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.
IV
In bringing to a close this study of the precursors of Bach, it remains for us to speak of Buxtehude, the master of his choice.