A wall thermometer

Celsius, formerly known as centigrade,^[1] is a scale and unit of measurement for temperature. It is named after the Swedish astronomer Anders Celsius (1701–1744), who developed a similar temperature scale. The degree Celsius (°C) can refer to a specific temperature on the Celsius scale as well as a unit to indicate a temperature interval, a difference between two temperatures or an uncertainty. The unit was known until 1948 as "centigrade" from the Latin centum translated as 100 and gradus translated as "steps".

From 1744 until 1954, 0 °C was defined as the freezing point of water and 100 °C was defined as the boiling point of water, both at a pressure of one standard atmosphere with mercury being the working material.^{[citation needed]} Although these defining correlations are commonly taught in schools today, by international agreement the unit "degree Celsius" and the Celsius scale are currently defined by two different temperatures: absolute zero, and the triple point of VSMOW (specially-purified water). This definition also precisely relates the Celsius scale to the Kelvin scale, which defines the SI base unit of thermodynamic temperature with symbol K. Absolute zero, the lowest temperature possible at which matter reaches minimum entropy, is defined as being precisely 0 K and −273.15 °C. The temperature of the triple point of water is defined as precisely 273.16 K and 0.01 °C.^[2]

This definition fixes the magnitude of both the degree Celsius and the kelvin as precisely 1 part in 273.16 (approximately 0.00366) of the difference between absolute zero and the triple point of water. Thus, it sets the magnitude of one degree Celsius and that of one kelvin as exactly the same. Additionally, it establishes the difference between the two scales' null points as being precisely 273.15 degrees Celsius (−273.15 °C = 0 K and 0 °C = 273.15 K).^[3]

History[link]

An illustration of Anders Celsius's original thermometer. Note the reversed scale, where 0 is the boiling point of water and 100 is its freezing point.

In 1742, Swedish astronomer Anders Celsius (1701–1744) created a temperature scale which was the reverse of the scale now known by the name "Celsius": 0 represented the boiling point of water, while 100 represented the freezing point of water. In his paper Observations of two persistent degrees on a thermometer, he recounted his experiments showing that the melting point of ice is essentially unaffected by pressure. He also determined with remarkable precision how the boiling point of water varied as a function of atmospheric pressure. He proposed that the zero point of his temperature scale, being the boiling point, would be calibrated at the mean barometric pressure at mean sea level. This pressure is known as one standard atmosphere. The BIPM's 10th General Conference on Weights and Measures (CGPM) later defined one standard atmosphere to equal precisely 1013250dynes per square centimeter (101.325 kPa).^[4]

In 1744, coincident with the death of Anders Celsius, the Swedish botanist Carolus Linnaeus (1707–1778) reversed^[5] Celsius's scale upon receipt of his first thermometer featuring a scale where zero represented the melting point of ice and 100 represented the boiling point. His custom-made "linnaeus-thermometer", for use in his greenhouses, was made by Daniel Ekström, Sweden's leading maker of scientific instruments at the time and whose workshop was located in the basement of the Stockholm observatory. As often happened in this age before modern communications, numerous physicists, scientists, and instrument makers are credited with having independently developed this same scale;^[6] among them were Pehr Elvius, the secretary of the Royal Swedish Academy of Sciences (which had an instrument workshop) and with whom Linnaeus had been corresponding; Christian of Lyons; Daniel Ekström, the instrument maker; and Mårten Strömer (1707–1770) who had studied astronomy under Anders Celsius.

The first known document^[7] reporting temperatures in this modern "forward" Celsius scale is the paper Hortus Upsaliensis dated 16 December 1745 that Linnaeus wrote to a student of his, Samuel Nauclér. In it, Linnaeus recounted the temperatures inside the orangery at the Botanical Garden of Uppsala University:

"... since the caldarium (the hot part of the greenhouse) by the angle of the windows, merely from the rays of the sun, obtains such heat that the thermometer often reaches 30 degrees, although the keen gardener usually takes care not to let it rise to more than 20 to 25 degrees, and in winter not under 15 degrees ..."

Centigrade and Celsius[link]

Since the 19th century, the scientific and thermometry communities worldwide referred to this scale as the centigrade scale. Temperatures on the centigrade scale were often reported simply as degrees or, when greater specificity was desired, as degrees centigrade. The symbol for temperature values on this scale is °C.

Because the term centigrade was also the Spanish and French language name for a unit of angular measurement (1/10,000 of a right angle) and had a similar connotation in other languages, the term centesimal degree was used when very precise, unambiguous language was required by international standards bodies such as the BIPM. The 9th CGPM and the CIPM (Comité international des poids et mesures) formally adopted "degree Celsius" (symbol: °C) in 1948.^[8][9]

For scientific use, "Celsius" is the term usually used with "centigrade" otherwise continuing to be in common use.^[10]

Common temperatures[link]

Some key temperatures relating the Celsius scale to other temperature scales are shown in the table below.

Name and symbol typesetting[link]

The "degree Celsius" has been the only SI unit whose full unit name contains an uppercase letter since the SI base unit for temperature, the kelvin, became the proper name in 1967 replacing the term degree Kelvin. The plural form is degrees Celsius.^[16]

The general rule of the International Bureau of Weights and Measures (BIPM) is that the numerical value always precedes the unit, and a space is always used to separate the unit from the number, e.g., "23 °C" (not "23°C" or "23° C"). Thus the value of the quantity is the product of the number and the unit, the space being regarded as a multiplication sign (just as a space between units implies multiplication). The only exceptions to this rule are for the unit symbols for degree, minute, and second for plane angle (°, ′, and ″, respectively), for which no space is left between the numerical value and the unit symbol.^[17] Other languages, and various publishing houses, may follow different typographical rules.

Unicode character[link]

Unicode provides a compatibility character for the degree Celsius at U+2103 (decimal 8451), for compatibility with CJK encodings that provide such a character (as such, in most fonts the width is the same as for fullwidth characters). Its appearance is similar to the one synthesized by individually typing its two components (°) and (C). Shown below is the degree Celsius character followed immediately by the two-component version:

℃ °C

When viewed on computers that properly support Unicode, the above line may be similar to the image in the line below (enlarged for clarity):

The canonical decomposition is simply an ordinary degree sign and "C", so some browsers may simply display "°C" in its place due to Unicode normalization.

Temperatures and intervals[link]

The degree Celsius is a special name for the kelvin for use in expressing Celsius temperatures.^[18] The degree Celsius is also subject to the same rules as the kelvin with regard to the use of its unit name and symbol. Thus, besides expressing specific temperatures along its scale (e.g. "Gallium melts at 29.7646 °C" and "The temperature outside is 23 degrees Celsius"), the degree Celsius is also suitable for expressing temperature intervals: differences between temperatures or their uncertainties (e.g. "The output of the heat exchanger is hotter by 40 degrees Celsius", and "Our standard uncertainty is ±3 °C").^[19] Because of this dual usage, one must not rely upon the unit name or its symbol to denote that a quantity is a temperature interval; it must be unambiguous through context or explicit statement that the quantity is an interval.^[20] This is sometimes solved by using the symbol °C (pronounced "degrees Celsius") for a temperature, and C° (pronounced "Celsius degrees") for a temperature interval, although this usage is non-standard.^[21]

What is often confusing about the Celsius measurement is that it follows an interval system but not a ratio system; that it follows a relative scale not an absolute scale. This is put simply by illustrating that while 10 °C and 20 °C have the same interval difference as 20 °C and 30 °C the temperature 20 °C is not twice the air heat energy as 10 °C. As this example shows, degrees Celsius is a useful interval measurement but does not possess the characteristics of ratio measures like weight or distance.^[22]

Coexistence of Kelvin and Celsius scales[link]

In science and in engineering, the Celsius scale and the Kelvin scale are often used in combination in close contexts, e.g., "...a measured value was 0.01023 °C with an uncertainty of 70 µK..."). This practice is permissible because the magnitude of the degree Celsius is equal to that of the kelvin.

Notwithstanding the official endorsement provided by decision #3 of Resolution 3 of the 13th CGPM, which stated "a temperature interval may also be expressed in degrees Celsius", the practice of simultaneously using both °C and K remains widespread throughout the scientific world as the use of SI prefixed forms of the degree Celsius (such as "µ°C" or "microdegrees Celsius") to express a temperature interval has not been well-adopted.

