St. Sebaldus Church in Nuremberg, which played an important role in Pachelbel's life

Like Allegri, whose famed Miserere eclipsed everything else he achieved in his career, Johaim Pachelbel's name is automatically linked to the ever-popular three-part Canon in D. Born in Nuremberg in the autumn of 1653, Pachelbel showed an early appetite for learning. In addition to school, he had two music teachers, one who introduced him to the fundamentals of music while the other taught him to play and compose. He was briefly at the University of Altdorf before taking a position in 1673 as assistant organist at the cathedral of St Stephen in Vienna. Four years later he became the court organist to the Duke of Saxe-Eisenach. He became restless here, and requesting a letter of reference from his employers, left after a year. His reference described him as a "rare and perfect virtuoso."

Subsequently Pachelbel became the organist at the Erfurt Predigerkirche, where he spent 12 happy years. His first wife succumbed to the plague, but within a year he had remarried and subsequently had seven children. This period was a time of increasing contentment and creative growth. In 1690, he became organist in Stuttgart at the Wurttemberg Court. The threat of a French invasion curtailed this position two years later, and Pachelbel returned to his home town of Nuremberg to take up the post of organist at St Sebald. There he lived out his final decade writing ever more imposing works.

It is not known when Pachelbel composed his famous Canon. The work is scored for three violins and continue», each violin entering in turn and elaborating on a simple theme as the piece gathers in strength and builds to a climax. But Pachelbel's importance is, in fact, perhaps greater as a composer for the organ; his chorale preludes, based on hymn tunes, strongly influenced J.S. Bach. He was also the author of a great many motets, arias, and Masses, and 13 Magnificats which feature solo singers and a choir as well as an orchestra often including wind and brass. His body of work reflects the cultural contrasts between his own Protestant ways and those of the higher Church, and certainly deserves to be known at least as well as his celebrated Canon.