Several elements are striking when diving in to the Hexachordum on clavichord.
First the construction of the set is remarkable on its own. It is as if Pachelbel takes the listener carefully through a transition of style. Starting with the first suite in D Minor that still feels somewhat related to a 17th century ‘feel’. Ending with the Aria Sebaldina where, if highlighted, the listener will experience moments of silence and emotion, that, on keyboard, were not expressed before.
Secondly, not only the technique develops strongly throughout the pieces. The first suite is still possible (not easy though) on a fretted clavichord. You can see me play that variation on a clavichord built by Christopher Clarke here. But talking on temperament and the use of keys, the aria Sebaldina is something else! Starting in f minor, so hardly possible on any fretted instrument, the piece reaches keys that until then were not wanted, not needed, and not possible. So again the question raises: all if this becomes possible on an unfretted clavichord, both the emotion, affect, mood, and the temperament. So what holds us from giving it at least a try?