This practice should be avoided for literature directed to lower-level technical fields and in non-technical articles intended for the general public where both the kelvin and its symbol, K, are not well recognized and could be confusing.

Melting and boiling points of water[link]

One effect of defining the Celsius scale at the triple point of Vienna Standard Mean Ocean Water (VSMOW, 273.16 K and 0.01 °C), and at absolute zero (0 K and −273.15 °C), is that neither the melting nor boiling point of water under one standard atmosphere (101.325 kPa) remain defining points for the Celsius scale. In 1948 when the 9th General Conference on Weights and Measures (CGPM) in Resolution 3 first considered using the triple point of water as a defining point, the triple point was so close to being 0.01 °C greater than water's known melting point, it was simply defined as precisely 0.01 °C.^[23] However, current measurements show that the triple and melting points of VSMOW are actually very slightly (<0.001 °C) greater than 0.01 °C apart. Thus, the actual melting point of ice is very slightly (less than a thousandth of a degree) below 0 °C. Also, defining water's triple point at 273.16 K precisely defined the magnitude of each 1 °C increment in terms of the absolute thermodynamic temperature scale (referencing absolute zero). Now decoupled from the actual boiling point of water, the value "100 °C" is hotter than 0 °C—in absolute terms—by a factor of precisely Failed to parse (Missing texvc executable; please see math/README to configure.): \textstyle\frac{373.15}{273.15}

(approximately 36.61% thermodynamically hotter). When adhering strictly to the two-point definition for calibration, the boiling point of VSMOW under one standard atmosphere of pressure is actually 373.1339 K (99.9839 °C). When calibrated to ITS-90 (a calibration standard comprising many definition points and commonly used for high-precision instrumentation), the boiling point of VSMOW is slightly less, about 99.974 °C.[24]

This boiling-point difference of 16.1 millikelvin between the Celsius scale's original definition and the current one (based on absolute zero and the triple point) has little practical meaning in common daily applications because water's boiling point is very sensitive to variations in barometric pressure. For example, an altitude change of only 28 cm (11 in) causes the boiling point to change by one millikelvin.

Worldwide adoption[link]

Throughout the world, except in the United States, Belize^[25] and a few other countries,^[specify] the Celsius temperature scale is used for practically all purposes. The only exceptions are some specialist fields (e.g., low-temperature physics, astrophysics, light temperature in photography) where the closely related Kelvin scale dominates instead.

Even in the U.S., almost the entire scientific field and many engineering fields use the Celsius scale, and the metric system in general. However, most Americans remain more accustomed to the Fahrenheit scale, which is the scale that U.S. broadcasters use in weather forecasting. It is also commonly used in the U.S. for measurement of body temperature, and household use such as cooking, and is the scale commonly seen on ovens and in recipes. In Canada, kitchen devices, literature, and packaging include both Fahrenheit and Celsius quotations.

The United Kingdom has gradually increased use of the Celsius scale since the 1970s and is now the predominant temperature scale used, but it is widely called centigrade. Most broadcasters and publications still quote Fahrenheit air temperatures alongside Celsius in weather forecasts, and air-temperature thermometers sold show both scales.

See also[link]

• Absolute zero
• ITS-90
• Comparison of temperature scales
• Thermodynamic temperature

References[link]

External links[link]

Look up celsius in Wiktionary, the free dictionary.

• NIST, Basic unit definitions: Kelvin
• The Uppsala Astronomical Observatory, History of the Celsius temperature scale
• London South Bank University, Water, scientific data
• BIPM, SI brochure, section 2.1.1.5, Unit of thermodynamic temperature
• TAMPILE, Comparison of temperature scales
• C to F converter, Celsius to Farenheit Converter

v t e SI units Base units Ampere · Candela · Kelvin · Kilogram · Metre · Mole · Second Derived units Becquerel · Coulomb · Degree Celsius · Farad · Gray · Henry · Hertz · Joule · Katal · Lumen · Lux · Newton · Ohm · Pascal · Radian · Siemens · Sievert · Steradian · Tesla · Volt · Watt · Weber Accepted for use with SI Dalton (Atomic mass unit) · Astronomical unit · Day · Decibel · Degree Celsius · Degree of arc · Electronvolt · Hectare · Hour · Litre · Minute · Minute of arc · Neper · Second of arc · Tonne Atomic units · Natural units See also SI prefixes · Systems of measurement · Conversion of units · New SI definitions · History of the metric system Book:International System of Units  · Category:SI base units

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2010)

Terrence Mitchell Riley,^[1] (born June 24, 1935) is an American composer and performing musician^[2][3] intrinsically associated with the minimalist school of Western classical music and was a pioneer of the movement. His work has been deeply influenced by both jazz and Indian classical music.

Life[link]

Terry Riley at Great American Music Hall San Francisco CA 1985. (Photo by Brian McMillen)

Born in Colfax, California, Riley studied at Shasta College, San Francisco State University, and the San Francisco Conservatory before earning an MA in composition at the University of California, Berkeley, studying with Seymour Shifrin and Robert Erickson. He was involved in the experimental San Francisco Tape Music Center working with Morton Subotnick, Steve Reich, Pauline Oliveros, and Ramon Sender. His most influential teacher, however, was Pandit Pran Nath (1918–1996), a master of Indian classical voice, who also taught La Monte Young and Marian Zazeela. Riley made numerous trips to India over the course of their association to study and to accompany him on tabla, tambura, and voice. Throughout the 1960s he traveled frequently around Europe as well, taking in musical influences and supporting himself by playing in piano bars, until he joined the Mills College faculty in 1971 to teach Indian classical music. Riley was awarded an Honorary Doctorate Degree in Music at Chapman University in 2007.

Riley also cites John Cage and "the really great chamber music groups of John Coltrane and Miles Davis, Charles Mingus, Bill Evans, and Gil Evans" as influences on his work,^[4] demonstrating how he pulled together strands of Eastern music, the Western avant-garde, and jazz.

Also during the 1960s were the famous "All-Night Concerts", during which Riley performed mostly improvised music from evening until sunrise, using an old organ harmonium ("with a vacuum cleaner motor blower blowing into the ballasts") and tape-delayed saxophone. When he finally wanted a break, after hours of playing, he played back looped saxophone fragments recorded throughout the evening. For several years he continued to put on these concerts, to which people came with sleeping bags, hammocks, and their whole families.^{[citation needed]}

Riley began his long-lasting association with the Kronos Quartet when he met founder David Harrington while at Mills. Over the course of his career, Riley composed 13 string quartets for the ensemble, in addition to other works. He wrote his first orchestral piece, Jade Palace, in 1991, and has continued to pursue that avenue, with several commissioned orchestral compositions following. Riley is also currently performing and teaching both as an Indian raga vocalist and as a solo pianist.

He has a son named Gyan Riley, who is a guitarist.^[5] Riley still performs live. He has been chosen by Animal Collective to perform at the All Tomorrow's Parties festival that they will curate in May 2011^{[needs update]}.^[6]

Techniques[link]

While his early endeavors were influenced by Stockhausen, Riley changed direction after first encountering La Monte Young, in whose Theater of Eternal Music he later performed in 1965-66. The String Quartet (1960) was Riley's first work in this new style; it was followed shortly after by a string trio, in which he first employed the repetitive short phrases for which he and minimalism are now known.^{[citation needed]}

His music is usually based on improvising through a series of modal figures of different lengths, such as in In C (1964)and the Keyboard Studies. The first performance of In C was given by Steve Reich, Jon Gibson, Pauline Oliveros, and Morton Subotnick. Its form was an innovation: The piece consists of 53 separate modules of roughly one measure apiece, each containing a different musical pattern but each, as the title implies, in the key of C. One performer beats a steady pulse of Cs on the piano to keep tempo. The others, in any number and on any instrument, perform these musical modules following a few loose guidelines, with the different musical modules interlocking in various ways as time goes on. To some extent, though, critics have focused too obsessively on In C, thereby ignoring the full range of Riley's work and innovations.^{[citation needed]} The Keyboard Studies are similarly structured, a single-performer version of the same concept.^{[citation needed]}

In the 1950s he was already working with tape loops, a technology then in its infancy, and he has continued manipulating tapes to musical effect, both in the studio and in live performance, throughout his career. An early tape loop piece titled The Gift (1963) featured the trumpet playing of Chet Baker. Riley has composed in just intonation as well as microtonal pieces. ^[7]

Riley's collaborators have included the Rova Saxophone Quartet, Pauline Oliveros, the ARTE Quartett, and, as mentioned, the Kronos Quartet.

