Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Orgelbüchlein (Little Organ Book) BWV 599−644 is a set of 46 chorale preludes for organ – one of them is given in two versions – by Johann Sebastian Bach. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig. Bach's apparent plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented. However, only 46 of these were completed. The manuscript, which is now in the Staatsbibliothek, leaves a number of tunes as missing or "ghost" pieces. A project to complete the missing chorales called "The Orgelbüchlein Project" has been launched in the 21st century, where the chorales are written in modern styles. This project took nine hours in the first complete performance, giving an idea of the potential scope of Bach's "little" book. The Orgelbüchlein as Bach left it contains about 80 minutes of music which span the liturgical calendar. Each setting takes a Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. Many of the preludes are short and use four contrapuntal voices. All have a pedal part, some requiring only a single keyboard and pedal, with an unadorned cantus firmus. Others involve two keyboards and pedal. These include several canons, four ornamental four-part preludes with elaborately decorated chorale lines, and one prelude in trio sonata form. A further step towards perfecting this form was taken by Bach when he made the contrapuntal elements in his music a means of reflecting certain emotional aspects of the words. Pachelbel had not attempted this; he lacked the fervid feeling which would have enabled him thus to enter into his subject. And it is entering into it, and not a mere depicting of it. For, once more be it said, in every vital movement of the world external to us we behold the image of a movement within us; and every such image must react upon us to produce the corresponding emotion in that inner world of feeling. Here Bach has realised the ideal of the chorale prelude. The method is the most simple imaginable and at the same time the most perfect. Nowhere is the Dürer-like character of his musical style so evident as in these small chorale preludes. Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said, and so makes clear the relation of the music to the text whose title it bears.

Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period. He is known for his prolific output across a variety of instruments and forms, including the orchestral Brandenburg Concertos; solo instrumental works such as the Cello Suites and Sonatas and Partitas for Solo Violin; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schübler Chorales and the Toccata and Fugue in D minor; and choral works such as the St. Matthew Passion and the Mass in B minor. He is known for his mastery of counterpoint, as heard in The Musical Offering and The Art of Fugue. Felix Mendelssohn precipitated the Bach Revival with a performance of the St. Matthew Passion in 1829. Ever since, Bach has been acclaimed as one of the greatest composers of classical music. The Bach family had already produced several composers when Johann Sebastian was born in Eisenach, the youngest child of the city musician Johann Ambrosius Bach. After being orphaned at age 10, he lived for five years with his eldest brother, Johann Christoph, then continued his musical education in Lüneburg. In 1703 he returned to Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen. Around that time he also paid extended visits to the courts in Weimar, where he expanded his organ repertory, and the reformed court at Köthen, where he was mostly engaged with chamber music. By 1723 he was hired as Thomaskantor, church music director of the city of Leipzig and thus responsible for music in four Lutheran city churches and for the St. Thomas School. He decided to compose annual cycles of church cantatas, and also wrote music for Leipzig University's student ensemble, Collegium Musicum. In 1726 he began publishing his organ and other keyboard music. In Leipzig, he had difficult relations with his employer, as he had during some of his earlier positions. This situation was somewhat remedied when his sovereign, Augustus III of Poland, granted him the title of court composer of the Elector of Saxony in 1736. In the last decades of his life, Bach reworked and extended many of his earlier compositions. He died due to complications following eye surgery in 1750 at the age of 65. Four of his twenty children, Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich, and Johann Christian, became composers. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly Italy and France. His compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios, and motets. He adopted Lutheran hymns, not only in his larger vocal works but also in such works as his four-part chorales and his sacred songs. Bach wrote extensively for organ and other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works use contrapuntal techniques like canon and fugue. Several decades after his death, in the 18th century, Bach was still primarily known as an organist. Several biographies of Bach were published in the 19th century, and by the end of that century all of his known music had been printed. Dissemination of Bach scholarship continued through periodicals (and later websites) devoted to him, other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works), and new critical editions of his compositions. His music was further popularised by a multitude of arrangements, including the "Air on the G String" and "Jesu, Joy of Man's Desiring", and recordings, among them three boxed sets of performances of his complete oeuvre marking the 250th anniversary of his death.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period. He is known for his prolific output across a variety of instruments and forms, including the orchestral Brandenburg Concertos; solo instrumental works such as the Cello Suites and Sonatas and Partitas for Solo Violin; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schübler Chorales and the Toccata and Fugue in D minor; and choral works such as the St. Matthew Passion and the Mass in B minor. He is known for his mastery of counterpoint, as heard in The Musical Offering and The Art of Fugue. Felix Mendelssohn precipitated the Bach Revival with a performance of the St. Matthew Passion in 1829. Ever since, Bach has been acclaimed as one of the greatest composers of classical music. The Bach family had already produced several composers when Johann Sebastian was born in Eisenach, the youngest child of the city musician Johann Ambrosius Bach. After being orphaned at age 10, he lived for five years with his eldest brother, Johann Christoph, then continued his musical education in Lüneburg. In 1703 he returned to Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen. Around that time he also paid extended visits to the courts in Weimar, where he expanded his organ repertory, and the reformed court at Köthen, where he was mostly engaged with chamber music. By 1723 he was hired as Thomaskantor, church music director of the city of Leipzig and thus responsible for music in four Lutheran city churches and for the St. Thomas School. He decided to compose annual cycles of church cantatas, and also wrote music for Leipzig University's student ensemble, Collegium Musicum. In 1726 he began publishing his organ and other keyboard music. In Leipzig, he had difficult relations with his employer, as he had during some of his earlier positions. This situation was somewhat remedied when his sovereign, Augustus III of Poland, granted him the title of court composer of the Elector of Saxony in 1736. In the last decades of his life, Bach reworked and extended many of his earlier compositions. He died due to complications following eye surgery in 1750 at the age of 65. Four of his twenty children, Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich, and Johann Christian, became composers. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly Italy and France. His compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios, and motets. He adopted Lutheran hymns, not only in his larger vocal works but also in such works as his four-part chorales and his sacred songs. Bach wrote extensively for organ and other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works use contrapuntal techniques like canon and fugue. Several decades after his death, in the 18th century, Bach was still primarily known as an organist. Several biographies of Bach were published in the 19th century, and by the end of that century all of his known music had been printed. Dissemination of Bach scholarship continued through periodicals (and later websites) devoted to him, other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works), and new critical editions of his compositions. His music was further popularised by a multitude of arrangements, including the "Air on the G String" and "Jesu, Joy of Man's Desiring", and recordings, among them three boxed sets of performances of his complete oeuvre marking the 250th anniversary of his death.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

