1. Johann Pachelbel

2. Nuremberg, Germany Born around August 1653 in Nuremberg Germany
Johann Pachelbel was born around August 1653 in Nuremberg Germany. Not much is known about his childhood but some information is known about his later years.

3. Saint Lorenz High School
Johann attended Saint Lorenz high school.
His music potential was discovered by his father during his high school years.
Johann attended Saint Lorenz high school. It was here that his father recognized his music potential. His father wanted Johann to receive private music instruction.

4. Georg Casper Wecker & Heinrich Schwemmer
Johann's first music instructors
Heinrich Schwemmer, and organist Georg Casper Wecker became his music instructors which began Johann’s musical career.

5. University of Altdorf 1669
Johann was a very educated man, not just in music but other subjects as well. He attended the Auditorium Egidianum where he took various non-musical related courses. These classes were usually reserved for upper class children, but an exception was made because of Johann's academic ability. Continuing his schooling, he entered the university at Altdorf in He also served as organist at the Lorenzkirche. After less than a year his father lacked the funds to keep him at the university and he was forced to withdraw.

6. Gymnsium Poeticum Rosenberg, Germany 1670
In the spring of 1670, he enrolled in the Gynasium Poeticum in Rosenberg. The school was so impressed with how much he had achieved that they gave him a scholarship and accepted him above and beyond their normal quota of students.

7. Kasper Prentz Johann is introduced to Italian Music
In addition they also made arrangements for him to study privately with Kasper Prentz, who introduced Johann to Italian music. Had Johann not studied with Kasper Prentz, he would have never been introduced to Italian music.

8. Vienna 1673
In 1673 Johann decided to travel to Vienna. He studied the works of catholic composers from Italy and southern Germany. While at Vienna he became deputy organist at Saint Stephens Cathedral.

9. Eisenach, Thuringen 1677
Johann meets Johann Amborsius Bach, the future father of Johann Sebastian Bach.
In 1677 Johann returned to Germany and became organist in Thuringen at the Eisenach court, where he served for slightly over a year. During this time he tutored musicians on the side. While doing so, he became a close friend of the towns most prominent musician, Johann Amborsius Bach, the future father of Johann Sebastian Bach, and his family. His relationship with this family grew and in Johann Amborsius Bach asked him to be the godfather of his daughter Johanna Juditha Bach.

10. Protestant Predigerkirche 1678
In 1678 Johann became the organist at the Protestant Predigerkirche at Erfurt. He remained at this position for 12 years where he established his reputation as organist, composer, and teacher. He met Johann Christoph Bach, the eldest son of Johann Ambrosius Bach, during this time. He began to tutor Johann Christoph Bach in musical education and later would teach his brother Johann Sebastian Bach all he knew about music.

11. 1681-1683 Johann married Barbara Gabler in 1681.
In 1683 both Barbara and their first child died due to the plague.
In August of 1684 Johann remaired Judith Drommer and had seven children.
In 1681 Johann married Barbara Gabler and in became a father. His first wife and infant child died that September because of the plague. During this time, he wrote four sets of chorale variations titled of Musicalishe Sterbens-Guidance meaning Musical Thought of Death.
The next August he married Judith Drommer. They had seven children together. Johann always took the time to tutor students and his own children. One of their children, Wilhelm Hieronymus Pachelbel, became the composer, and organist who acted as his fathers successor at Nuremberg for thirty-nine years.

12. 1695 Church of Saint Sebald
Johann spent many years as an organist in many different cities. In Stuttgart he became musician and organist for the Wurttemberg court. He enjoyed this position but it was cut short because of an impending invasion of French forces. He went to Gotha and became the town organist. Then, he was offered a position as an organist in Oxford, England but rejected it. Stuttgart also asked him to return but again rejected it. Around this time his music was becoming more popular in Europe.
On April 20th 1695, his mentor Georg Caspar Wecker died, leaving the organists post vacant at the Sebalduskirche (Church of Saint Sebald) in his hometown of Nuremberg. Church authorities were so anxious to have Johann appointed, they decided not to have auditions and helped pay his moving expenses. In the spring of 1695 he officially asked to be released form his position in Gotha and in July of that year took his mentors position which he held until his death March 9th, 1706 at the age of 52.

13. Canon and Gigue Published in 1919 by Gustav Beckman.
First recording by Arthur Fielder.
One of the most popular pieces of music written by Johann Pachelbel is called Canon and Gigue. Canon is grouped in the Chamber music genre. Chamber music was made to be played in a small intimate area like a chamber room. Although written in the 1600's it wasn't published until by Gustav Beckman. Since that time, it has been republished and recorded. The first recording was by Arthur Fielder. As all artists do, the piece has had some changes from its original version. For example, Canon was originally made to be played at a faster tempo than what is normally played now. The closest version to the original is found on the CD titled Buxtehude and Pachelbel Chamber Music. It is performed by Musica Antiqua Köln.
Canon has been used time after time at many weddings. It is rumored to be written for the wedding of Johann Christoph Bach although there is no proof. The slower variation of Canon prove to give a romantic feeling perfect for that type of setting. The faster version, while still romantic, seems to be a bit more upbeat.
Canon starts first with a bass playing a continuous background. The next instrument starts with an inverted arch and a couple measures later the next instrument begins with the same tune as the first just as a round. Depending on the variation and arrangement of this song, it averages four minutes and thirty seconds. The original score is approximately three minutes.

