Erster Theil etlicher Choräle (Pachelbel, Johann)

Sheet Music


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BachFan (2016/9/22)

Copyist Unknown Scribe
Publisher. Info. Manuscript, n.d.(ca.1750-1800).
Misc. Notes Staatsbibliothek zu Berlin (D-B): 30194
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BachFan (2013/5/6)

Editor Max Seiffert (1868-1948)
Publisher. Info. Denkmäler deutscher Tonkunst, Zweite Folge:
Denkmäler der Tonkunst in Bayern; Jahrg.
Leipzig: Breitkopf und Härtel, 1903. Plate D.d.T.i.B. VI.
Misc. Notes Includes Dies sind die heil'gen zehn Gebot' by Walther*
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BachFan (2013/7/10)

Editor BachFan
Publisher. Info. BachFan
Misc. Notes After scores by Max Seiffert above.
Includes Dies sind die heil'gen zehn Gebot' by Walther*
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General Information

Work Title Acht Choräle zum Präambuliren
Alternative. Title Erster Theil etlicher Choräle welche bey währenden Gottes Dienst zum præambulieren gebraucht werden können, gesetzet, Und dem Clavier-Liebenden zum besten herauß gegeben
Composer Pachelbel, Johann
Opus/Catalogue NumberOp./Cat. No. P.45-52 ; T.1-8 ; WPC 1-8 ; RISM A/I: P 35
I-Catalogue NumberI-Cat. No. None [force assignment]
Key Various
Movements/SectionsMov'ts/Sec's 8 chorale preludes:
1. Ich ruf' zu dir, Herr Jesu Christ, P.45
2. Wie schön leuchtet der Morgenstern, P.46*
3. Nun lob, mein Seel', den Herren, P.47
4. Vater unser im Himmelreich, P.48
5. Wir glauben all' an einen Gott, P.49
6. Dies sind die heil'gen zehn Gebot', P.50a
7. Jesus Christus unser Heiland, P.51
8. Vom Himmel hoch, da komm' ich her, P.52
Year/Date of CompositionY/D of Comp. 1693 or earlier
First Publication. 1693 ? - Nürnberg: Johann Christoph Weigel (RISM A/I: P 35)
Language German
Composer Time PeriodComp. Period Baroque
Piece Style Baroque
Instrumentation organ
External Links Wikipedia article
Extra Information *Dies sind die heil'gen zehn Gebot' by Johann Gottfried Walther was once attributed to Pachelbel as P.50b and appeared in some manuscript copies of this collection. Walther may have based his setting on that of Pachelbel to an extent.

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IMPORTANT. At least no.2 in Seiffert is not actually P.46 (of course, Seiffert nowhere claims it is; his edition predates any such cataloguing) - as three RISM references that describe P.46's counterpoint, which is rather different from that in Seiffert's example, demonstrate - and it's wholly possible that some or all of the rest of these are also not what we are presently linking them to. No.2 is a different setting of Wie schön, either with a different P-cat# or by a different composer.