The Orgelbüchlein (Little Organ Book) BWV 599−644 is a set of 46 chorale preludes for organ – one of them is given in two versions – by Johann Sebastian Bach. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig. Bach's apparent plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented. However, only 46 of these were completed. The manuscript, which is now in the Staatsbibliothek, leaves a number of tunes as missing or "ghost" pieces. A project to complete the missing chorales called "The Orgelbüchlein Project" has been launched in the 21st century, where the chorales are written in modern styles. This project took nine hours in the first complete performance, giving an idea of the potential scope of Bach's "little" book. The Orgelbüchlein as Bach left it contains about 80 minutes of music which span the liturgical calendar. Each setting takes a Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. Many of the preludes are short and use four contrapuntal voices. All have a pedal part, some requiring only a single keyboard and pedal, with an unadorned cantus firmus. Others involve two keyboards and pedal. These include several canons, four ornamental four-part preludes with elaborately decorated chorale lines, and one prelude in trio sonata form. A further step towards perfecting this form was taken by Bach when he made the contrapuntal elements in his music a means of reflecting certain emotional aspects of the words. Pachelbel had not attempted this; he lacked the fervid feeling which would have enabled him thus to enter into his subject. And it is entering into it, and not a mere depicting of it. For, once more be it said, in every vital movement of the world external to us we behold the image of a movement within us; and every such image must react upon us to produce the corresponding emotion in that inner world of feeling. Here Bach has realised the ideal of the chorale prelude. The method is the most simple imaginable and at the same time the most perfect. Nowhere is the Dürer-like character of his musical style so evident as in these small chorale preludes. Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said, and so makes clear the relation of the music to the text whose title it bears.

The Orgelbüchlein (Little Organ Book) BWV 599−644 is a set of 46 chorale preludes for organ – one of them is given in two versions – by Johann Sebastian Bach. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig. Bach's apparent plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented. However, only 46 of these were completed. The manuscript, which is now in the Staatsbibliothek, leaves a number of tunes as missing or "ghost" pieces. A project to complete the missing chorales called "The Orgelbüchlein Project" has been launched in the 21st century, where the chorales are written in modern styles. This project took nine hours in the first complete performance, giving an idea of the potential scope of Bach's "little" book. The Orgelbüchlein as Bach left it contains about 80 minutes of music which span the liturgical calendar. Each setting takes a Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. Many of the preludes are short and use four contrapuntal voices. All have a pedal part, some requiring only a single keyboard and pedal, with an unadorned cantus firmus. Others involve two keyboards and pedal. These include several canons, four ornamental four-part preludes with elaborately decorated chorale lines, and one prelude in trio sonata form. A further step towards perfecting this form was taken by Bach when he made the contrapuntal elements in his music a means of reflecting certain emotional aspects of the words. Pachelbel had not attempted this; he lacked the fervid feeling which would have enabled him thus to enter into his subject. And it is entering into it, and not a mere depicting of it. For, once more be it said, in every vital movement of the world external to us we behold the image of a movement within us; and every such image must react upon us to produce the corresponding emotion in that inner world of feeling. Here Bach has realised the ideal of the chorale prelude. The method is the most simple imaginable and at the same time the most perfect. Nowhere is the Dürer-like character of his musical style so evident as in these small chorale preludes. Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said, and so makes clear the relation of the music to the text whose title it bears.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Christ lag in Todes Banden (also spelled Todesbanden; "Christ lay in death's bonds" or "Christ lay in the snares of death"), BWV 4, is a cantata for Easter by German composer Johann Sebastian Bach, one of his earliest church cantatas. It is agreed to be an early work partly for stylistic reasons and partly because there is evidence that it was probably written for a performance in 1707. Bach went on to complete many other works in the same genre, contributing complete cantata cycles for all occasions of the liturgical year. John Eliot Gardiner described it as Bach's "first-known attempt at painting narrative in music". Christ lag in Todes Banden is a chorale cantata, a style in which both text and music are based on a hymn. In this instance, the source was Martin Luther's hymn of the same name, the main hymn for Easter in the Lutheran church. The composition is based on the seven stanzas of the hymn and its tune, which was derived from Medieval models. Bach used the unchanged words of a stanza of the chorale in each of the seven vocal movements, in the format of chorale variations per omnes versus (for all stanzas), and he used its tune as a cantus firmus. After an opening sinfonia, the variations are arranged symmetrically: chorus–duet–solo–chorus–solo–duet–chorus, with the focus on the central fourth stanza about the battle between Life and Death. All movements are in E minor, and Bach achieves variety and intensifies the meaning of the text through many musical forms and techniques. Christ lag in Todes Banden is Bach's first cantata for Easter – in fact, his only extant original composition for the first day of the feast – and his earliest surviving chorale cantata. It was related to his application for a post at a Lutheran church at Mühlhausen. He later twice performed it as Thomaskantor in Leipzig, beginning in 1724 when he first celebrated Easter there. Only this second version survives. It is scored for four vocal parts and a Baroque instrumental ensemble with two components, an instrumental "choir" of cornetto and three trombones doubling the choral voices (only in the 2nd Leipzig performance in 1725 were these used), and a string section of two violins, two violas, and continuo. While this scoring reflects the resources at Bach's disposal (the cornetto and brass players would have been available because of the city band tradition in Leipzig), it was old-fashioned and exemplifies a 17th-century Choralkonzert (chorale concerto) style; the lost scoring of the earlier performances was perhaps similar. Gardiner calls Bach's setting of Luther's hymn "a bold, innovative piece of musical drama", and observes "his total identification with the spirit and letter of Luther's fiery, dramatic hymn".