14. Texture is polyphonic with repetitive form.
Played by Harpsichord and Cello setting the rhythm and melody which is played by 3 violins.
Texture is polyphonic with repetitive form.
There are 9 variations of the melody with the violins playing continuously in a round.
Original score is approximately 3 minutes. Most recent versions average 4 minutes to 4 minutes 30 seconds.
Canon and Gigue in D
Played by Harpsichord and Cello setting the rhythm and melody played by 3 violins. Texture is polyphonic with repetitive form.
:00 Introduction to melody in duple meter with Cello and Harpsichord
:07 First violin begins round in andante tempo. Rhythm is 1 note for every 2 beats. Variation 1 on melody.
:14 Second violin joins round
:21 Third violin joins round
:34 Variation 2 of melody with Moderato tempo. Rhythm increase to 1 note per beat. 2nd and 3rd violin join respectively
:46 Variation 3 of melody with Moderato tempo due to melody played by Violin 2 and 3. Rhythm is 1 note for every 2 beats.
:59 Variation 4 of melody with Allegro tempo. Rhythm increases to 4 notes per beat.
1:23 Variation 5 of melody with Moderato tempo. Mythic is 1 note per beat.
1:43 Variation 6 of melody with Vivace tempo. Rhythm is 4 notes per beat. Begins with inverted arch.
2:02 Variation 7 of melody with Moderato tempo. Rhythm is 1 note per beat.
2:14 Variation 8 of melody with Moderato tempo. Rhythm is 4 notes per beat.
2:35 Variation 9 of melody with Andante tempo. Rhythm is 2 notes per beat. Violins play in a higher pitch and each violin finishes round.
3:02 Violins end on harmonious note.

15. Aria Con Variazioni in A Major
Another beautiful song by Johann Pachelbel is Aria Con Variazioni in A Major and can be found on the same CD. Like many other pieces by Johann, there is not much known about the history of this piece of music. Just like Canon, Aria Con Variazioni is considered Chamber Music.
Aria Con Variazioni has a repeated theme throughout the song. Each time the theme is repeated, there are slight variations to the melody. Although it is not played in a round as Canon, each time the theme restarts it builds upon itself making the song more beautiful each time. This song averages ten minutes.

16. There are 21 variations each differing in tempo.
Played by 2 violins and harpsichord. Texture is polyphonic with repetitive form.
There are 21 variations each differing in tempo.
Each variation is repeated once and the next variation begins.
Song averages 10 minutes.
Aria Con Variazioni in A Major
Played by 2 violins and harpsichord. Texture is polyphonic with repetitive form.
:00 Variation 1 violins play same notes in Adagio tempo. Rhythm is 2 notes per beat. :15 repeat
:32 Variation 2 in Adagio tempo. 2nd violin plays harmony in chords. :52 repeat
1:13 Variation 3 in Moderato tempo. Rhythm has increased with more notes being added to the melody. 2nd violin increases harmony playing some extra notes with chords. 1:27 repeat
1:38 Variation 4 in Moderato tempo. Similar to Variation 3 in harmony. 1:54 repeat
2:10 Variation 5 in Moderato tempo. 2nd violin increases harmony. 2:22 repeat
2:34 Variation 6 in Moderato tempo. Similar to Variation 5 however it is lower in pitch. 2:49 repeat
3:04 Variation 7 in Allegro tempo. 3:15 repeat
3:26 Variation 8 in Allegro tempo. Texture is more full in this variation rather than Variation 7. 3:40 repeat
3:54 Variation 9 in Vivace tempo. Rhythm has increased with more notes being added to the melody. 4:05 repeat
4:15 Variation 10 in Vivace tempo. 4:29 repeat
4:43 Variation 11 in Vivace tempo. 2nd violin increases harmony. 4:54 repeat
5:04 Variation 12 in Vivace tempo. 5:18 repeat
5:33 Variation 13 in Andante tempo. Rhythm has slowed with less notes being played within the melody. 5:47 repeat
6:00 Variation 14 in Andante tempo. 6:18 repeat
6:37 Variation 15 in Allegro tempo. Rhythm has increased with more notes being played within the melody. 6:48 repeat
6:58 Variation 16 in Allegro tempo. 7:11 repeat
7:25 Variation 17 in Moderato tempo. Mythic has slowed with less notes being played within the melody. 7:37 repeat
7:49 Variation 18 in Moderato tempo. 8:04 repeat
8:21 Variation 19 in Vivace tempo. Rhythm has increased with more notes being played within the melody. 8:31 repeat
8:42 Variation 20 in Vivace tempo. 8:56 repeat
9:11 Variation 21 in Grave tempo. Rhythm significantly decreases with less notes being played within the melody. 9:30 repeat
9:55 ends

17. Both works are found on Buxtehude and Pachelbel Chamber Music performed by Musica Antiqua Köln.

18. Bibliography
. Eric James Mosterd, Web. September 10,2010.
unknown. Web. September 12, 2010.
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Encyclopedia of World Biography, Edition 1, Web. September 12, 2010.
unknown. Web. September 12, 2010.
Unknown. Web.