Riley's famous overdubbed electronic album A Rainbow in Curved Air (recorded 1967, released 1969) inspired many later developments in electronic music, including Pete Townshend's synthesizer parts on The Who's "Won't Get Fooled Again" and "Baba O'Riley", the latter named in tribute to Riley as well as to Meher Baba.^[8] The recording had a significant impact on the development of ambient music and progressive rock and predated the electronic jazz "fusion" of Miles Davis, Herbie Hancock, and others.^{[citation needed]}

As Rainbow demonstrates, Riley performs on multiple keyboard instruments, but his principal instrument is actually the acoustic piano.^{[citation needed]} Riley's 1995 Lisbon Concert recording features him in a solo piano format, improvising on his own works. In the liner notes Riley cites Art Tatum, Bud Powell, and Bill Evans as his piano "heroes," illustrating the central importance of jazz to his conceptions, and his playing bears some notable similarities to that of Keith Jarrett^{[original research?]}. (The album title invites this comparison.)

Riley's work and various innovations have influenced many others in various genres, including John Adams, Brian Eno, Robert Fripp, Philip Glass, Frederic Rzewski and Tangerine Dream.^{[citation needed]}

Discography[link]

• 1963: Music for The Gift
• 1965: Reed Streams
• 1967: A Rainbow in Curved Air
• 1968: In C
• 1970: Church of Anthrax, with John Cale
• 1972: Persian Surgery Dervishes
• 1975: Descending Moonshine Dervishes, Kuckucku Records
• 1978: Shri Camel for solo electronic organ tuned in just intonation and modified by digital delay
• 1984: Terry Riley: Cadenza on the Night Plain, a collaboration with the Kronos Quartet
• 1985: No Man's Land
• 1986: The Harp of New Albion, for piano tuned in just intonation
• 1987: Chanting the Light of Foresight, with Rova Saxophone Quartet in just intonation
• 1989: Salome Dances for Peace for the Kronos Quartet
• 1998: Piano Music of John Adams and Terry Riley, performed by Gloria Cheng
• 2002: Sun Rings for the Kronos Quartet
• 2004: The Cusp of Magic, with the Kronos Quartet, composed for his seventieth birthday, an ode to the rite of Midsummer Eve
• 2008: Banana Humberto, piano concerto with Paul Dresher Ensemble
• 2010: Two Early Works, the first-ever recordings of two of Riley's early compositions, performed by the Calder Quartet

Filmography[link]

• 1970 - Corridor. Film by Standish Lawder.
• 1976 - Crossroads. Film by Bruce Conner.
• 1976 - Lifespan. Film by Sandy Whitelaw. Soundtrack released as La Secret De La Vie.
• 1976 - Music With Roots in the Aether: Opera for Television. Tape 6: Terry Riley. Produced and directed by Robert Ashley. New York, New York: Lovely Music.
• 1986 - In Between the Notes...a Portrait of Pandit Pran Nath, Master Indian Musician. Produced by Other Minds, directed by William Farley.
• 1995 - Musical Outsiders: An American Legacy - Harry Partch, Lou Harrison, and Terry Riley. Directed by Michael Blackwood.
• 2008 - "A Rainbow In Curved Air" features in the in-game soundtrack of Grand Theft Auto IV. It can be found when listening to the fictional radio station, "The Journey".

Notes[link]

References[link]

• [Anonymous] (2002). Album notes for The Who: The Ultimate Collection by The Who, 12. MCA Records.
• Potter, Keith (2000). Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Music in the Twentieth Century series. Cambridge, UK; New York, New York: Cambridge University Press.
• Edward Strickland, "Terry Riley". Grove Music Online (subscription access).

External links[link]

Wikimedia Commons has media related to: Terry Riley

• Official home page
• Terry Riley page on Allmusic
• Terry Riley discography at Discogs
• Terry Riley page on Ubu Web (audio and video)
• Davidson, Robert. “Short Biography of Terry Riley.” 1999.
• Elision Fields, Riley’s management and CD label
• A Concert in Honor of Terry Riley on his 50th Birthday, featuring the Kronos Quartet .
• Epitonic.com: Terry Riley featuring tracks from The Book of Abbeyozzud and The Light of Foresight (with Rova)
• Art of the States: Terry Riley In C (1964)
• Free scores by Terry Riley at the International Music Score Library Project
• Golden, Barbara. “Conversation with Terry Riley.” eContact! 12.2 — Interviews (2) (April 2010). Montréal: CEC.
• Leopizzi, Marco. “Terry Riley — Il guru del minimalismo.” Interview from 1 June 2008. Musicaround.net. (Italian)
• Oteri, Frank J. “Terry Riley: Obsessed and Passionate About All Music.” Interview from 16 February 2001 (includes video). NewMusicBox — People & Ideas in Profile, 1 June 2001.
• Interview with Terry Riley.

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (January 2011)

Barry Jones and Stuart MacLeod are a two-man magic act from Scotland, who perform as "Barry and Stuart" or "The 2magicians". They are known for their dark and gory performing style, and for taking as inspiration the accounts of Biblical miracles to form the basis for some of their illusions.

Biography[link]

Jones and MacLeod are both previous winners of Scotland's “Young Magician of the Year” competition. Jones was born on 16 April 1982 in Aberdeen and grew up in Portlethen, Scotland. MacLeod was born on 4 July 1980 in Aberdeen and grew up in Peterhead, Scotland. MacLeod lived in Peterhead and studied philosophy and psychology at Aberdeen University, while Jones grew up in Old Portlethen, before moving to London to study multimedia computing.

They met in Aberdeen in 1994 and started making videos of themselves performing magic. This is where their style of acting out scenes in character while performing illusions developed. The filmed results of these magic sketches eventually reached a television production company and led to the making of their first TV series “Magick.” The show was nominated as Best Comedy Series at the international television awards in Montreux in 2004.

In 2005 Jones and MacLeod hosted the Channel 4 studio magic show Dirty Tricks and presented the clips show When Magic Tricks Go Wrong. Most controversially they put together a TV special entitled The Magic of Jesus, in which they drew inspiration for their illusions from the accounts of Jesus’ miracles found in the New Testament.

In 2006 Jones and MacLeod put together a second special called Tricks from the Bible, in which they took inspiration from the stories of the miracles of Moses among other Old Testament events and performed illusions based on these accounts. They currently live in London where they perform live together in comedy clubs.^[1]

In 2009, Jones and MacLeod were awarded the 'Best Comedy Illusionist' Award at the World Magic Awards

Television[link]

Magick[link]

Jones and MacLeod's first television series Magick debuted on 5 October 2003 and was described as "comedy magic featuring surreal characters in bizarre and uncomfortable situations."^[2][3] It began airing in Australia on SBS on 1 February 2007 as Sick Tricks, and is aired in America as Crack Magic. The series had a dark comedy that would mix with the magic on the show.

This series featured reverse film magic, where the magic was performed backwards and the film later reversed to reveal the backmasking.

In one of a series of ‘crimes’ caught on CCTV, footage captures two men being caught en flagrante in a public toilet by a police officer. To get out of trouble, one of the men hides the other behind his coat and makes him disappear. In another incident, a man breaks into a car by sticking his hand through a glass window without breaking it.

Secret filming in a supermarket captures MacLeod and Jones magically sabotaging the products by putting dead insects into sealed bottles of mineral water and penetrating razor blades through the foil lids of ready-meals.

In 2004 this four part series was nominated for a Rose D'Or comedy award in Montreux.

Dirty Tricks[link]

Dirty Tricks was a six part series hosted by Jones and MacLeod. It was described as “magic meets Natural Born Killers.”^[4] The show also had regular spots from Pete Firman, Ali Cook and Jonathan’s Escapes as well as guest appearances from international variety acts and celebrities. These acts included Penn & Teller and Kevin James.

At the end of every show, the presenters "killed" the radio and TV presenter Neil Fox in a horrific and painful manner. These included him being cremated, stabbed and crushed.