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

This is a list of chaconnes composed in the 17th century. Included are all pieces of 17th-century music, or clearly marked off sections of pieces, labeled "chaconne" (or some variant of that word) by their composers, that have been found by contributors to this article among the works of musicians, musicologists, and music historians. A few pieces not labeled "chaconne" by their composers, when they have been clearly identified as chaconnes by later commentators, have also been included. A definitive list would be impossible to make, because there was in the 17th century, and there remains today, disagreement about the defining characteristics of a chaconne. That subject is treated in the article Chaconne. Jump to decade:

This is a list of chaconnes composed in the 17th century. Included are all pieces of 17th-century music, or clearly marked off sections of pieces, labeled "chaconne" (or some variant of that word) by their composers, that have been found by contributors to this article among the works of musicians, musicologists, and music historians. A few pieces not labeled "chaconne" by their composers, when they have been clearly identified as chaconnes by later commentators, have also been included. A definitive list would be impossible to make, because there was in the 17th century, and there remains today, disagreement about the defining characteristics of a chaconne. That subject is treated in the article Chaconne. Jump to decade:

Chaconne in D minor (PWC 41, T. 204, PC 147, POP 14) is an organ chaconne by Johann Pachelbel. It is one of the six surviving chaconnes by the composer, and one of his best known organ works. The chaconne survives in a single manuscript, the famous Andreas Bach Buch compiled by Johann Christoph Bach (1671–1721), Johann Sebastian Bach's eldest brother. Johann Christoph studied under Pachelbel between 1685 and 1688, and possibly later; they became close friends. The Andreas Bach Buch contains only six works by Pachelbel, though, evidently because Johann Christoph had numerous other copies of Pachelbel's works. In a frequently retold anecdote, one such manuscript, containing works by Froberger, Kerll, and Pachelbel, was studied by the young Johann Sebastian Bach—secretly and at night, because Johann Christoph would forbid him to use the manuscripts. That there is only one extant copy of Chaconne in D minor is typical for the transmission of Pachelbel's chaconnes. All but one (Chaconne in D major, PWC 40, T. 203, PC 145, POP 13) are similarly transmitted in single copies. Nothing is known about the date of composition of the piece. The Andreas Bach Buch was probably compiled in early 18th century, possibly between 1707 and 1713, although these dates are not certain. Chaconne in D minor may represent a later stage of development in Pachelbel's style, similar to the four Pachelbel toccatas preserved in ABB, all of which seem to be late works. The chaconne comprises a theme (8 bars) and 16 variations, the last of which is an almost exact repeat of the theme. This piece is unique among Pachelbel's ostinato works in that the bass pattern is preserved throughout the work without alterations (except for a minor modification in variation 8). The variations are not actual melodic variations based on the theme, but rather free material based on the harmonies provided by bass. The process, which also serves as the basis of some of Pachelbel's other chaconnes, has been described thus: "the harmonies are dissected through an amazing—though controlled—profusion of devices." All variations continue developmentally one into another, making the piece Pachelbel's most structurally sophisticated chaconne. Of the other five ostinato pieces, only Chaconne in F minor comes close to this design. Together with the F minor chaconne, Chaconne in D minor anticipates a number of features found in Johann Sebastian Bach's famous Passacaglia and Fugue in C minor, BWV 582. This includes various melodic and structural details. For instance, the "dactyl" figures of the first variation of Pachelbel's work are found in Bach's passacaglia from bar 32 onwards, as is the written-out "modified repeat" of the second variation.

Chaconne in D minor (PWC 41, T. 204, PC 147, POP 14) is an organ chaconne by Johann Pachelbel. It is one of the six surviving chaconnes by the composer, and one of his best known organ works. The chaconne survives in a single manuscript, the famous Andreas Bach Buch compiled by Johann Christoph Bach (1671–1721), Johann Sebastian Bach's eldest brother. Johann Christoph studied under Pachelbel between 1685 and 1688, and possibly later; they became close friends. The Andreas Bach Buch contains only six works by Pachelbel, though, evidently because Johann Christoph had numerous other copies of Pachelbel's works. In a frequently retold anecdote, one such manuscript, containing works by Froberger, Kerll, and Pachelbel, was studied by the young Johann Sebastian Bach—secretly and at night, because Johann Christoph would forbid him to use the manuscripts. That there is only one extant copy of Chaconne in D minor is typical for the transmission of Pachelbel's chaconnes. All but one (Chaconne in D major, PWC 40, T. 203, PC 145, POP 13) are similarly transmitted in single copies. Nothing is known about the date of composition of the piece. The Andreas Bach Buch was probably compiled in early 18th century, possibly between 1707 and 1713, although these dates are not certain. Chaconne in D minor may represent a later stage of development in Pachelbel's style, similar to the four Pachelbel toccatas preserved in ABB, all of which seem to be late works. The chaconne comprises a theme (8 bars) and 16 variations, the last of which is an almost exact repeat of the theme. This piece is unique among Pachelbel's ostinato works in that the bass pattern is preserved throughout the work without alterations (except for a minor modification in variation 8). The variations are not actual melodic variations based on the theme, but rather free material based on the harmonies provided by bass. The process, which also serves as the basis of some of Pachelbel's other chaconnes, has been described thus: "the harmonies are dissected through an amazing—though controlled—profusion of devices." All variations continue developmentally one into another, making the piece Pachelbel's most structurally sophisticated chaconne. Of the other five ostinato pieces, only Chaconne in F minor comes close to this design. Together with the F minor chaconne, Chaconne in D minor anticipates a number of features found in Johann Sebastian Bach's famous Passacaglia and Fugue in C minor, BWV 582. This includes various melodic and structural details. For instance, the "dactyl" figures of the first variation of Pachelbel's work are found in Bach's passacaglia from bar 32 onwards, as is the written-out "modified repeat" of the second variation.

