Pachelbel: The Complete Organ Works Vol.10

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Album Name Length Format Sample Rate Price
Pachelbel: The Complete Organ Works Vol.10 1:06:15 $11.98
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# Track Title Length Format Sample Rate Price
1 Aria a Minor (POP 10) 7:50 44.1/16 Album only
2 Prelude Eb Major (POP 251) 1:40 $1.49 Buy
3 Toccata and Fugue Bb Major (POP 286) 3:06 $1.49 Buy
4 Fantasia g Minor (POP 114) 3:39 $1.49 Buy
5 Fugue C Major (POP 137) 1:52 $1.49 Buy
6 Fugue C Major (POP 125) 1:03 $1.49 Buy
7 Fugue C Major (POP 126) 1:07 $1.49 Buy
8 Fantasia a Minor (POP 115) 1:54 $1.49 Buy
9 Fugue a Minor (POP 140) 2:25 $1.49 Buy
10 Fantasia d Minor (POP 112) 3:15 $1.49 Buy
11 Fugue b Minor (POP 121) 3:28 $1.49 Buy
12 Toccata e Minor (POP 281) 2:09 $1.49 Buy
13 Fugue e Minor (POP 123) 3:30 $1.49 Buy
14 Toccata C Major (POP 285) 2:35 $1.49 Buy
15 Fugue C Major (POP 143) 2:46 $1.49 Buy
16 Toccata D Major (POP 272) 1:38 $1.49 Buy
17 Fugue D Major (POP 134) 2:31 $1.49 Buy
18 Chorale Prelude »Herr Gott, dich loben alle wir« (POP 55) 2:11 $1.49 Buy
19 Chorale Prelude »Ich ruf zu dir, Herr Jesu Christ« (POP 58) 3:14 $1.49 Buy
20 Chorale Prelude »Ich ruf zu dir, Herr Jesu Christ« (POP 59) 4:37 $1.49 Buy
21 Chorale Prelude »In dich hab' ich gehoffet, Herr« (POP 60) 1:45 $1.49 Buy
22 Chorale Prelude »Meine Seele erhebt den Herren« (POP 69) 1:27 $1.49 Buy
23 Chorale Prelude »Meine Seele erhebt den Herren« (POP 70) 1:17 $1.49 Buy
24 Chorale Prelude »Nun freut euch, lieben Christen g'mein« (POP 71) 2:46 $1.49 Buy
25 Chorale Prelude »Nun lob, mein' Seel', den Herren« (POP 74) 2:30 $1.49 Buy

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"Pachelbel's art found its fullest expression in his treatment of the chorale. He mastered all the forms current at the time for setting chorale melodies, and generally presented the chorale unadorned in a clearly recognizable form (the melismatic chorale was developed by Buxtehude and, especially, Bach). His 75 chorale preludes present a wide range of approaches, all designed to sustain musical interest. Although some pieces use the ancient two-voice bicinium technique, most are written in three or four voices; to meet the requirements of the liturgy, the chorale melody is usually heard unornamented in the soprano, or in the long note-values as a cantus firmus. However, Pachelbel is never restricted by formula, and the melody sometimes moves to the tenor or bass, or is enriched by a delicate ornamental mantle. The accompanying voices incorporate fragments of the chorale in augmentation or diminution, or sometimes in imitation, recalling the fugal style at the heart of Pachelbel's art; fugue, after all, amplifies and solemnises the musical discourse by multiplying the appearances of a single motif. Each phrase of the chorale is thus introduced by a short fugato, or a preceded by a fugal preamble. Above all, Pachelbel was drawn to composite structures, where all the resources of his musical language sould be used to illustrate the spiritual atmosphere of the chorale: sorrowful chromaticism, passing dissonance, delicate arabesque-like figures or expressive rythmical formulae. His variation on chorale melodies clearly served as a model for the young Bach in his organ partitas." - Gilles Cantagrel