The Magic of Jesus[link]

This one hour special aired over the Christmas holiday period in December 2005. In this show Jones and MacLeod drew inspiration from the accounts of Jesus' miracles in the New Testament to present illusions which included apparently walking on the surface of water in a glass tank, turning water into wine, causing a blind person to temporarily 'see', appearing to raise a deceased person, causing a virgin to apparently become 'pregnant' and feeding 5000 people.

The show caused controversy among newspapers and other press, with John Beyer of Mediawatch describing it as "a calculated attempt to cause offence".^[5]

Tricks from the Bible[link]

Following on from “The Magic of Jesus” this one hour special aired in June 2006. The duo drew inspiration from the miracle accounts in the Old Testament. Jones and MacLeod performed illusions such as turning staffs into snakes in Egypt, exactly where it was said to be performed in the Old Testament, casting some of the plagues of Egypt on two fans in an enclosed part of a restaurant, a transformation into a pillar of salt, exorcism of a demon, robbing a man of his strength as Samson had, apparently raising someone from the dead and pulling a coin from the mouth of a fish, performed on a boat in the Red Sea.

The Magicians[link]

The Magicians is a BBC primetime show, that aired its first series during January 2011. It featured Barry and Stuart alongside fellow magicians Luis de Matos and Chris Korn. The show returned for its second series on 7 January 2012, featuring two new magicians alongside Barry and Stuart; American and world champion Jason Latimer and English magician Pete Firman.

References[link]

1. ^ Official website
2. ^ Channel4's Magick Website
3. ^ http://www.barryandstuart.com/biography/
4. ^ The Guardian – Dirty Tricks Review
5. ^ The Sun Online - Fury at C4 Jesus show

External links[link]

• Official Barry and Stuart website

Pachelbel's autograph signature from his 1695 letter to Gotha city authorities.

Johann Pachelbel ( /ˈjoʊhɑːn ˈpækəlbɛl/ or /ˈpɑːkəlbɛl/;^[1] German: [ˈjoːhan ˈpaxɛlbəl]^[2][3], baptised September 1, 1653 – buried March 9, 1706)^[4] was a German Baroque composer, organist and teacher, who brought the south German organ tradition to its peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.^[5]

Pachelbel's music enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, the only canon he wrote – although a true canon at the unison in three parts, it is often regarded more as a passacaglia, and it is in this mode that it has been arranged and transcribed for many different media. In addition to the canon, his most well-known works include the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.^[6]

Pachelbel's music was influenced by southern German composers, such as Johann Jakob Froberger and Johann Kaspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites.

Life[link]

1653–1674: Early youth and education (Nuremberg, Altdorf, Regensburg)[link]

St. Sebaldus Church in Nuremberg, which played an important role in Pachelbel's life.

Johann Pachelbel was born in 1653 in Nuremberg into a middle-class family, son of Johann (Hans) Pachelbel (born 1613 in Wunsiedel, Germany), a wine dealer,^[7] and his second wife Anna (Anne) Maria Mair. The exact date of Johann's birth is unknown, but since he was baptized on September 1, he may have been born in late August.

During his early youth, Pachelbel received musical training from Heinrich Schwemmer, a musician and music teacher who later became the cantor of St. Sebaldus Church (Sebalduskirche). Some sources indicate that Pachelbel also studied with Georg Caspar Wecker, organist of the same church and an important composer of the Nuremberg school, but this is now considered unlikely.^[8] In any case, both Wecker and Schwemmer were trained by Johann Erasmus Kindermann, one of the founders of the Nuremberg musical tradition, who had been at one time a pupil of Johann Staden.

Johann Mattheson, whose Grundlage einer Ehrenpforte (Hamburg, 1740) is one of the most important sources of information about Pachelbel's life, mentions that the young Pachelbel demonstrated exceptional musical and academic abilities. He received his primary education in St. Lorenz Hauptschule and the Auditorio Aegediano in Nuremberg, then on 29 June 1669 he became a student at the University of Altdorf, where he was also appointed organist of St. Lorenz church the same year. Financial difficulties forced Pachelbel to leave the university after less than a year. In order to complete his studies he became a scholarship student, in 1670, at the Gymnasium Poeticum at Regensburg. The school authorities were so impressed by Pachelbel's academic qualifications that he was admitted above the school's normal quota.

Pachelbel was also permitted to study music outside the Gymnasium. His teacher was Kaspar (Caspar) Prentz, once a student of Johann Kaspar Kerll. Since the latter was greatly influenced by Italian composers such as Giacomo Carissimi, it is likely through Prentz that Pachelbel started developing an interest in contemporary Italian music, and Catholic church music in general.

1673–1690: Career (Vienna, Eisenach, Erfurt)[link]

Prentz left for Eichstätt in 1672. This period of Pachelbel's life is the least documented one,^[9] so it is unknown whether he stayed in Regensburg until 1673 or left the same year his teacher did; at any rate, by 1673 Pachelbel was living in Vienna, where he became a deputy organist at the famous Saint Stephen Cathedral (Stephansdom). At the time, Vienna was the center of the vast Habsburg empire and had much cultural importance; its tastes in music were predominantly Italian. Several renowned cosmopolitan composers worked there, many of them contributing to the exchange of musical traditions in Europe. In particular, Johann Jakob Froberger served as court organist in Vienna until 1657^[10] and was succeeded by Alessandro Poglietti.^[11] Georg Muffat lived in the city for some time, and, most importantly, Johann Kaspar Kerll moved to Vienna in 1673.^[12] While there, he may have known or even taught Pachelbel, whose music shows traces of Kerll's style. Pachelbel spent five years in Vienna, absorbing the music of Catholic composers from southern Germany and Italy. In some respects, Pachelbel is similar to Haydn, who too served as a professional musician of the Stephansdom in his youth and as such was exposed to music of the leading composers of the time.

In 1677, Pachelbel moved to Eisenach, where he found employment as court organist under Kapellmeister Daniel Eberlin (also a native of Nuremberg), in the employ of Johann Georg I, Duke of Saxe-Eisenach. He met members of the Bach family in Eisenach (which was the home city of J. S. Bach's father, Johann Ambrosius Bach), and became a close friend of Johann Ambrosius and tutor to his children.^[13] However, Pachelbel spent only one year in Eisenach. In 1678, Bernhard II, Duke of Saxe-Jena, Johann Georg's brother, died and during the period of mourning court musicians were greatly curtailed.^[14] Pachelbel was left unemployed. He requested a testimonial from Eberlin, who wrote one for him, describing Pachelbel as a 'perfect and rare virtuoso' – einen perfecten und raren Virtuosen.^[14] With this document, Pachelbel left Eisenach on May 18, 1678.

Predigerkirche, the Erfurt church where Pachelbel worked for 12 years starting in 1678.

In June 1678, Pachelbel was employed as organist of the Predigerkirche in Erfurt, succeeding Johann Effler (c. 1640–1711; Effler later preceded Johann Sebastian Bach in Weimar). The Bach family was very well known in Erfurt (where virtually all organists would later be called "Bachs"), so Pachelbel's friendship with them continued here. Pachelbel became godfather to Johann Ambrosius' daughter, Johanna Juditha, taught Johann Christoph Bach (1671–1721), Johann Sebastian's eldest brother, and lived in Johann Christian Bach's (1640–1682) house.^[15] Pachelbel remained in Erfurt for 12 years and established his reputation as one of the leading German organ composers of the time during his stay. The chorale prelude became one of his most characteristic products of the Erfurt period, since Pachelbel's contract specifically required him to compose the preludes for church services.^[16] His duties also included organ maintenance and, more importantly, composing a large-scale work every year to demonstrate his progress as composer and organist, as every work of that kind had to be better than the one composed the year before.

Johann Christian Bach (1640-1682), Pachelbel's landlord in Erfurt, died in 1682. In June 1684, Pachelbel purchased the house (called Zur silbernen Tasche, now Junkersand 1) from Johann Christian's widow.^[17] In 1686, he was offered a position as organist of the St. Trinitatis church (Trinitatiskirche) in Sondershausen. Pachelbel initially accepted the invitation but, as a surviving autograph letter indicates, had to reject the offer after a long series of negotiations: it appears that he was required to consult with Erfurt's elders and church authorities before considering any job offers.^[18] It seems that the situation had been resolved quietly and without harm to Pachelbel's reputation; he was offered a raise and stayed in the city for four more years.