Chaconne in D minor (PWC 41, T. 204, PC 147, POP 14) is an organ chaconne by Johann Pachelbel. It is one of the six surviving chaconnes by the composer, and one of his best known organ works. The chaconne survives in a single manuscript, the famous Andreas Bach Buch compiled by Johann Christoph Bach (1671–1721), Johann Sebastian Bach's eldest brother. Johann Christoph studied under Pachelbel between 1685 and 1688, and possibly later; they became close friends. The Andreas Bach Buch contains only six works by Pachelbel, though, evidently because Johann Christoph had numerous other copies of Pachelbel's works. In a frequently retold anecdote, one such manuscript, containing works by Froberger, Kerll, and Pachelbel, was studied by the young Johann Sebastian Bach—secretly and at night, because Johann Christoph would forbid him to use the manuscripts. That there is only one extant copy of Chaconne in D minor is typical for the transmission of Pachelbel's chaconnes. All but one (Chaconne in D major, PWC 40, T. 203, PC 145, POP 13) are similarly transmitted in single copies. Nothing is known about the date of composition of the piece. The Andreas Bach Buch was probably compiled in early 18th century, possibly between 1707 and 1713, although these dates are not certain. Chaconne in D minor may represent a later stage of development in Pachelbel's style, similar to the four Pachelbel toccatas preserved in ABB, all of which seem to be late works. The chaconne comprises a theme (8 bars) and 16 variations, the last of which is an almost exact repeat of the theme. This piece is unique among Pachelbel's ostinato works in that the bass pattern is preserved throughout the work without alterations (except for a minor modification in variation 8). The variations are not actual melodic variations based on the theme, but rather free material based on the harmonies provided by bass. The process, which also serves as the basis of some of Pachelbel's other chaconnes, has been described thus: "the harmonies are dissected through an amazing—though controlled—profusion of devices." All variations continue developmentally one into another, making the piece Pachelbel's most structurally sophisticated chaconne. Of the other five ostinato pieces, only Chaconne in F minor comes close to this design. Together with the F minor chaconne, Chaconne in D minor anticipates a number of features found in Johann Sebastian Bach's famous Passacaglia and Fugue in C minor, BWV 582. This includes various melodic and structural details. For instance, the "dactyl" figures of the first variation of Pachelbel's work are found in Bach's passacaglia from bar 32 onwards, as is the written-out "modified repeat" of the second variation.

Chaconne in F minor (PWC 43, T. 206, PC 149, POP 16) is an organ chaconne by Johann Pachelbel. One of the six surviving chaconnes by the composer, it is one of his best known organ works. Like most other chaconnes by Pachelbel (with the exception of Chaconne in D major, PWC 40, T. 203, PC 145, POP 13), Chaconne in F minor survives in a single copy. The manuscript is currently in possession of the Royal Library of Belgium in Brussels (catalogue number MS II.3911) and contains seven groups of pieces, each containing a chaconne. One of these is the Chaconne in F minor, attributed by the scribe to Pachelbel. Another chaconne from the same source, in A major, is also attributed to Pachelbel, but the piece has yet to be examined by the experts (it is included as one of doubtful authorship in the Perreault catalogue, PWC 44). There are also four anonymous chaconnes, possibly composed by a pupil of Pachelbel. No information concerning the date of composition is known. Since the piece is more sophisticated than most other chaconnes, it may represent a late stage of development of Pachelbel's chaconne style. The chaconne comprises a theme and 22 variations, the last of which is an almost exact repeat of the theme. The ostinato bass pattern is not kept intact in all variations, and disappears in some, anticipating similar passages in Johann Sebastian Bach's famous Passacaglia and Fugue in C minor, BWV 582. Pachelbel's variation technique serves to "dissect" the harmonies, rather than vary the "theme", which is typical of his mature chaconnes, including the Chaconne in D minor and the Chaconne in F major. The Chaconne in F minor has been described as one of Pachelbel's finest works.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

The Magnificat, in Latin also canticum Beat(issim)ae Virginis Mariae (the song of the (most) Blessed Virgin Mary), is a common part of Christian worship, for instance traditionally included in vespers, evensong or matins. As such it is often sung and was set to music by various composers.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

The Well-Tempered Clavier, BWV 846–893, consists of two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time clavier referred to a variety of keyboard instruments, namely the harpsichord, the clavichord and the organ (which operates using air instead of strings), but not excluding the regal and the then newly-invented pianoforte. The modern German spelling for the collection is Das wohltemperierte Klavier (WTK; German pronunciation: [das ˌvoːlˌtɛmpəˈʁiːɐ̯tə klaˈviːɐ̯]). Bach gave the title Das Wohltemperirte Clavier to a book of preludes and fugues in all 24 keys, major and minor, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". 20 years later, Bach compiled a second book of the same kind (24 pairs of preludes and fugues), which became known as The Well-Tempered Clavier, Part Two (in German: Zweyter Theil, modern spelling: Zweiter Teil). Modern editions usually refer to both parts as The Well-Tempered Clavier, Book 1 (WTC 1) and The Well-Tempered Clavier, Book 2 (WTC 2), respectively. The collection is generally regarded as one of the most important works in the history of classical music.

