Erster Theil etlicher Choräle (commonly known as Acht Choräle zum Präambulieren , PWC 45–52, T. 1–8, PC 1–8) is a collection of liturgical organ music by Johann Pachelbel , published during his lifetime. It contains eight chorale preludes in seven different styles.
22-519: Theil may refer to: Archaic variant spelling of German for 'part' (modern High German "Teil"), for example " Erster Theil etlicher Choräle " People with surname Theil [ edit ] Anders Theil (1970), Danish football manager Henri Theil (1924–2000), Dutch econometrician Georges Theil (born 1940), French politician Pernille Rosenkrantz-Theil (1977), former member of Danish parliament See also [ edit ] Theil index ,
44-569: A first cousin of J.S. Bach 's father Johann Ambrosius Bach . This made Johann Christoph J.S. Bach's first cousin once removed. Furthermore, Johann Christoph was the uncle of Maria Barbara Bach , J. S. Bach's second cousin and first wife. Johann Christoph married Maria Elisabeth Wiedemann in 1667. They had seven children, including four sons who became musicians: Johann Nicolaus (10 October 1669 – 4 November 1753), Johann Christoph Jr. (29 August 1676 – 1738), Johann Friedrich (1682–1730), and Johann Michael (1685–unknown). Johann Christoph Bach
66-482: A somewhat popular phenomenon in the instrumental music of the 17th century. In any case, these fanciful figurations, together with the compound 8 meter, suggest a pastoral mood. [REDACTED] Johann Christoph Bach Johann Christoph Bach (baptised 18 December [ O.S. 8 December] 1642 – 31 March 1703) was a German composer and organist of the Baroque period. Johann Christoph
88-399: A statistical algorithm used to measure economic inequality Theil–Sen estimator , a statistical linear graph method Theil's U , a measure of nominal association also known as the uncertainty coefficient principle Le Theil , a French commune name Thiel , an etymologically related (and commonly misspelled variant) surname [REDACTED] Surname list This page lists people with
110-417: A two-voice piece with the chorale in long notes in one voice and fast ornamental passages in the other voice. Such pieces were very popular about a hundred years before Pachelbel's time, but by the end of the 17th century they were rarely seen. Pachelbel modifies the old form by splitting the bicinium into two sections: the first has the cantus firmus in the upper voice and the ornaments in the lower voice, while
132-427: Is different from Wikidata All set index articles Erster Theil etlicher Chor%C3%A4le Erster Theil etlicher Choräle (literally "First Part of [a collection of] assorted chorales") is one of Pachelbel's earliest publications. It is a mystery, however, when or where it was first published. Johann Mattheson mentions that the first edition appeared before 1693, while the edition lacked any indications of
154-407: Is presented as a very straightforward three-voice piece, with the cantus firmus in upper voice and brief snatches of fore-imitation in the lower voices throughout the setting. [REDACTED] The chorale " Wie schön leuchtet der Morgenstern ", associated variously with Epiphany , Whit , Annunciation , and Sundays after Trinity, is set by Pachelbel as a three-voice prelude with the chorale in
176-584: Is used throughout the piece in well-developed three-voice sections, resulting in what Pachelbel scholar Kathryn Welter described as "the most magnificent of the eight preludes [of Erster Theil ] in its discipline of construction and richness of harmonies." [REDACTED] This setting of the German Creed " Wir glauben all an einen Gott " is the only known example of ornamented cantus firmus setting in Pachelbel's surviving works. The style, which goes back to
198-498: The surname Theil . If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name (s) to the link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Theil&oldid=1218996967 " Categories : Surnames German-language surnames Danish-language surnames Dutch-language surnames Hidden categories: Articles with short description Short description
220-487: The bass voice. Pachelbel uses fore-imitation throughout the piece: whenever the next phrase of the chorale is about to begin, the upper voices anticipate its melodic contour in brief imitative passages. [REDACTED] The chorale " Nun lob, mein Seel, den Herren ", an old doxology setting of Psalm 103 , is presented by Pachelbel in a three-voice setting with the cantus firmus in the tenor voice. The arrangement of voices and
242-517: The last piece of the collection Pachelbel chose Martin Luther 's famous Christmas hymn " Vom Himmel hoch, da komm ich her ." He sets it as a three-voice piece with the chorale in the bass. Unlike Wie schön leuchtet der Morgenstern which uses the same arrangement, the upper voices do not provide mere fore-imitation, but engage in highly original figurations. Pachelbel scholar Ewald Nolte suggested that these were probably intended as imitations of birdsong ,
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#1732859216536264-469: The ornamented chorale is in the upper voice. [REDACTED] The text of the chorale references the Ten Commandments . Pachelbel's setting (P 50a) is a four-voice fugue in G mixolydian . The first line of the chorale is used as the subject, which appears 11 times. The last statement of the subject is in the lowest voice, establishing with the final notes the pitch the congregation would enter after
286-413: The piece is performed by the organist. Another setting (P 50b) was formerly attributed to Pachelbel and included in this set. It has since been attributed to Johann Gottfried Walther . [REDACTED] The well-known Communion hymn " Jesus Christus, unser Heiland, der von uns den Gotteszorn wandt " is treated by Pachelbel in a manner most unexpected for the period: the setting is a bicinium , i.e.
