Contents Erster Theil etlicher Choräle

1 contents

1.1 ich ruf zu dir, herr jesu christ
1.2 wie schön leuchtet der morgenstern
1.3 nun lob, mein seel, den herren
1.4 vater unser im himmelreich
1.5 wir glauben einen gott
1.6 dies sind dir heil gen zehn gebot
1.7 jesus christus unser heiland, der von uns
1.8 vom himmel hoch, da komm ich her

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ich ruf zu dir, herr jesu christ

this famous chorale presented straightforward three-voice piece, cantus firmus in upper voice , brief snatches of fore-imitation in lower voices throughout setting.

wie schön leuchtet der morgenstern

the chorale wie schön leuchtet der morgenstern , associated variously epiphany, whit, annunciation, , sundays after trinity, set pachelbel three-voice prelude chorale in bass voice. pachelbel uses fore-imitation throughout piece: whenever next phrase of chorale begin, upper voices anticipate melodic contour in brief imitative passages.

nun lob, mein seel, den herren

the chorale nun lob, mein seel, den herren , old doxology setting of psalm 103, presented pachelbel in three-voice setting cantus firmus in tenor voice. arrangement of voices , white mensural notation, both derived german polyphonic song, unique in pachelbel s surviving oeuvre, ornamentation used in wir glauben einen gott.

vater unser im himmelreich

the chorale vater unser im himmelreich famous hymn, versification of lord s prayer. pachelbel presents four-voice setting chorale in upper voice. fore-imitation used throughout piece in well-developed three-voice sections, resulting in pachelbel scholar kathryn welter described magnificent of 8 preludes [of erster theil] in discipline of construction , richness of harmonies.

wir glauben einen gott

this setting of german creed wir glauben einen gott known example of ornamented cantus firmus setting in pachelbel s surviving works. style, goes time of jan pieterszoon sweelinck , heinrich scheidemann, not wholly unknown pachelbel, use ornamentation in chorale variations. possible explanation pachelbel may have been reluctant use ornamentation in pieces intended congregational singing. included piece in erster theil model. setting in 3 voices, , ornamented chorale in upper voice.

dies sind dir heil gen zehn gebot

the text of chorale references ten commandments. pachelbel s setting (p 50a) four-voice fugue in g mixolydian. first line of chorale used subject, appears 11 times. last statement of subject in lowest voice, establishing final notes pitch congregation enter after piece performed organist. setting (p 50b) formerly attributed pachelbel , included in set. has since been attributed johann gottfried walther.

jesus christus unser heiland, der von uns

the well-known communion hymn jesus christus, unser heiland, der von uns den gotteszorn wandt treated pachelbel in manner unexpected period: setting bicinium, i.e. two-voice piece chorale in long notes in 1 voice , fast ornamental passages in other voice. such pieces popular hundred years before pachelbel s time, end of 17th century seen. pachelbel modifies old form splitting bicinium 2 sections: first has cantus firmus in upper voice , ornaments in lower voice, while second (starting @ bar 30) reverses arrangement. further modification of classic bicinium form occurs when pachelbel uses technique of fore-imitation (for particularly known), when ornamental passages include motifs anticipate chorale melody. technique used in many instances throughout piece, including first bars.

vom himmel hoch, da komm ich her

for last piece of collection pachelbel chose martin luther s famous christmas hymn vom himmel hoch, da komm ich her. sets three-voice piece chorale in bass. unlike wie schön leuchtet der morgenstern uses same arrangement, upper voices not provide mere fore-imitation, engage in highly original figurations. pachelbel scholar ewald nolte suggested these intended imitations of birdsong, popular phenomenon in instrumental music of 17th century. in case, these fanciful figurations, compound 12/8 meter, suggest pastoral mood.