J. Pachelbel :: Aria Secunda, P.194/T.212
From Hexachordum Apollinis, ded. D.Buxtehude & F.T.Richter
Let's say, there was no escape for me...Not that I wanted to escape from a second Pachelbel recording, far from, but people of today seem to like that old late 17th c. South German guy in a way that might reflect, well... a bit how a broad section of today's society like Mozart. For his melodies, his charm, his...all things that are to be found in his music and in one way or another reaches many people with all kinds of background.
Of course, the F minor variations I recorded first, are very special, and the dancing of Evelien might have helped that video, but point is: Pachelbel's music sticks in your head. He is very strong in that regard.
Curious to know how that is with the Aria Secunda, second variation of the 6, he bundled in 1699 in his "Hexachordum Apollinis". Literally translated: the six strings of Apollo. Six variations in different keys, ending with the (famous) Aria Sebaldina. One follow-up recording I'd think, but why not do them all six? Let me know in the comment boxes if you'd like me to do that!
The influence of Pachelbel on J.S.Bach is, we talked on that before, very big. Bach's older brother Christoph, took young JSB in his house after both of their parents died in a short period of time. Christoph had been trained by a very close friend of the Bach family, Johann Pachelbel, and no doubt he teached his younger brother with the music he got from his Southern Germany period. Only after 1700, when Johann Sebastian headed for Lüneburg in stead of the other way to Pachelbel, as Christoph wanted him to go, Bach met the great composers/organists Böhm, Reincken and probably Buxtehude a first time. And it was there, in Lüneburg, he dived into the French culture, by spending much time with the young nobleman of the Ritteracademy, based in the same school in Lüneburg, that were trained with all the French etiquettes, language and ... music, to let them serve in diplomatic service later.
Bach took much French music back to his brother Christoph, and from then on, he never lost that connection any more, on the exception of his admiration for Vivaldi perhaps.
Anyway, that is on JSB... as if Pachelbel could not stand on its own. He can. He definetely is one of the great masters of that late 17 -early 18 century, and I hope you feel my joy for that music in the way it is performed here!
Thanks for listening!
1. A tiny bit on the Hexacordum Appolinis itself
2. The "Tempo Guidance Spot" (L. Mozart) (help me find a better English term!)
3. Main note or upper note trill here?