308-490: The publication of the first edition of Erster Theil etlicher Choräle , for the engraving closely resembles his handwriting. A manuscript collection of chorale preludes by Johann Christoph Bach (1642–1703), Johann Sebastian's first cousin once removed, organist at Eisenach (where Pachelbel made acquaintance with members of the Bach family during his stay there 1677–1678), may have some connection to Pachelbel's Erster Theil , given
330-405: The second (starting at bar 30) reverses this arrangement. Further modification of the classic bicinium form occurs when Pachelbel uses the technique of fore-imitation (for which he was particularly known), when the ornamental passages include motifs that anticipate the chorale melody. The technique is used in many instances throughout the piece, including the very first bars. [REDACTED] For
352-497: The similarity of not only the subject but also the titles of both collections: It is not known, however, who influenced whom. No other printed collections of chorale preludes survive from the period, making Pachelbel's Erster Theil unique in its choice of subject. Decades after its publication, the collection was singled out by Mattheson, who described the contents as "models [of chorale writing] not to be dismissed" in his Der vollkommene Capellmeister (1739). This famous chorale
374-437: The surviving copy must be a second or a third edition. Given the number of reprints, Erster Theil must have enjoyed considerable popularity. The title indicates that Pachelbel may have wished to publish a set of chorale collections, however, no other chorale publications by him are known. Johann Christoph Bach (1671–1721) , Johann Sebastian 's eldest brother and one of Pachelbel's most important pupils, may have assisted with
396-456: The time of Jan Pieterszoon Sweelinck and Heinrich Scheidemann , was not wholly unknown to Pachelbel, for he would normally use ornamentation in his chorale variations. A possible explanation is that Pachelbel may have been reluctant to use ornamentation in pieces intended for congregational singing. He probably included the piece in Erster Theil as a model. The setting is in three voices, and
418-544: The white mensural notation, both derived from the German polyphonic song, are unique in Pachelbel's surviving oeuvre, as is the ornamentation used in Wir glauben all an einen Gott . [REDACTED] The chorale " Vater unser im Himmelreich " is a famous hymn, a versification of the Lord's Prayer . Pachelbel presents it as a four-voice setting with the chorale in the upper voice. Fore-imitation
440-498: The year of publication. The only copy extant today is a Nuremberg edition by Johann Christoph Weigel , who also published Pachelbel's Hexachordum Apollinis (1699) and a reprint of his Musicalische Ergötzung . This copy is marked "1693", however, there are two problems with this date. The first is that it was added by another hand at a later date, the second is that Weigel did not start working in Nuremberg until at least 1698. Thus,
462-407: Was an older cousin of Johann Sebastian Bach who would later describe him in his Genealogy ( Ursprung , 1735) as "the profound composer", suggesting a solid reputation not only within the family but also in wider musical society. He is not to be confused with Johann Sebastian Bach's son, Johann Christoph Friedrich Bach . Johann Christoph was born at Arnstadt , the son of Heinrich Bach and
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#1732859216536484-604: Was organist of St George's church at Eisenach , the capital of the Dukes of Saxe-Eisenach. He was also employed as a member of the Ducal court. Perhaps his best known works are: the cantata Meine Freundin, du bist schön , based on the Song of Solomon ; the 4-part chorale prelude " An Wasserflüssen Babylon ", and; Lamento: Ach, daß ich Wassers g'nug hätte , a church cantata for alto and strings. Despite Johann Christoph's steady employment as
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