly impersonally, ever onward upon its dignified course, while the sentiments of joy, of sadness are expressed in the embellishing counterpoint, is the inherent grandeur of such compositions derived.
The versets of Frescobaldi alone succeeded in suggesting to Pachelbel the idea of this form; up to this time none of the German organists had understood how to give such importance to a liturgical melody, despite the resources of their instruments with several manuals; the chorale-preludes of S. Scheidt (1587-1654) were of an analogous character, it is true; but they lacked the serenity of Pachelbel's compositions in this form, and most of the other musicians were still under the influence of the bad taste of the "colorists," seeking to impart to the melody, by means of diminutions and florid ornaments, the very expressiveness which they were incapable of taking away from it.
The following is an example of the manner in which Pachelbel wrote his chorales; it is the beginning of the first verse of "Vater unser im Himmelreich,"[45] the melody of which was used by Mendelssohn as the subject of his sixth organ sonata. Each verse is similarly introduced by a few measures in fugued style, the subject of which was borrowed from the corresponding portion of the melody.
When, in connection with Bach, we speak of Chorales conceived in the style of Pachelbel, it is to this type that we refer:
For the last verse:
Pachelbel preludizes in this manner:
In addition to numerous chorales we have quite a number of fugues by Pachelbel.
Here is noticeable this great advance step: the majority are tonal. Their subjects are broader, and of a melodic character which distinguishes them from the themes of their contemporaries, which were simple phrases, or parts of a progression, with no "respiration."
Thus, while in the sixth Toccata of Muffat,[46] one of the most remarkable composers of his time, we find this scanty theme (we have chosen it from among the better developed ones of that epoch),
we encounter this in Pachelbel:
or this:
The developments, too, are more consistently polyphonic in nature; they are more extended, by the simple logic of musical speech, without having recourse to foreign devices.
In his Toccatas, Pachelbel generally presents to us passages in sixths or tenths for the hands, firmly sustained by pedal notes of long duration, sometimes with changes of rhythm of extremely happy effect. One among others[47] contains a pastoral theme; and this is not an isolated example, for Pachelbel seems to have been fond of popular melodies. Some of these subjects, with their 12/8 rhythm, express the good-nature and simplicity of rustic tunes.
The greater part of Pachelbel's compositions may be found in the first volume of the Musica sacra. Others are published in various collections; we would mention in particular a Toccata and a Ciaccona, until now never published, which G.A. Ritter presents in his work Zur Geschichte des Orgelspiels.
Thanks to these publications, we may form an opinion of Pachelbel's music, always conservative and markedly religious in character.
Pachelbel had many pupils; so great was his fame that many organists, desirous of making a name for themselves, claimed to have been under his tutelage; but "every one cannot have been a pupil of Pachelbel," said Mattheson in the course of a celebrated discussion with one of them, the organist Buttstedt.[48]
This honor (of so much importance to us is this fact) did fall to the lot of Christoph Bach, elder brother of Johann Sebastian, and from whom the latter received his first lessons.