This is a list of songs that are featured in Andamiro's Pump It Up video game series. Pump It Up's in-house musician group BanYa was responsible for original songs in the series under dance pop, rock, heavy metal, jazz, folk, progressive and house genres, including EDM remixes of classical pieces such as Canon in D, Turkey March and Moonlight. In Fiesta, MAX, Doin and SHK (originally from O2Jam) joined as new in-house musicians. Since 1st Dance Floor, there are a large number of licensed K-pop songs. Starting with Pump It Up Premiere and onward, international songs are included mostly from North America, Latin America, Mexico, Brazil, China, and elsewhere. In almost all versions, BanYa was also responsible for nonstop remixes that mix numerous K-pop and world music songs, especially original songs (examples are J Knows that Old Bong, World Remix, Turkey Virus, K-pop Dance, Chicago Club Mix, etc.), but they are available in Remix Station (Special Zone in NX) or WorldMax in NX2 and NXA (Quest World in Fiesta). Starting with Exceed 2, full songs are added only in separate stations.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

In classical music, a fugue (, from Latin fuga, meaning 'flight' or 'escape') is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches), which recurs frequently throughout the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development, and a final entry that contains the return of the subject in the fugue's tonic key. Fugues can also have episodes, which are parts of the fugue where new material often based on the subject is heard; a stretto (plural stretti), when the fugue's subject overlaps itself in different voices, or a recapitulation. A popular compositional technique in the Baroque era, the fugue was fundamental in showing mastery of harmony and tonality as it presented counterpoint. In the Middle Ages, the term was widely used to denote any works in canonic style; however, by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short main theme, called the subject, which then sounds successively in each voice. When each voice has completed its entry of the subject, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further "entries" of the subject are then heard in related keys. Episodes (if applicable) and entries are usually alternated until the final entry of the subject, at which point the music has returned to the opening key, or tonic, which is often followed by a coda. Because of the composer's prerogative to decide most structural elements, the fugue is closer to a style of composition rather than a structural form. The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias. The Baroque composer Johann Sebastian Bach (1685–1750), well known for his fugues, shaped his own works after those of Jan Pieterszoon Sweelinck (1562–1621), Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c. 1637–1707) and others. With the decline of sophisticated styles at the end of the baroque period, the fugue's central role waned, eventually giving way as sonata form and the symphony orchestra rose to a more prominent position. Nevertheless, composers continued to write and study fugues; they appear in the works of Wolfgang Amadeus Mozart (1756–1791) and Ludwig van Beethoven (1770–1827), as well as modern composers such as Dmitri Shostakovich (1906–1975) and Paul Hindemith (1895–1963).

The Well-Tempered Clavier, BWV 846–893, consists of two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time clavier referred to a variety of keyboard instruments, namely the harpsichord, the clavichord and the organ (which operates using air instead of strings), but not excluding the regal and the then newly-invented pianoforte. The modern German spelling for the collection is Das wohltemperierte Klavier (WTK; German pronunciation: [das ˌvoːlˌtɛmpəˈʁiːɐ̯tə klaˈviːɐ̯]). Bach gave the title Das Wohltemperirte Clavier to a book of preludes and fugues in all 24 keys, major and minor, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". 20 years later, Bach compiled a second book of the same kind (24 pairs of preludes and fugues), which became known as The Well-Tempered Clavier, Part Two (in German: Zweyter Theil, modern spelling: Zweiter Teil). Modern editions usually refer to both parts as The Well-Tempered Clavier, Book 1 (WTC 1) and The Well-Tempered Clavier, Book 2 (WTC 2), respectively. The collection is generally regarded as one of the most important works in the history of classical music.

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

The Well-Tempered Clavier, BWV 846–893, consists of two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time clavier referred to a variety of keyboard instruments, namely the harpsichord, the clavichord and the organ (which operates using air instead of strings), but not excluding the regal and the then newly-invented pianoforte. The modern German spelling for the collection is Das wohltemperierte Klavier (WTK; German pronunciation: [das ˌvoːlˌtɛmpəˈʁiːɐ̯tə klaˈviːɐ̯]). Bach gave the title Das Wohltemperirte Clavier to a book of preludes and fugues in all 24 keys, major and minor, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". 20 years later, Bach compiled a second book of the same kind (24 pairs of preludes and fugues), which became known as The Well-Tempered Clavier, Part Two (in German: Zweyter Theil, modern spelling: Zweiter Teil). Modern editions usually refer to both parts as The Well-Tempered Clavier, Book 1 (WTC 1) and The Well-Tempered Clavier, Book 2 (WTC 2), respectively. The collection is generally regarded as one of the most important works in the history of classical music.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

In classical music, a fugue (, from Latin fuga, meaning 'flight' or 'escape') is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches), which recurs frequently throughout the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development, and a final entry that contains the return of the subject in the fugue's tonic key. Fugues can also have episodes, which are parts of the fugue where new material often based on the subject is heard; a stretto (plural stretti), when the fugue's subject overlaps itself in different voices, or a recapitulation. A popular compositional technique in the Baroque era, the fugue was fundamental in showing mastery of harmony and tonality as it presented counterpoint. In the Middle Ages, the term was widely used to denote any works in canonic style; however, by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short main theme, called the subject, which then sounds successively in each voice. When each voice has completed its entry of the subject, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further "entries" of the subject are then heard in related keys. Episodes (if applicable) and entries are usually alternated until the final entry of the subject, at which point the music has returned to the opening key, or tonic, which is often followed by a coda. Because of the composer's prerogative to decide most structural elements, the fugue is closer to a style of composition rather than a structural form. The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias. The Baroque composer Johann Sebastian Bach (1685–1750), well known for his fugues, shaped his own works after those of Jan Pieterszoon Sweelinck (1562–1621), Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c. 1637–1707) and others. With the decline of sophisticated styles at the end of the baroque period, the fugue's central role waned, eventually giving way as sonata form and the symphony orchestra rose to a more prominent position. Nevertheless, composers continued to write and study fugues; they appear in the works of Wolfgang Amadeus Mozart (1756–1791) and Ludwig van Beethoven (1770–1827), as well as modern composers such as Dmitri Shostakovich (1906–1975) and Paul Hindemith (1895–1963).

