{"id":88080,"date":"2021-01-31T15:29:57","date_gmt":"2021-01-31T13:29:57","guid":{"rendered":"https:\/\/wp.929.org.il\/?p=88080"},"modified":"2021-01-31T15:30:13","modified_gmt":"2021-01-31T13:30:13","slug":"baroque-dialogue-for-two-choirs","status":"publish","type":"post","link":"https:\/\/wp.929.org.il\/en\/baroque-dialogue-for-two-choirs\/","title":{"rendered":"Baroque Dialogue For Two Choirs"},"content":{"rendered":"
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Johann Pachelbel (1653-1706), “Jauchzet dem Herrn\u201d for Double Chorus (Psalm 100)<\/span><\/p>\n

The \u201cImmortal Canon\u201d by Pachelbel is one of the relatively few classics that have achieved new heights of popularity in recent decades. Like any good tune, it\u2019s based on a short and convincing movement of bass and chords, that become etched in one\u2019s memory as the basis for a good melody. Likewise, in this composition for Psalm 100 there are similar structures of voices that are layered one on top of another, with underlying bass and chords that are accessible to all.<\/span><\/p>\n

Pachelbel is one of the best-known composers and organists of his time. He was born in Nuremberg, and after some wandering around the southern parts of Germany, including Vienna, he returned to his hometown, which became the center of his activity.\u00a0<\/span><\/p>\n

It is known that he had very good connections with the Bach family, before the birth of Johann Sebastian. He even was the godfather of Bach\u2019s older sister, and the teacher of his older brother (Johann Christof), from whom the younger Bach later learned. Pachelbel is considered to be the father of the \u201cchorale prelude\u201d which in time became one of the most prominent of J.S. Bach\u2019s genres. He is also one of the most important composers of fugues, which Bach also raised to new heights. The young Bach preferred learning from the northern German composers (such as Buxtahude), who he felt were more dynamic and daring, while Pachelbel sounded to him more staid and conservative, despite the expertise and accuracy of his writing.\u00a0\u00a0<\/span><\/p>\n

This composition is based on Luther\u2019s translation of Psalm 100. Each section of the work is dedicated to a verse, or phrase of the short psalm.<\/span><\/p>\n

The opening verse (\u201cRaise a shout for the LORD, all the earth\u201d) demonstrates the ongoing dialogue between the two choirs, which is expressed in various ways: call and response, gradual building of layers (as in the well-known canon), or the coming together in a complex\u00a0 eight-voiced texture. The voices imitate the brassy trumpets of the Baroque, which would have integrated perfectly had their also been instrumental parts.\u00a0<\/span><\/p>\n

It is easy to follow the different verses, each of which receives its own melodic line. The work finishes with a long fugue on \u201c His faithfulness is for all generations\u201d (from 2:43 in the recorded performance). The voices enter gradually and increase the intensity of the finale. The endless repetitions of the closing words also contribute to this climax.<\/span><\/p>\n

Johann Pachelbel’s “Jauchzet dem Herrn for Double Chorus (Psalm 100),” performed by the Roanoke College Choir under the direction of Jeffrey Sandborg, 2011<\/span><\/p>\n

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