Pachelbel married twice during his stay in Erfurt. Barbara Gabler, daughter of the Stadt-Major of Erfurt, became his first wife, on 25 October 1681. The marriage took place in the house of the bride's father. Unfortunately, both Barbara and their only son died in October 1683 during a plague. Pachelbel's first published work, a set of chorale variations called Musicalische Sterbens-Gedancken ("Musical Thoughts on Death", Erfurt, 1683), was probably influenced by this event.

Ten months later, Pachelbel married Judith Drommer (Trummert), daughter of a coppersmith,^[19] on 24 August 1684. They had five sons and two daughters. Two of the sons, Wilhelm Hieronymus Pachelbel and Charles Theodore Pachelbel, also became organ composers; the latter moved to the American colonies in 1734. Another son, Johann Michael, became an instrument maker in Nuremberg and traveled as far as London and Jamaica.^[14] One of the daughters, Amalia Pachelbel, achieved recognition as a painter and engraver.

1690–1706: Final years (Stuttgart, Gotha, Nuremberg)[link]

Pachelbel's autograph letter

Although Pachelbel was an outstandingly successful organist, composer, and teacher at Erfurt, he asked permission to leave, apparently seeking a better appointment, and was formally released on 15 August 1690, bearing a testimonial praising his diligence and fidelity.^[20]

He was employed in less than a fortnight: from 1 September 1690, he was a musician-organist in the Württemberg court at Stuttgart under the patronage of Duchess Magdalena Sibylla. That job was better, but, unfortunately, he lived there only two years before fleeing the French attacks of the War of the Grand Alliance. His next job was in Gotha as the town organist, a post he occupied for two years, starting on 8 November 1692; there he published his first, and only, liturgical music collection: Acht Chorale zum Praeambulieren in 1693 (Erster Theil etlicher Choräle).

When former pupil Johann Christoph Bach married in October 1694, the Bach family celebrated the marriage on 23 October 1694 in Ohrdruf, and invited him and other composers to provide the music; he probably attended – if so, it was the only time J.S. Bach, then nine years old, met Johann Pachelbel.^[21]

In his three years in Gotha, he was twice offered positions, in Stuttgart and at Oxford University; he declined both. Meanwhile, in Nuremberg, when the St. Sebaldus Church organist Georg Caspar Wecker (and his possible former teacher) died on 20 April 1695, the city authorities were so anxious to appoint Pachelbel (then a famous Nuremberger) to the position that they officially invited him to assume it without holding the usual job examination or inviting applications from prominent organists from lesser churches. He accepted, was released from Gotha in 1695, and arrived in Nuremberg in summer, with the city council paying his per diem expenses.

Pachelbel's tomb at the St. Rochus Cemetery (Rochuskirchhof) in Nuremberg.

Pachelbel lived the rest of his life in Nuremberg, during which he published the chamber music collection Musicalische Ergötzung, and, most importantly, the Hexachordum Apollinis (Nuremberg, 1699), a set of six keyboard arias with variations. Though most influenced by Italian and southern German composers, he knew the northern German school, because he dedicated the Hexachordum Apollinis to Dieterich Buxtehude. Also composed in the final years were Italian-influenced concertato Vespers and a set of more than ninety Magnificat fugues.

Johann Pachelbel died at the age of 52, 3 March 1706, and was buried on 9 March; Mattheson cites either 3 March or 7 March 1706 as the death date; yet, it is unlikely that the corpse was allowed to linger unburied so long. Contemporary custom was to bury the dead on the third or fourth post-mortem day; so, either 6 or 7 March 1706 is a likelier death date.^[22] He is buried in the St. Rochus Cemetery.

Posthumous influence[link]

One of the last middle Baroque composers, Pachelbel did not have any considerable influence on most of the famous late Baroque composers, such as George Frideric Handel, Domenico Scarlatti or Georg Philipp Telemann. He did influence Johann Sebastian Bach indirectly; the young Johann Sebastian was tutored by his older brother Johann Christoph Bach, who studied with Pachelbel, but although J.S. Bach's early chorales and chorale variations borrow from Pachelbel's music, the style of northern German composers (Georg Böhm, Dieterich Buxtehude, Johann Adam Reincken) played a more important role in the development of Bach's talent.

Pachelbel was the last great composer of the Nuremberg tradition and the last important southern German composer. Pachelbel's influence was mostly limited to his pupils, most notably Johann Christoph Bach, Johann Heinrich Buttstett, Andreas Nicolaus Vetter, and two of Pachelbel's sons, Wilhelm Hieronymus and Charles Theodore. The latter became one of the first European composers to take up residence in the American colonies and so Pachelbel influenced, although indirectly and only to a certain degree, the American church music of the era. Composer, musicologist and writer Johann Gottfried Walther is probably the most famous of the composers influenced by Pachelbel – he is, in fact, referred to as the "second Pachelbel" in Mattheson's Grundlage einer Ehrenpforte.^[23]

As the Baroque style went out of fashion during the 18th century, the majority of Baroque and pre-Baroque composers were virtually forgotten. Local organists in Nuremberg and Erfurt knew Pachelbel's music and occasionally performed it, but the public and the majority of composers and performers did not pay much attention to Pachelbel and his contemporaries. In the first half of the 19th century, some organ works by Pachelbel were published and several musicologists started considering him an important composer, particularly Philipp Spitta, who was one of the first researchers to trace Pachelbel's role in the development of Baroque keyboard music. Much of Pachelbel's work was published in the early 20th century in the Denkmäler der Tonkunst in Österreich series, but it was not until the rise of interest in early Baroque music in the middle of the 20th century and the advent of historically-informed performance practice and associated research that Pachelbel's works began to be studied extensively and again performed more frequently.

Popularity of the Canon in D[link]

Pachelbel's Canon in D major, a piece of chamber music scored for three violins and basso continuo and originally paired with a gigue in the same key, experienced a tremendous surge in popularity during the 1970s. This is believed to be due to a recording by Jean-François Paillard in 1970, which made it a universally recognized cultural item. Its visibility was greatly increased by its choice as the theme song for the popular film Ordinary People. Now one of the most recognized and famous baroque compositions, it has in recent years become extremely popular for use in weddings, rivalling that of Wagner's Bridal Chorus.

Works[link]

Apart from harpsichord suites, this section concentrates only on the works whose ascription is not questioned. For a complete list of works which includes pieces with questionable authorship and lost compositions, see List of compositions by Johann Pachelbel.

During his lifetime, Pachelbel was best known as an organ composer. He wrote more than two hundred pieces for the instrument, both liturgical and secular, and explored most of the genres that existed at the time. Pachelbel was also a prolific vocal music composer: around a hundred of such works survive, including some 40 large-scale works. Only a few chamber music pieces by Pachelbel exist, although he might have composed many more, particularly while serving as court musician in Eisenach and Stuttgart.

Several principal sources exist for Pachelbel's music, although none of them as important as, for example, the Oldham manuscript is for Louis Couperin. Among the more significant materials are several manuscripts that were lost before and during World War II but partially available as microfilms of the Winterthur collection, a two-volume manuscript currently in possession of the Oxford Bodleian library which is a major source for Pachelbel's late work, and the first part of the Tabulaturbuch (1692, currently at the Biblioteka Jagiellońska in Kraków) compiled by Pachelbel's pupil Johann Valentin Eckelt, which includes the only known Pachelbel autographs). The Neumeister manuscript and the so-called Weimar tablature of 1704 provide valuable information about Pachelbel's school, although they do not contain any pieces that can be confidently ascribed to him.

Currently there is no standard numbering system for Pachelbel's works. Several catalogues are used, by Antoine Bouchard (POP numbers, organ works only), Jean M. Perreault (P numbers, currently the most complete catalogue; organized alphabetically), Hideo Tsukamoto (T numbers, L for lost works; organized thematically) and Kathryn Jane Welter (PC numbers).

Keyboard music[link]

Much of Pachelbel's liturgical organ music, particularly the chorale preludes, is relatively simple and written for manuals only, no pedal is required. This is partly due to Lutheran religious practice where congregants sang the chorales. Household instruments like virginals or clavichords accompanied the singing, so Pachelbel and many of his contemporaries made music playable using these instruments. The quality of the organs Pachelbel used also played a role: south German instruments were not, as a rule, as complex and as versatile as the north German ones, and Pachelbel's organs must have only had around 15–25 stops on two manuals (compare to Buxtehude's Marienkirche instrument with 52 stops, 15 of them in the pedal). Finally, neither the Nuremberg nor the southern German organ tradition endorsed extensive use of pedals seen in the works by composers of the northern German school.

