Marga Scheurich, Johann Pachelbel - Hexachordum Apollinis 1699 Chaconne F moll

3:18

legato in baroque *commiting suicide*

Truly astonishing! Thanks for sharing.

MARCATO IN BAROQUE XDDDD

In my opinion its not andante. But FUNEBRE, funeral march haha

As much as I like his much overplayed canon, this Chaconne is probably my favorite Pachelbel piece, heard it both on piano and harpsichord as well as with a full orchestra.

She is one of the great harpsichordists ... This version is quite different from that of 1965 ... still so very beautiful and profound ... ???

Thank you!

An unknown to me Pachelbel and an unknown to me Harpsichordist.
Both very impressive . . . and definitely memorable. Thank you !

Excellent!!!!!!

Wow, this old, slightly wavelike "odd" sound makes me nostalgic...

*_The rest of the documentation in the English language 1/1 _*
JOHANN PACHELBEL, 1653-1706. A composer always has to have
his dates after his name, like a convict's number, or more kindly, like
the Official Titles of some ancient Court Dignitary. But these dates are
of considerable value in placing the composer in his historical context.
Until about 1600, musical forms were still developing. From 1600 to
1750, normally referred to as the Barock or Baroque period, music was
developed as the means of expressing the fundamental order of life.
The musical forms reflected pattern and ' order-the canon, the fugue,
the variations on a theme or bass line. After 17S0, "serious" music
went out offashion (actually it was only then that the concept of "fashion"
really came into being); music was expected to express drawing-room
chit-chat, and the vagaries of the human personality. Thence into the
Romantic period of the later 19th century, and the reaction to Romanticism
of our immediate predecessors. The culmination of the barock
period is represented by the music of J. S. Bach, who lived from 1685
to 1750. Johann Pachelbel, 1653- 1706, can therefore be seen to belong
a few paces behind Bach-in fact Bach studied Pachelbel's work and
was influenced by it. Pachelbel's life began and ended at Nurnb_urg,
where he became organist at the Sebaldus Kirche. The son of a wine
merchant, his musical development was influenced by Kaspar Kerrl, and
in Thuringia through contacts with the Bach family. With the current
increasing popularity of barock music, Johann Pachelbel is beginning
to gain much-deserved recogn ition as a composer in his own right,
rather than as one of those anonymous "Predecessors of J. S. Bach".
Another OR YX recording devoted to the works of this composer is
performed on the Historic German organ at Trebel by Helmut Winter-
Oryx 1755
 
THE HARPICHORD. The plucking of the taught string in a harpsichord
is one of the simplest and most straightforward ways of making
a musical sou d known to man. Its incisive, decisive attack, the purity
an.d clarity of 'ts tone, cannot be matched by any other instrument. The
harpsichord's history begins logically enough, with the hand-plucked
instruments such as the lute. In the harpsichord, strings, plucking and
damping, and sound-board are still there, but the action is now "mechanized"
and controlled from a keyboard. The harpsichord reached the
peak of its popularity with the barock period, and like the barock period,
went almost abruptly out of favour in 1750: not unnaturally, since the
influencing forces were the same in both cases. The harpsichord gave a
clean, pure plucked so.und well suited to music intended more for the
mind than the senses. But it was far too impersonal for the drawingroom
dilettantes of the later 1 7-hundreds; the harpSichord jack plucks
the string with an even pressure no matter how hard or softly the key
is pressed, and this proved quite unsuitable for the new-style performers,
who liked to throw their personalities at their audience through subtle
graduations of volume, touch and mood. The piano was all the rage now
- not the sickly muffled piano of the mid- 19th century, but its close
forerunner. That Pachelbel should write for and be performed on the
harpsichord is thus historically and artistically fitting. The harpsichord
used in this recording by Miss Scheurich is a Neuport, "Bach" model,
built in 1964.

MARGA SCHEURICH was born in Schneeberg near Amorbach. Her
serious musical education began with ten terms of study at the Staatlichen '
Hochschule fur Musik at Stuttgart under Lisedore Praetorius (harpsichord)
and Professor Alfred Kreutz (piano). Miss Scheurich then continued
her studies privately with Professor Edith Picht-Axenfeld. In
19,9, she was prizewinner in the German Colleges Music Competition.
Since 1960, Marga Scheurich has been teaching, and has given recitals and
broadcasts.

Splendid rendition of this wonderful Chaconne, great sound quality. Thanks !

Before this, I was a bit tired of listening to a Bach recital, also on harpsichord - and now this is just the perfect thing! I hope Bach wouldn't mind me saying this...

This is a wonderful performance of this magnificent work- IMHO, the greatest set of keyboard variations before the Goldbergs.

Oh, yes, as you warned - this performance, particularly the recorded sound, is very Roger Corman/Vincent Price/Edgar Allan Poe!

10:34 That stop sounds like an organ, incredible! I daresay this whole instrument sounds amazing.

What a magnificent and refreshing sound.
Both composition and instrument became one in this recording. In fact, one of the greatest I ever listen on your most beloved channel.
I understand why you reserve intimate feelings for it.

In lesser hands this music might not come off as 1st rate - but M. Scheurich illumines their greatness by her colorful, imaginative playing - her rhythmic sense is unfailing - her registrations are spot on.

interpretation is great sound is bad sadly