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Johann Pachelbel was born in 1653 in Nuremberg, Germany into a middle-class family, son of Johann (Hans) Pachelbel (born 1613 in Wunsiedel, Germany), a wine dealer, and his second wife Anna (Anne) Maria Mair. The exact date of Johann's birth is unknown, but since he was baptized on 1 September he may have been born in late August. Among his many siblings was an older brother, Johann Matthäus (1644–1710) who served as Kantor in Feuchtwangen, near Nuremberg.
During his early youth, Pachelbel received musical training from Heinrich Schwemmer, a musician and music teacher. Some sources indicate that Pachelbel also studied with Georg Caspar Wecker, organist of the same church and an important composer of the Nuremberg school, but this is now considered unlikely. In any case, both Wecker and Schwemmer were trained by Johann Erasmus Kindermann, one of the founders of the Nuremberg musical tradition.
During his employment at St. Stephan's, Vienna, after 1672, he became familiar with the south German musical tradition of J. K. Kerll. In 1677 Pachelbel became court organist at Eisenach, where he met the local branch of the Bach family, in particular Johann Ambrosius Bach, who was one of the municipal musicians.
In 1678 Pachelbel accepted the important post of organist at the Predigerkirche in Erfurt. During this period Johann Christoph Bach studied with him for 3 years. During his stay at Erfurt, Pachelbel produced at least three of the four works listed by J. G. Walther in Musikalisches Lexikon (1732) as published during his lifetime: Musicalische Sterbens-Gedanken (1683), chorale varitions; Musicalische Ergetzung (1691), chamber music; and Chorale zum Praeambuliren (1693), an instruction book for organ. Here Pachelbel also composed two cantatas of homage for Karl Heinrich of Metternich-Wenneburg, other cantatas, and possibly other chamber music.
In 1690 Pachelbel accepted employment at the court at Stuttgart, which he fled in 1692 because of the French invasion. He became municipal organist at Gotha, but his activities are uncertain until 1695, when he became organist of the famous church of St. Sebaldus, Nuremberg. Here he was active as a teacher, and Walther speaks of his illustrious reputation.
He helped to introduce the south German organ style into central and north Germany. Through his close connections to the Bach family, his style influenced and enriched that of Johann Sebastian Bach. During his lifetime, Pachelbel was best known as an organ composer. He wrote more than two hundred pieces for the instrument, both liturgical and secular, and explored most of the genres that existed at the time. Pachelbel was also a prolific vocal music composer: around a hundred of such works survive, including some 40 large-scale works.
Pachelbel was the last great composer of the Nuremberg tradition and the last important southern German composer. Today, Pachelbel is best known for the Canon in D, as well as the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.
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Pachelbel married twice during his stay in Erfurt. Barbara Gabler, daughter of the Stadt-Major of Erfurt, became his first wife, on 25 October 1681. The marriage took place in the house of the bride's father. Unfortunately, both Barbara and their only son died in October 1683 during a plague.
Ten months later, Pachelbel married Judith Drommer (Trummert), daughter of a coppersmith, on 24 August 1684. They had five sons and two daughters. Two of Pachelbel's sons were important musicians: William Hieronymous at Erfurt and Nuremberg, and Carl Theodore at Stuttgart and Charleston, S. C. Pachelbel was one of the composers of the movement leading to the adoption of equal temperament, making use of as many as 17 different keys in his suites. Another son, Johann Michael, became an instrument maker in Nuremberg and traveled as far as London and Jamaica. One of the daughters, Amalia Pachelbel, achieved recognition as a painter and engraver.