Only two volumes of Pachelbel's organ music were published and distributed during his lifetime: Musikalische Sterbens-Gedancken (Musical Thoughts on Death; Erfurt, 1683) – a set of chorale variations in memory of his deceased wife and child, and Acht Choräle (Nuremberg, 1693).^[24] Pachelbel employed white mensural notation when writing out numerous compositions (several chorales, all ricercars, some fantasias); a notational system that uses hollow note heads and omits bar lines (measure delimiters).^[25] The system had been widely used since the 15th century but was gradually being replaced in this period by modern notation (sometimes called black notation).^[25] In most cases Pachelbel used white notation for pieces composed in old-fashioned styles, to provide artistic integrity.^{[citation needed]}

Chorales[link]

Chorales constitute almost half of Pachelbel's surviving organ works, in part because of his Erfurt job duties which required him to compose chorale preludes on a regular basis. The models Pachelbel used most frequently are the three-part cantus firmus setting, the chorale fugue and, most importantly, a model he invented which combined the two types. This latter type begins with a brief chorale fugue that is followed by a three- or four-part cantus firmus setting. Chorale phrases are treated one at a time, in the order in which they occur; frequently, the accompanying voices anticipate the next phrase by using bits of the melody in imitative counterpoint. An example from Wenn mein Stündlein vorhanden ist:

An example from Wenn mein Stündlein vorhanden ist of Pachelbel's chorales, bars 35–54. The chorale in the soprano is highlighted.

The piece begins with a chorale fugue (not shown here) that turns into a four-part chorale setting which starts at bar 35. The slow-moving chorale (the cantus firmus, i.e., the original hymn tune) is in the soprano, and is highlighted in blue. The lower voices anticipate the shape of the second phrase of the chorale in an imitative fashion (notice the distinctive pattern of two repeated notes). Pachelbel wrote numerous chorales using this model (Auf meinen lieben Gott, Ach wie elend ist unsre Zeit, Wenn mein Stündlein vorhanden ist, etc.), which soon became a standard form.

A distinctive feature of almost all of Pachelbel's chorale preludes is his treatment of the melody: the cantus firmus features virtually no figuration or ornamentation of any kind, always presented in the plainest possible way in one of the outer voices. Pachelbel's knowledge of both ancient and contemporary chorale techniques is reflected in Acht Choräle zum Praeambulieren, a collection of eight chorales he published in 1693. It included, among other types, several chorales written using outdated models. Of these, Nun lob, mein Seel, den Herren (Psalm 103) is based on the German polyphonic song; it is one of the very few Pachelbel chorales with cantus firmus in the tenor. Wir glauben all' an einen Gott is a three-part setting with melodic ornamentation of the chorale melody, which Pachelbel employed very rarely. Finally, Jesus Christus, unser Heiland der von uns is a typical bicinium chorale with one of the hands playing the unadorned chorale while the other provides constant fast-paced accompaniment written mostly in sixteenth notes. Pachelbel only used the bicinium form in two other pieces.^{[citation needed]}

	Nun komm der Heiden Heiland Performed on a church organ in Trubschachen, Switzerland by Burghard Fischer Ach Gott vom Himmel, sieh darein
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Fugues[link]

Pachelbel wrote more than one hundred fugues on free themes. These fall into two categories: some 30 free fugues and around 90 of the so-called Magnificat Fugues. His fugues are usually based on non-thematic material, and are shorter than the later model (of which those of J.S. Bach are a prime example). The contrapuntal devices of stretto, diminution and inversion are not employed in any of them. Nevertheless, Pachelbel's fugues display a tendency towards a more unified, subject-dependent structure which was to become the key element of late Baroque fugues. Given the number of fugues he composed and the extraordinary variety of subjects he used, Pachelbel is regarded as one of the key composers in the evolution of the form. He was also the first major composer to pair a fugue with a preludial movement (a toccata or a prelude) – this technique was adopted by later composers and was used extensively by J.S. Bach.

The Magnificat Fugues were all composed during Pachelbel's final years in Nuremberg. The singing of the Magnificat at Vespers was usually accompanied by the organist, and earlier composers provided examples of Magnificat settings for organ, based on themes from the chant. Pachelbel's fugues, however, are almost all based on free themes and it is not yet understood exactly where they fit during the service. It is possible that they served to help singers establish pitch, or simply act as introductory pieces played before the beginning of the service. There are 95 pieces extant, covering all eight church modes: 23 in primi toni, 10 in secundi toni, 11 in tertii toni, 8 in quarti toni, 12 in quinti toni, 10 in sexti toni, 8 in septimi toni and 13 in octavi toni. Although a few two- and four-voice works are present, most employ three voices (sometimes expanding to four-voice polyphony for a bar or two). With the exception of the three double fugues (primi toni No. 12, sexti toni No. 1 and octavi toni No. 8), all are straightforward pieces, frequently in common time and comparatively short – at an average tempo, most take around a minute and a half to play.

Example 1: Fugue subjects from Magnificat fugues: secundi toni 7, octavi toni 10, primi toni 16, sexti toni 10, quarti toni 8 and octavi toni 13.

Although most of them are brief, the subjects are extremely varied (see Example 1). Frequently some form of note repetition is used to emphasize a rhythmic (rather than melodic) contour. Many feature a dramatic leap (up to an octave), which may or may not be mirrored in one of the voices sometime during an episode – a characteristic Pachelbel technique, although it was also employed by earlier composers, albeit less pronounced. Minor alterations to the subject between the entries are observed in some of the fugues, and simple countersubjects occur several times. An interesting technique employed in many of the pieces is an occasional resort to style brisé for a few bars, both during episodes and in codas. The double fugues exhibit a typical three-section structure: fugue on subject 1, fugue on subject 2, and the counterpoint with simultaneous use of both subjects.

A typical Pachelbel repercussion subject.  Listen (help·info)

Most of Pachelbel's free fugues are in three or four voices, with the notable exception of two bicinia pieces that were probably intended for teaching purposes.^{[citation needed]} Pachelbel frequently used repercussion subjects of different kinds, with note repetition sometimes extended to span a whole measure (such as in the subject of a G minor fugue, see illustration). Some of the fugues employ textures more suited for the harpsichord, particularly those with broken chord figuration. The three ricercars Pachelbel composed, that are more akin to his fugues than to ricercars by Frescobaldi or Froberger, are perhaps more technically interesting. In the original sources, all three use white notation and are marked alla breve. The polythematic C minor ricercar is the most popular and frequently performed and recorded. It is built on two contrasting themes (a slow chromatic pattern and a lively simplistic motif) which appear in their normal and inverted forms and concludes with both themes appearing simultaneously. The F-sharp minor ricercar uses the same concept and is slightly more interesting musically: the key of F-sharp minor requires a more flexible tuning than the standard meantone temperament of the Baroque era and was therefore rarely used by contemporary composers. This means that Pachelbel may have used his own tuning system, of which little is known. Ricercare in C major is probably an early work,^{[citation needed]} mostly in three voices and employing the same kind of writing with consecutive thirds as seen in Pachelbel's toccatas (see below).

Pachelbel's use of repercussion subjects and extensive repeated note passages may be regarded as another characteristic feature of his organ pieces. Extreme examples of note repetition in the subject are found in magnificat fugues: quarti toni No. 4 has eight repeated notes, octavi toni No. 6 has twelve.^[26] Also, even a fugue with an ordinary subject can rely on strings of repeated notes, as it happens, for example, in magnificat fugue octavi toni No. 12:

Excerpt from Magnificat Fugue octavi toni No. 12 (bars 15–18). Fugue subject that appears once in this excerpt is highlighted.