In classical music, a fugue (, from Latin fuga, meaning 'flight' or 'escape') is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches), which recurs frequently throughout the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development, and a final entry that contains the return of the subject in the fugue's tonic key. Fugues can also have episodes, which are parts of the fugue where new material often based on the subject is heard; a stretto (plural stretti), when the fugue's subject overlaps itself in different voices, or a recapitulation. A popular compositional technique in the Baroque era, the fugue was fundamental in showing mastery of harmony and tonality as it presented counterpoint. In the Middle Ages, the term was widely used to denote any works in canonic style; however, by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short main theme, called the subject, which then sounds successively in each voice. When each voice has completed its entry of the subject, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further "entries" of the subject are then heard in related keys. Episodes (if applicable) and entries are usually alternated until the final entry of the subject, at which point the music has returned to the opening key, or tonic, which is often followed by a coda. Because of the composer's prerogative to decide most structural elements, the fugue is closer to a style of composition rather than a structural form. The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias. The Baroque composer Johann Sebastian Bach (1685–1750), well known for his fugues, shaped his own works after those of Jan Pieterszoon Sweelinck (1562–1621), Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c. 1637–1707) and others. With the decline of sophisticated styles at the end of the baroque period, the fugue's central role waned, eventually giving way as sonata form and the symphony orchestra rose to a more prominent position. Nevertheless, composers continued to write and study fugues; they appear in the works of Wolfgang Amadeus Mozart (1756–1791) and Ludwig van Beethoven (1770–1827), as well as modern composers such as Dmitri Shostakovich (1906–1975) and Paul Hindemith (1895–1963).

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

In classical music, a fugue (, from Latin fuga, meaning 'flight' or 'escape') is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches), which recurs frequently throughout the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development, and a final entry that contains the return of the subject in the fugue's tonic key. Fugues can also have episodes, which are parts of the fugue where new material often based on the subject is heard; a stretto (plural stretti), when the fugue's subject overlaps itself in different voices, or a recapitulation. A popular compositional technique in the Baroque era, the fugue was fundamental in showing mastery of harmony and tonality as it presented counterpoint. In the Middle Ages, the term was widely used to denote any works in canonic style; however, by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short main theme, called the subject, which then sounds successively in each voice. When each voice has completed its entry of the subject, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further "entries" of the subject are then heard in related keys. Episodes (if applicable) and entries are usually alternated until the final entry of the subject, at which point the music has returned to the opening key, or tonic, which is often followed by a coda. Because of the composer's prerogative to decide most structural elements, the fugue is closer to a style of composition rather than a structural form. The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias. The Baroque composer Johann Sebastian Bach (1685–1750), well known for his fugues, shaped his own works after those of Jan Pieterszoon Sweelinck (1562–1621), Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c. 1637–1707) and others. With the decline of sophisticated styles at the end of the baroque period, the fugue's central role waned, eventually giving way as sonata form and the symphony orchestra rose to a more prominent position. Nevertheless, composers continued to write and study fugues; they appear in the works of Wolfgang Amadeus Mozart (1756–1791) and Ludwig van Beethoven (1770–1827), as well as modern composers such as Dmitri Shostakovich (1906–1975) and Paul Hindemith (1895–1963).

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

The Well-Tempered Clavier, BWV 846–893, consists of two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time clavier referred to a variety of keyboard instruments, namely the harpsichord, the clavichord and the organ (which operates using air instead of strings), but not excluding the regal and the then newly-invented pianoforte. The modern German spelling for the collection is Das wohltemperierte Klavier (WTK; German pronunciation: [das ˌvoːlˌtɛmpəˈʁiːɐ̯tə klaˈviːɐ̯]). Bach gave the title Das Wohltemperirte Clavier to a book of preludes and fugues in all 24 keys, major and minor, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". 20 years later, Bach compiled a second book of the same kind (24 pairs of preludes and fugues), which became known as The Well-Tempered Clavier, Part Two (in German: Zweyter Theil, modern spelling: Zweiter Teil). Modern editions usually refer to both parts as The Well-Tempered Clavier, Book 1 (WTC 1) and The Well-Tempered Clavier, Book 2 (WTC 2), respectively. The collection is generally regarded as one of the most important works in the history of classical music.

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

In classical music, a fugue (, from Latin fuga, meaning 'flight' or 'escape') is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches), which recurs frequently throughout the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development, and a final entry that contains the return of the subject in the fugue's tonic key. Fugues can also have episodes, which are parts of the fugue where new material often based on the subject is heard; a stretto (plural stretti), when the fugue's subject overlaps itself in different voices, or a recapitulation. A popular compositional technique in the Baroque era, the fugue was fundamental in showing mastery of harmony and tonality as it presented counterpoint. In the Middle Ages, the term was widely used to denote any works in canonic style; however, by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short main theme, called the subject, which then sounds successively in each voice. When each voice has completed its entry of the subject, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further "entries" of the subject are then heard in related keys. Episodes (if applicable) and entries are usually alternated until the final entry of the subject, at which point the music has returned to the opening key, or tonic, which is often followed by a coda. Because of the composer's prerogative to decide most structural elements, the fugue is closer to a style of composition rather than a structural form. The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias. The Baroque composer Johann Sebastian Bach (1685–1750), well known for his fugues, shaped his own works after those of Jan Pieterszoon Sweelinck (1562–1621), Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c. 1637–1707) and others. With the decline of sophisticated styles at the end of the baroque period, the fugue's central role waned, eventually giving way as sonata form and the symphony orchestra rose to a more prominent position. Nevertheless, composers continued to write and study fugues; they appear in the works of Wolfgang Amadeus Mozart (1756–1791) and Ludwig van Beethoven (1770–1827), as well as modern composers such as Dmitri Shostakovich (1906–1975) and Paul Hindemith (1895–1963).

