Pachelbel Complete Keyboard
The "Pachelbel
Complete Keyboard" project pursues a dual objective: the complete recording of Johann
Pachelbel’s work for organ and harpsichord, as well as musicological research dedicated to the art
of
keyboard improvisation in the tradition of the Pachelbel school.
This project aims to showcase the composer's work through a historically informed interpretation on
period instruments. Special attention is given to the quality of the instruments used, particularly
regarding sound aesthetics and tuning temperament.
Currently, work is underway on a critical edition of the Weimar Tablature Book as well as on the
improvisation techniques derived from it.
The Weimar Tablature
The Weimar Tablature (Weimarer Tablaturbuch) is a significant musical collection comprising 247 chorales notated in figured bass. These chorales are organized according to the liturgical calendar, and several of them are preceded by short introductory fugues.
The collection can be distinctly divided into two sections: the first part in unmeasured notation, and the second in measured notation. Chorale number 160 marks this division precisely, featuring a measured three-part realization with two voices assigned to the left hand and the cantus firmus performed by the right hand. This chorale is particularly notable, offering a valuable example of polyphonic realization based on figured bass, concretely illustrating how tablature was employed in the practice of improvisation.
Moreover, the figured-bass realizations provided by this collection are not limited merely to traditional four-voice harmonic accompaniment. They also serve as the foundation for creating “partita,” or chorale variations, significantly enriching the interpretative and pedagogical possibilities of the Weimar Tablature.
Baroque Keyboard Improvisation
Improvisation is an art whose practice dates back at least to the Middle Ages and remains very much alive today, particularly in religious contexts. Whether vocal or instrumental, improvisation adheres to precise and rigorous contrapuntal principles. From the Renaissance onward, especially toward its conclusion, musical treatises began documenting specific improvisational techniques, including methods known as "reading from the book" ("lecture sur le livre"). Today, these theoretical descriptions enable us to recognize improvisational procedures within written compositions, whether for voice or instruments.
Certain improvisational techniques, such as gymel or fauxbourdon, are clearly identifiable in Renaissance musical works and persist throughout the Baroque period. For example, the polyphonic settings of the Psalter by Claude Goudimel or the harmonizations of Lutheran chorales explicitly testify to this codified improvisational tradition. The Weimar Tablature particularly exemplifies the practical application of these techniques, especially in the creation and elaboration of figured bass lines.
Pachelbel's Keyboard Works
The works of Johann Pachelbel notably illustrate how improvisational techniques can be integrated
into written compositions. This is especially evident in his keyboard works, notably the organ
pieces primarily designed for liturgical use and accompanying religious services.
These
compositions also highlight the characteristic style and specific methods collectively referred to
as the “Pachelbel School.” Some works appear more as annotations or sketches intended as bases for
improvisation. Thus, they clearly demonstrate the practical application of improvisational
techniques, as well as a pedagogical approach to both improvisation and composition.
Within this context, the historically informed recording project encompassing Johann Pachelbel’s complete keyboard works—grounded in extensive musicological research—aims to serve as a faithful and rigorous illustration of the artistry and aesthetic principles of the Pachelbel School. This endeavor emphasizes authenticity in interpretation, as well as precision in Baroque ornamentation.
Vianney Sicard
Vianney Sicard is a French organist and harpsichordist specializing in early music. He began his studies at the Regional Conservatory of Nantes before furthering his education at the National Superior Conservatory of Music and Dance in Paris, where he notably studied organ, musical composition, analysis, conducting, and continuo.
After completing his musical studies, he first held the position of organ professor at the
Conservatoire National de Région in Nantes. He then served as assistant choirmaster at the
Sainte-Anne d’Auray choir school and was also appointed titular organist of the historic organ at
the Saint-Gildas Abbey in Auray. Later, he was invited by Nantes Cathedral to re-establish the choir
school, direct the vocal ensembles, and oversee all aspects of liturgical music, assuming a role
akin to that of a cantor.
As a performer, he has appeared both in France and abroad as a soloist, chamber musician, and
continuo player. He is also regularly invited to serve as a jury member in music theory and analysis
for final examinations at conservatories and at Cefedem.
For several years, he has been conducting in-depth research on improvisation techniques in
Baroque-era Germany and their connections with those of the Renaissance.
In parallel with his artistic career, Vianney Sicard holds a doctorate in computer science and epidemiological modeling and is currently a researcher at the Helmholtz-Zentrum für Umweltforschung – UFZ in Leipzig.