Thanks to these publications, we may form an opinion of Pachelbel's music, always conservative and markedly religious in character. Pachelbel had many pupils; so great was his fame that many organists, desirous of making a name for themselves, claimed to have been under his tutelage; but "every one cannot have been a pupil of Pachelbel," said Mattheson in the course of a celebrated discussion with one of them, the organist Buttstedt.[48] [Footnote 48: Following the publication of the "_neu eröffnetes Orchester_" of Mattheson, Buttstedt had written an essay entitled: _Ut mi sol re fa la Tota musica_ (Erfurt, 1717), in which he defended the old solmisation, or system of changes, the _si_, a changeable note, being disregarded. Mattheson answered it the same year by the "_neu beschütztes Orchester_" (defense of the new orchestra), with the epigraph: _Ut mi sol re fa la Todte (nicht tota) Musica_, a bad pun on the words _tota_, the whole, and _todte_, dead.] This honor (of so much importance to us is this fact) did fall to the lot of Christoph Bach, elder brother of Johann Sebastian, and from whom the latter received his first lessons. IV In bringing to a close this study of the precursors of Bach, it remains for us to speak of Buxtehude, the master of his choice. Dietrich Buxtehude was a Dane. He was born in 1637, at Helsingör, where his father was organist to the Church of St. Olaf, and also was probably his only teacher. At about the age of thirty years the younger Buxtehude went to Lübeck, where he succeeded Tunder, organist of the _Marienkirche_.[49] [Footnote 49: He was installed in this position April 11, 1668, and upon the third of the following August married Anna Margaretha, daughter of his deceased predecessor.] The organ of St. Mary's was one of the most famous of that time; its specification comprised fifty-four stops, divided among three manuals and the pedals, and the position was lucrative. And Buxtehude did not seek to exchange for another place a post so favorable; he retained it until his death, the 9th of May, 1707. Thanks to the edition of Philipp Spitta,[50] Buxtehude's works have been brought within the reach of all; it is thus possible for every one to consult them at leisure, and to make one's own technical analysis of them. But meanwhile I shall endeavor to establish the affiliation between Buxtehude and Bach through a study of certain characteristics of their works. [Footnote 50: _Dietrich Buxtehude's Orgelcompositionen, herausgegeben von P. Spitta._ (The first volume contains the preludes, fugues, etc.; the second the chorales.) Leipzig, 1876.]