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

The Orgelbüchlein (Little Organ Book) BWV 599−644 is a set of 46 chorale preludes for organ – one of them is given in two versions – by Johann Sebastian Bach. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig. Bach's apparent plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented. However, only 46 of these were completed. The manuscript, which is now in the Staatsbibliothek, leaves a number of tunes as missing or "ghost" pieces. A project to complete the missing chorales called "The Orgelbüchlein Project" has been launched in the 21st century, where the chorales are written in modern styles. This project took nine hours in the first complete performance, giving an idea of the potential scope of Bach's "little" book. The Orgelbüchlein as Bach left it contains about 80 minutes of music which span the liturgical calendar. Each setting takes a Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. Many of the preludes are short and use four contrapuntal voices. All have a pedal part, some requiring only a single keyboard and pedal, with an unadorned cantus firmus. Others involve two keyboards and pedal. These include several canons, four ornamental four-part preludes with elaborately decorated chorale lines, and one prelude in trio sonata form. A further step towards perfecting this form was taken by Bach when he made the contrapuntal elements in his music a means of reflecting certain emotional aspects of the words. Pachelbel had not attempted this; he lacked the fervid feeling which would have enabled him thus to enter into his subject. And it is entering into it, and not a mere depicting of it. For, once more be it said, in every vital movement of the world external to us we behold the image of a movement within us; and every such image must react upon us to produce the corresponding emotion in that inner world of feeling. Here Bach has realised the ideal of the chorale prelude. The method is the most simple imaginable and at the same time the most perfect. Nowhere is the Dürer-like character of his musical style so evident as in these small chorale preludes. Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said, and so makes clear the relation of the music to the text whose title it bears.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Veni Creator Spiritus (Latin: Come, Creator Spirit) is a traditional Christian hymn believed to have been written by Rabanus Maurus, a ninth-century Frankish Benedictine monk, teacher, archbishop, and saint. When the original Latin text is used, it is normally sung to a Gregorian Chant tune first known from Kempten Abbey around the year 1000. The hymn has been translated and paraphrased into several languages, and adapted into many musical forms, often as a hymn for Pentecost or for other occasions that focus on the Holy Spirit.

Veni Creator Spiritus (Latin: Come, Creator Spirit) is a traditional Christian hymn believed to have been written by Rabanus Maurus, a ninth-century Frankish Benedictine monk, teacher, archbishop, and saint. When the original Latin text is used, it is normally sung to a Gregorian Chant tune first known from Kempten Abbey around the year 1000. The hymn has been translated and paraphrased into several languages, and adapted into many musical forms, often as a hymn for Pentecost or for other occasions that focus on the Holy Spirit.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Musicalische Sterbens-Gedancken ("Musical Thoughts on Dying") is a collection of keyboard music by Johann Pachelbel. It was first published in 1683 and contains four sets of chorale variations.

The Great Eighteen Chorale Preludes, BWV 651–668, are a set of chorale preludes for organ prepared by Johann Sebastian Bach in Leipzig in his final decade (1740–1750), from earlier works composed in Weimar, where he was court organist. The works form an encyclopedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the Orgelbüchlein, the Schübler Chorales, the third book of the Clavier-Übung and the Canonic Variations, they represent the summit of Bach's sacred music for solo organ.

Wilhelm Hieronymus Pachelbel (baptized 29 August [O.S. 19 August] 1686 – 6 June 1764) was a German composer and organist, the elder son of Johann Pachelbel.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

The Orgelbüchlein (Little Organ Book) BWV 599−644 is a set of 46 chorale preludes for organ – one of them is given in two versions – by Johann Sebastian Bach. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig. Bach's apparent plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented. However, only 46 of these were completed. The manuscript, which is now in the Staatsbibliothek, leaves a number of tunes as missing or "ghost" pieces. A project to complete the missing chorales called "The Orgelbüchlein Project" has been launched in the 21st century, where the chorales are written in modern styles. This project took nine hours in the first complete performance, giving an idea of the potential scope of Bach's "little" book. The Orgelbüchlein as Bach left it contains about 80 minutes of music which span the liturgical calendar. Each setting takes a Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. Many of the preludes are short and use four contrapuntal voices. All have a pedal part, some requiring only a single keyboard and pedal, with an unadorned cantus firmus. Others involve two keyboards and pedal. These include several canons, four ornamental four-part preludes with elaborately decorated chorale lines, and one prelude in trio sonata form. A further step towards perfecting this form was taken by Bach when he made the contrapuntal elements in his music a means of reflecting certain emotional aspects of the words. Pachelbel had not attempted this; he lacked the fervid feeling which would have enabled him thus to enter into his subject. And it is entering into it, and not a mere depicting of it. For, once more be it said, in every vital movement of the world external to us we behold the image of a movement within us; and every such image must react upon us to produce the corresponding emotion in that inner world of feeling. Here Bach has realised the ideal of the chorale prelude. The method is the most simple imaginable and at the same time the most perfect. Nowhere is the Dürer-like character of his musical style so evident as in these small chorale preludes. Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said, and so makes clear the relation of the music to the text whose title it bears.

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

The Well-Tempered Clavier, BWV 846–893, consists of two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time clavier referred to a variety of keyboard instruments, namely the harpsichord, the clavichord and the organ (which operates using air instead of strings), but not excluding the regal and the then newly-invented pianoforte. The modern German spelling for the collection is Das wohltemperierte Klavier (WTK; German pronunciation: [das ˌvoːlˌtɛmpəˈʁiːɐ̯tə klaˈviːɐ̯]). Bach gave the title Das Wohltemperirte Clavier to a book of preludes and fugues in all 24 keys, major and minor, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". 20 years later, Bach compiled a second book of the same kind (24 pairs of preludes and fugues), which became known as The Well-Tempered Clavier, Part Two (in German: Zweyter Theil, modern spelling: Zweiter Teil). Modern editions usually refer to both parts as The Well-Tempered Clavier, Book 1 (WTC 1) and The Well-Tempered Clavier, Book 2 (WTC 2), respectively. The collection is generally regarded as one of the most important works in the history of classical music.