	Fugue in C major for organ noicon One of Pachelbel's many C major fugues on original themes, this short piece uses a subject with a pattern of repeated notes in a manner discussed above.
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Chaconnes and variations[link]

Pachelbel's apparent affinity for variation form is evident from his organ works that explore the genre: chaconnes, chorale variations and several sets of arias with variations. The six chaconnes, together with Buxtehude's ostinato organ works, represent a shift from the older chaconne style: they completely abandon the dance idiom, introduce contrapuntal density, employ miscellaneous chorale improvisation techniques, and, most importantly, give the bass line much thematic significance for the development of the piece. Pachelbel's chaconnes are distinctly south German in style; the duple meter C major chaconne (possibly an early work) is reminiscent of Kerll's D minor passacaglia. The remaining five works are all in triple meter and display a wide variety of moods and techniques, concentrating on melodic content (as opposed to the emphasis on harmonic complexity and virtuosity in Buxtehude's chaconnes). The ostinato bass is not necessarily repeated unaltered throughout the piece and is sometimes subjected to minor alterations and ornamentation. The D major, D minor and F minor chaconnes are among Pachelbel's most well-known organ pieces, and the latter is often cited as his best organ work.

Chaconne in F minor for organ The most famous of Pachelbel's organ chaconnes, performed on a church organ in Trubschachen, Switzerland by Burghard Fischer Chaconne in F minor for organ Played by Tibor Pinter on the sample set of the Marcussen organ, Moerdijk, Netherlands. Chaconne in D minor for organ One of the most outstanding chaconnes of Pachelbel, played by Tibor Pinter on the sample set of Gottfried Silbermann's organ (1722) in Roetha, Germany

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In 1699 Pachelbel published Hexachordum Apollinis (the title is a reference to Apollo's lyre), a collection of six variations set in different keys. It is dedicated to composers Ferdinand Tobias Richter (a friend from the Vienna years) and Dieterich Buxtehude. Each set follows the "aria and variations" model, arias numbered Aria prima through Aria sexta ("first" through "sixth"). The final piece, which is also the most well-known today, is subtitled Aria Sebaldina, a reference to St. Sebaldus Church where Pachelbel worked at the time. Most of the variations are in common time, with Aria Sebaldina and its variations being the only notable exceptions–they are in 3/4 time. The pieces explore a wide range of variation techniques.

	Aria Quinta for organ The fifth Aria from 'Hexachordum Apollinis' (1699) played by Tibor Pinter on the sample set of the organ in Smecno, Czech Republic built cca. 1587 . Aria Sexta for organ The sixth Aria (Aria Sebaldina)from 'Hexachordum Apollinis' (1699) played by Tibor Pinter on the sample set of the organ in Zlata Koruna, Czech Republic built 1699.
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Pachelbel's other variation sets include a few arias and an arietta (a short aria) with variations and a few pieces designated as chorale variations. Four works of the latter type were published in Erfurt in 1683 under the title Musicalische Sterbens-Gedancken ("Musical Thoughts on Death"), which might refer to Pachelbel's first wife's death in the same year. This was Pachelbel's first published work and it is now partially lost. These pieces, along with Georg Böhm's works, may or may not have influenced Johann Sebastian Bach's early organ partitas.

Toccatas[link]

About 20 toccatas by Pachelbel survive, including several brief pieces referred to as toccatinas in the Perreault catalogue. They are characterized by consistent use of pedal point: for the most part, Pachelbel's toccatas consist of relatively fast passagework in both hands over sustained pedal notes. Although a similar technique is employed in toccatas by Froberger and Frescobaldi's pedal toccatas, Pachelbel distinguishes himself from these composers by having no sections with imitative counterpoint–in fact, unlike most toccatas from the early and middle Baroque periods, Pachelbel's contributions to the genre are not sectional, unless rhapsodic introductory passages in a few pieces (most notably the E minor toccata) are counted as separate sections. Furthermore, no other Baroque composer used pedal point with such consistency in toccatas.

Many of Pachelbel's toccatas explore a single melodic motif, and later works are written in a simple style in which two voices interact over sustained pedal notes, and said interaction – already much simpler than the virtuosic passages in earlier works – sometimes resorts to consecutive thirds, sixths or tenths. Compare the earlier D major toccata, with passages in the typical middle Baroque style, with one of the late C major toccatas:

Excerpt from Toccata in D major (bars 10–14).  Listen (help·info)

Opening bars of Toccata in C major. Two-voice motivic interplay, based on the melody introduced in the first bar, is reduced to consecutive thirds in the last two bars. The piece continues in a similar manner, with basic motivic interaction in two voices and occasional consecutive thirds or sixths.  Listen (help·info)

Sometimes a bar or two of consecutive thirds embellish the otherwise more complex toccata-occasionally there is a whole section written in that manner; and a few toccatas (particularly one of the D minor and one of the G minor pieces) are composed using only this technique, with almost no variation. Partly due to their simplicity, the toccatas are very accessible works; however, the E minor and C minor ones which receive more attention than the rest are in fact slightly more complex.

	Toccata in E minor Performed on a church organ in Trubschachen, Switzerland by Burghard Fischer Toccata in F major Performed on a church organ in Trubschachen, Switzerland by Burghard Fischer
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Fantasias[link]

Pachelbel composed six fantasias. Three of them (the A minor, C major and one of the two D Dorian pieces) are sectional compositions in 3/2 time; the sections are never connected thematically; the other D Dorian piece's structure is reminiscent of Pachelbel's magnificat fugues, with the main theme accompanied by two simple countersubjects.

The E-flat major and G minor fantasias are variations on the Italian toccata di durezze e ligature genre. Both are gentle free-flowing pieces featuring intricate passages in both hands with many accidentals, close to similar pieces by Girolamo Frescobaldi or Giovanni de Macque.

Preludes[link]

Almost all pieces designated as preludes resemble Pachelbel's toccatas closely, since they too feature virtuosic passagework in one or both hands over sustained notes. However, most of the preludes are much shorter than the toccatas: the A minor prelude (pictured below) only has 9 bars, the G major piece has 10. The only exception is one of the two D minor pieces, which is very similar to Pachelbel's late simplistic toccatas, and considerably longer than any other prelude. The toccata idiom is completely absent, however, in the short Prelude in A minor:

Prelude in A minor (full score).  Listen (help·info)

A texture of similar density is also found in the ending of the shorter D minor piece, where three voices engage in imitative counterpoint. In pairs of preludes and fugues Pachelbel aimed to separate homophonic, improvisatory texture of the prelude from the strict counterpoint of the fugue.

Other keyboard music[link]

Around 20 dance suites transmitted in a 1683 manuscript (now destroyed) were previously attributed to Pachelbel, but today his authorship is questioned for all but three suites, numbers 29, 32 and 33B in the Seiffert edition.^[27] The pieces are clearly not without French influence (but not so much as Buxtehude's) and are comparable in terms of style and technique to Froberger's suites. Seventeen keys are used, including F-sharp minor. Number 29 has all four traditional movements, the other two authentic pieces only have three (no gigue), and the rest follow the classical model (Allemande, Courante, Sarabande, Gigue), sometimes updated with an extra movement (usually less developed^[14]), a more modern dance such as a gavotte or a ballet. All movements are in binary form, except for two arias.

Chamber music[link]

Pachelbel's chamber music is much less virtuosic than Biber's Mystery Sonatas or Buxtehude's Opus 1 and Opus 2 chamber sonatas. The famous Canon in D belongs to this genre, as it was originally scored for 3 violins and a basso continuo, and paired with a gigue in the same key. The canon is actually more of a chaconne or a passacaglia: it consists of a ground bass over which the violins play a three-voice canon based on a simple theme, the violins' parts form 28 variations of the melody. The gigue which originally accompanied the canon is a simple piece that uses strict fugal writing.

	Canon in D (Pachelbel's Canon) Arrangement for solo piano. Note that this arrangement is not exactly a canon like the original composition.
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Musicalische Ergötzung ("Musical Delight") is a set of six chamber suites for two scordatura violins and basso continuo published sometime after 1695. At the time, scordatura tuning was used to produce special effects and execute tricky passages. However, Pachelbel's collection was intended for amateur violinists, and scordatura tuning is used here as a basic introduction to the technique. Scordatura only involves the tonic, dominant and sometimes the subdominant notes.

Each suite of Musikalische Ergötzung begins with an introductory Sonata or Sonatina in one movement. In suites 1 and 3 these introductory movements are Allegro three-voice fughettas and stretti. The other four sonatas are reminiscent of French overtures. They have two Adagio sections which juxtapose slower and faster rhythms: the first section uses patterns of dotted quarter and eighth notes in a non-imitative manner. The second employs the violins in an imitative, sometimes homophonic structure, that uses shorter note values. The dance movements of the suites show traces of Italian (in the gigues of suites 2 and 6) and German (allemande appears in suites 1 and 2) influence, but the majority of the movements are clearly influenced by the French style. The suites do not adhere to a fixed structure: the allemande is only present in two suites, the gigues in four, two suites end with a chaconne, and the fourth suite contains two arias.

