On God, and Not On Human Trust – Johann Pachelbel – 1992 Hillcrest Choir

The 1992 Hillcrest choir sings «On God, and Not On Human Trust» by Johann Pachelbel during graduation weekend.

An a cappella anthem with text by Christian Fuerchtegott Gellert(English version by W. G. Polack) and written by Johann Pachelbel, based on a melody by Severus Gastorius and edited by Matthew Lundquist.

On God, and not on human trust,
my earthly stand I’ve taken.
On Him who made me out of dust,
I build with faith unshaken.
I trust His hands,
who understands all that he bestoweth is good,
as he best knoweth.
I know that as in night and day,
God’s purposes and plans are vested;
my heart His wishes must obey.
Through pain and joy be tested;
my good is meant, by each intent.
By all my Father’s doing,
my weal He is pursuing.

Johann Pachelbel baptised September 1, 1653 — buried March 9, 1706) was a German Baroque composer, organist and teacher, who brought the south German organ tradition to its peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.

Pachelbel’s music enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, the only canon he wrote — although a true canon at the unison in three parts, it is often regarded more as a passacaglia, and it is in this mode that it has been arranged and transcribed for many different media. In addition to the canon, his most well-known works include the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.

Pachelbel’s music was influenced by southern German composers, such as Johann Jakob Froberger and Johann Kaspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites.

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