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

The Well-Tempered Clavier, BWV 846–893, consists of two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time clavier referred to a variety of keyboard instruments, namely the harpsichord, the clavichord and the organ (which operates using air instead of strings), but not excluding the regal and the then newly-invented pianoforte. The modern German spelling for the collection is Das wohltemperierte Klavier (WTK; German pronunciation: [das ˌvoːlˌtɛmpəˈʁiːɐ̯tə klaˈviːɐ̯]). Bach gave the title Das Wohltemperirte Clavier to a book of preludes and fugues in all 24 keys, major and minor, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". 20 years later, Bach compiled a second book of the same kind (24 pairs of preludes and fugues), which became known as The Well-Tempered Clavier, Part Two (in German: Zweyter Theil, modern spelling: Zweiter Teil). Modern editions usually refer to both parts as The Well-Tempered Clavier, Book 1 (WTC 1) and The Well-Tempered Clavier, Book 2 (WTC 2), respectively. The collection is generally regarded as one of the most important works in the history of classical music.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Keyboard works (Klavierwerke) by Johann Sebastian Bach traditionally refers to Chapter 8 in the BWV catalogue or the fifth series of the New Bach Edition, both of which list compositions for a solo keyboard instrument like the harpsichord or the clavichord. Despite the fact that the organ is also a keyboard instrument, and that in Bach's time the distinction wasn't always made whether a keyboard composition was for organ or another keyboard instrument, Wolfgang Schmieder ranged organ compositions in a separate section of the Bach-Werke-Verzeichnis (Nos. 525-771). Also other compositions for keyboard, like compositions for lute-harpsichord and fortepiano were listed outside the "Klavierwerke" range by Schmieder. Lute works are in the range 995–1000, Chapter 9 in the BWV catalogue.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Johann Sebastian Bach's Magnificat, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach. In 1723, after taking up his post as Thomaskantor in Leipzig, Bach set the text of the Magnificat in a twelve movement composition in the key of E-flat major. For a performance at Christmas he inserted four hymns (laudes) related to that feast. This version, including the Christmas interpolations, was given the number 243.1 (previously 243a) in the catalogue of Bach's works. Likely for the feast of Visitation of 1733, or another feast in or around that year, Bach produced a new version of his Latin Magnificat, without the Christmas hymns: instrumentation of some movements was altered or expanded, and the key changed from E-flat major to D major, for performance reasons of the trumpet parts. This version of Bach's Magnificat is known as BWV 243.2 (previously BWV 243). After publication of both versions in the 19th century, the second became the standard for performance. It is one of Bach's most popular vocal works.

The Neumeister Collection is a compilation of 82 chorale preludes found in a manuscript copy produced by Johann Gottfried Neumeister (1757–1840). When the manuscript was rediscovered at Yale University in the 1980s it appeared to contain 31 previously unknown early chorale settings by Johann Sebastian Bach, which were added to the BWV catalogue as Nos. 1090–1120, and published in 1985.

The Neumeister Collection is a compilation of 82 chorale preludes found in a manuscript copy produced by Johann Gottfried Neumeister (1757–1840). When the manuscript was rediscovered at Yale University in the 1980s it appeared to contain 31 previously unknown early chorale settings by Johann Sebastian Bach, which were added to the BWV catalogue as Nos. 1090–1120, and published in 1985.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Approximately 530 compositions have been attributed to Johann Pachelbel. As of 2009, no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: P = catalogue by Jean M. Perreault, 2001 T = catalogue by Hideo Tsukamoto, 2002, available online (archive from 18 October 2014) PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * denotes that the ascription of the piece is questioned ! denotes that the composition is, apparently, lost Similarly to catalogues of works by most early music composers, Pachelbel's list of works remains perpetually incomplete as new works are regularly found.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their 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; other 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. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar 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.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's chorale harmonisations, alternatively named four-part chorales, are Lutheran hymn settings that characteristically conform to the following: four-part harmony SATB vocal forces pre-existing hymn tune allotted to the soprano part text treatment: homophonic no repetitions (i.e., each syllable of the hymn text is sung one time) Around 400 of such chorale settings by Bach, mostly composed in the first four decades of the 18th century, are extant: Around half of that number are chorales which were transmitted in the context of larger vocal works such as cantatas, motets, Passions and oratorios. A large part of these chorales are extant as autographs by the composer, and for nearly all of them a colla parte instrumental and/or continuo accompaniment are known. All other four-part chorales exclusively survived in collections of short works, which include manuscripts and 18th-century prints. Apart from the Three Wedding Chorales collection (BWV 250–252), these are copies by other scribes and prints only published after the composer's death, lacking context information, such as instrumental accompaniment, for the individual harmonisations. Apart from homophonic choral settings, Bach's Lutheran hymn harmonisations also appear as: sung chorale fantasias in some of Bach's larger vocal works hymn melodies for which Bach composed or improved a thorough bass accompaniment, for instance as included in Georg Christian Schemelli's Musicalisches Gesang-Buch harmonisations included in purely instrumental compositions, most typically organ compositions such as chorale preludes or chorale partitas.

Johann Sebastian Bach's chorale harmonisations, alternatively named four-part chorales, are Lutheran hymn settings that characteristically conform to the following: four-part harmony SATB vocal forces pre-existing hymn tune allotted to the soprano part text treatment: homophonic no repetitions (i.e., each syllable of the hymn text is sung one time) Around 400 of such chorale settings by Bach, mostly composed in the first four decades of the 18th century, are extant: Around half of that number are chorales which were transmitted in the context of larger vocal works such as cantatas, motets, Passions and oratorios. A large part of these chorales are extant as autographs by the composer, and for nearly all of them a colla parte instrumental and/or continuo accompaniment are known. All other four-part chorales exclusively survived in collections of short works, which include manuscripts and 18th-century prints. Apart from the Three Wedding Chorales collection (BWV 250–252), these are copies by other scribes and prints only published after the composer's death, lacking context information, such as instrumental accompaniment, for the individual harmonisations. Apart from homophonic choral settings, Bach's Lutheran hymn harmonisations also appear as: sung chorale fantasias in some of Bach's larger vocal works hymn melodies for which Bach composed or improved a thorough bass accompaniment, for instance as included in Georg Christian Schemelli's Musicalisches Gesang-Buch harmonisations included in purely instrumental compositions, most typically organ compositions such as chorale preludes or chorale partitas.