Pachelbel's other chamber music includes an aria and variations (Aria con variazioni in A major) and four standalone suites scored for a string quartet or a typical French five-part string ensemble with 2 violins, 2 violas and a violone (the latter reinforces the basso continuo). Of these, the five-part suite in G major (Partie a 5 in G major) is a variation suite, where each movement begins with a theme from the opening sonatina; like its four-part cousin (Partie a 4 in G major) and the third standalone suite (Partie a 4 in F-sharp minor) it updates the German suite model by using the latest French dances such as the gavotte or the ballet. The three pieces mentioned all end with a Finale movement. Interestingly, Partie a 4 in G major features no figuration for the lower part, which means that it was not a basso continuo and that, as Jean M. Perreault writes, "this work may well count as the first true string quartet, at least within the Germanophone domain."^[28]

Vocal music[link]

Johann Gottfried Walther famously described Pachelbel's vocal works as "more perfectly executed than anything before them".^[29] Already the earliest examples of Pachelbel's vocal writing, two arias So ist denn dies der Tag and So ist denn nur die Treu composed in Erfurt in 1679 (which are also Pachelbel's earliest datable pieces^[30]), display impressive mastery of large-scale composition (So ist denn dies der Tag is scored for soprano, SATB choir, 2 violins, 3 violas, 4 trumpets, timpani and basso continuo) and exceptional knowledge of contemporary techniques.

These latter features are also found in Pachelbel's Vespers pieces and sacred concertos, large-scale compositions which are probably his most important vocal works. Almost all of them adopt the modern concertato idiom and many are scored for unusually large groups of instruments (Jauchzet dem Herrn, alle Welt (in C) uses four trumpets, timpani, 2 violins, 3 violas, violone and basso continuo; Lobet den Herrn in seinem Heiligtum is scored for a five-part chorus, two flutes, bassoon, five trumpets, trombone, drums, cymbals, harp, two violins, basso continuo and organ). Pachelbel explores a very wide range of styles: psalm settings (Gott ist unser Zuversicht), chorale concertos (Christ lag in Todesbanden), sets of chorale variations (Was Gott tut, das ist wohlgetan), concerted motets, etc. The ensembles for which these works are scored are equally diverse: from the famous D major Magnificat setting written for a 4-part choir, 4 violas and basso continuo, to the Magnificat in C major scored for a five-part chorus, 4 trumpets, timpani, 2 violins, a single viola and two violas da gamba, bassoon, basso continuo and organ.

Pachelbel's large-scale vocal works are mostly written in modern style influenced by Italian Catholic music, with only a few non-concerted pieces and old plainchant cantus firmus techniques employed very infrequently. The string ensemble is typical for the time, three viols and two violins. The former are either used to provide harmonic content in instrumental sections or to double the vocal lines in tutti sections; the violins either engage in contrapuntal textures of varying density or are employed for ornamentation. Distinct features of Pachelbel's vocal writing in these pieces, aside from the fact that it is almost always very strongly tonal, include frequent use of permutation fugues and writing for paired voices. The Magnificat settings, most composed during Pachelbel's late Nuremberg years, are influenced by the Italian-Viennese style and distinguish themselves from their antecedents by treating the canticle in a variety of ways and stepping away from text-dependent composition.

Other vocal music includes motets, arias and two masses. Of the eleven extant motets, ten are scored for two four-part choruses. Most of this music is harmonically simple and makes little use of complex polyphony (indeed, the polyphonic passages frequently feature reduction of parts). The texts are taken from the psalms, except in Nun danket alle Gott which uses a short passage from the Ecclesiastes. The motets are structured according to the text they use. One important feature found in Gott ist unser Zuversicht and Nun danket alle Gott is that their endings are four-part chorale settings reminiscent of Pachelbel's organ chorale model: the chorale, presented in long note values, is sung by the sopranos, while the six lower parts accompany with passages in shorter note values:

An excerpt from the ending of motet Gott ist unser Zuversicht (bars 92–95). These are the first choir's parts, the notes and lines for the second choir are the same.

The arias, aside from the two 1679 works discussed above, are usually scored for solo voice accompanied by several instruments; most were written for occasions such as weddings, birthdays, funerals and baptisms. They include both simple strophic and complex sectional pieces of varying degrees of complexity, some include sections for chorus. The concerted Mass in C major is probably an early work; the D major Missa brevis is a small mass for a SATB choir in three movements (Kyrie, Gloria, Credo). It is simple, unadorned and reminiscent of his motets.

Notes[link]

References[link]

• Apel, Willi. 1972. The History of Keyboard Music to 1700. Translated by Hans Tischler. Indiana University Press. ISBN 0-253-21141-7. Originally published as Geschichte der Orgel- und Klaviermusik bis 1700 by Bärenreiter-Verlag, Kassel.
• Malina, János. 1998. Liner notes to "Pachelbel: Arias and Duets", Affetti Musicali cond. by János Malina. Hungaroton Classic, HCD 31736
• Nolte, Ewald V., and Butt, John. "Pachelbel. 1. Johann Pachelbel", Grove Music Online, ed. L. Macy (accessed December 29 2005), grovemusic.com (subscription access).
• Perreault, Jean M. 2004. The Thematic Catalogue of the Musical Works of Johann Pachelbel. Scarecrow Press, Lanham, Md. ISBN 0-8108-4970-4

A complete index of Pachelbel's compositions, the manuscripts in which they survive, and publications in which they can be found today. Includes an exhaustive bibliography.

• Welter, Kathryn J. 1998. Johann Pachelbel: Organist, Teacher, Composer, A Critical Reexamination of His Life, Works, and Historical Significance. Diss., Harvard University, Cambridge, Massachusetts.

As described by Perreault, "the only really general book on Pachelbel in English; richly informative, especially on biography and transmission of MS sources."

Further reading[link]

• Gauger, Ronald R. 1974. Ostinato Techniques in Chaconnes and Passacaglias of Pachelbel, Buxtehude, and J.S. Bach. Diss., University of Wisconsin.
• Nolte, Ewald V. 1954. The Instrumental Works of Johann Pachelbel (1653–1706): an Essay to Establish his Stylistic Position in the Development of the Baroque Musical Art. Diss., Northwestern University.
• Nolte, Ewald V. 1956. The Magnificat Fugues of Johann Pachelbel: Alternation or Intonation?, JAMS, ix (1956), 19–24.
• Nolte, Ewald V. 1957. Classic Contract between Pachelbel and Erfurt Church, The Diapason, xlviii (1956–7), 32.
• Nyquist, Roger T. 1968. The Influence of South German and Italian Composers on the Free Organ Forms of Johann Pachelbel. Diss., Indiana University.
• Sarber, Gayle V. 1983. The Organ Works of Pachelbel as Related to Selected Works by Frescobaldi and the South and Central German Composers. Diss., Indiana University.
• Woodward, Henry L. 1952. A Study of the Tenbury Manuscripts of Johann Pachelbel. Diss., Harvard University.

External links[link]

Wikimedia Commons has media related to: Johann Pachelbel

General reference[link]

• Johann Pachelbel biography and works
• Johann Pachelbel's biography at HOASM.org
• A list of Pachelbel's works with cross-references from Perreault's numbers to Tsukamoto, Welter and Bouchard and to selected editions
• Pachelbel Street – Archives of J.Pachelbel's Works, includes a complete catalogue of Pachelbel's works compiled by Hideo Tsukamoto
• Johann Pachelbel at Allmusic.com
• FindAGrave Profile

Scores[link]

• Free scores by Johann Pachelbel in the Werner Icking Music Archive (WIMA)
• Free scores by Johann Pachelbel in the Choral Public Domain Library (ChoralWiki)
• Free scores by Pachelbel at the International Music Score Library Project
• Free typeset sheet music of Pachelbel's works from Cantorion.org
• Pachelbel free sheet music
• The Mutopia Project has compositions by Johann Pachelbel

Recordings[link]

• Magnificat Fugues played on a virtual organ
• More works by Pachelbel played on virtual organs
• Works by Pachelbel in MIDI and MP3 format at Logos Virtual Library
• Recording of Magnificat in D major – for voices only by Canto Armonico.