Johann Jakob Froberger

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Johann Jakob Froberger

From Wikipedia, the free encyclopedia

Johann Jakob Froberger ( baptized 19 May 1616 – 7 May 1667) was a German Baroque composer, keyboard virtuoso, and organist. He was among the most famouscomposers of the era and influenced practically every major composer in Europe bydeveloping the genre of keyboard suite and contributing greatly to the exchange ofmusical traditions through his many travels. He is also remembered for his highlyidiomatic and personal descriptive harpsichord pieces, which are among the earliestknown examples of program music.

Only two of Froberger's many compositions were published during his lifetime,[1] buthis music was very widely spread in manuscript copies and he was one of the very few17th-century composers who were never entirely forgotten. His works were studied in

the 18th century (although perhaps not very extensively), and certainly not withoutinfluence on the emerging Classical style by Handel, Bach and, extraordinarily, evenMozart and Beethoven.

Contents

• 1 Life o 1.1 1616–1634: Early years in Stuttgart o 1.2 1634–1649: Court service in Vienna and voyages to Italy o

1.3 1649–1653: Years of travels

o 1.4 1653–1667: Last years in Vienna, retirement and death

• 2 Works o 2.1 General information o

2.2 Harpsichord suites and programmatic pieces o 2.3 Polyphonic keyboard works o 2.4 Other works

• 3 Posthumous influence • 4 Notable recordings • 5 Media • 6 See also • 7 Notes • 8 References and further reading • 9 External links

Life

1616–1634: Early years in Stuttgart

Johann Jakob Froberger was baptized on 19 May 1616 in Stuttgart. The exact date ofhis birth is unknown. His family came from Halle, where his grandfather Simon lived[2] and his father Basilius (1575–1637) was born. In 1599 Basilius moved to Stuttgart and

became a tenor in the Württemberg court chapel. At some point before 1605 he marriedAnna Schmid (1577–1637), who came from a Schwabian family living in Stuttgart. By

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ipedia.org/wiki/Tenorhttps://en.wikipedia.org/wiki/Tenorhttps://en.wikipedia.org/wiki/Tenorhttps://en.wikipedia.org/wiki/W%C3%BCrttemberghttps://en.wikipedia.org/wiki/W%C3%BCrttemberghttps://en.wikipedia.org/wiki/W%C3%BCrttemberghttps://en.wikipedia.org/wiki/Swabiahttps://en.wikipedia.org/wiki/Swabiahttps://en.wikipedia.org/wiki/Swabiahttps://en.wikipedia.org/wiki/Swabiahttps://en.wikipedia.org/wiki/W%C3%BCrttemberghttps://en.wikipedia.org/wiki/Tenorhttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-Schott.2C_Grove-2https://en.wikipedia.org/wiki/Halle,_Saxony-Anhalthttps://en.wikipedia.org/wiki/Stuttgarthttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#External_linkshttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#References_and_further_readinghttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#Noteshttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#See_alsohttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#Mediahttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#Notable_recordingshttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#Posthumous_influencehttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#Other_workshttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#Polyphonic_keyboard_workshttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#Harpsichord_suites_and_programmatic_pieceshttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#General_informationhttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#Workshttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#1653.E2.80.931667:_Last_years_in_Vienna.2C_retirement_and_deathhttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#1649.E2.80.931653:_Years_of_travelshttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#1634.E2.80.931649:_Court_service_in_Vienna_and_voyages_to_Italyhttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#1616.E2.80.931634:_Early_years_in_Stuttgarthttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#Lifehttps://en.wikipedia.org/wiki/Ludwig_van_Beethovenhttps://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozarthttps://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttps://en.wikipedia.org/wiki/George_Frideric_Handelhttps://en.wikipedia.org/wiki/Classical_music_erahttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-1https://en.wikipedia.org/wiki/Program_musichttps://en.wikipedia.org/wiki/Harpsichordhttps://en.wikipedia.org/wiki/Suite_%28music%29https://en.wikipedia.org/wiki/Organisthttps://en.wikipedia.org/wiki/Virtuosohttps://en.wikipedia.org/wiki/Keyboard_instrumenthttps://en.wikipedia.org/wiki/Baroquehttps://en.wikipedia.org/wiki/German_peoplehttps://en.wikipedia.org/wiki/Baptism


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the time Johann Jakob was born, his father's career was already flourishing, and in 1621Basilius became court Kapellmeister. Of his eleven children with Anna, four becamemusicians (Johann Jakob, Johann Christoph, Johann Georg and Isaac; all but JohannJakob served at the Württemberg court in Stuttgar t[3]), and so it is likely that JohannJakob received his first music lessons from his father.

Although the Thirty Years' War which started in 1618 undoubtedly made life inStuttgart somewhat more difficult, the city's musical life was rich and varied, influenced

by musicians from all over Europe, so already at the very beginning of his lifeFroberger must have been exposed to a wide variety of musical traditions. Little isknown about his actual education, though. His teachers possibly included Johann UlrichSteigleder , and he might have met Samuel Scheidt during the latter's visit to Stuttgart in1627; it is possible that Froberger sang in the court chapel, but there is no directevidence to that; and court archives indicate that one of the English lutenists employed

by the court, Andrew Borell, taught lute to one of Basilius Froberger's sons in 1621– 22[2] – it is not known whether this son was Johann Jakob, but if so, it would explain his

later interest in French lute music.

Basilius Froberger's music library probably also helped in Johann Jakob's education. Itcontained more than a hundred volumes of music, including works by Josquin desPrez,[4] Samuel Scheidt and Michael Praetorius, as well as pieces by the lesser knownJohann Staden, founder of the Nuremberg school, and Giovanni Valentini, the then-famous Viennese Kapellmeister who later taught Johann Kaspar Kerll.[5]

1634–1649: Court service in Vienna and voyages to Italy

The Hofkapelle Stuttgart was disbanded in 1634 in the wake of the Protestants' defeat inthe Battle of Nördlingen. In Grundlage einer Ehrenpforte (1740) Mattheson writes thata certain Swedish ambassador was so impressed with Froberger's musical skills that hetook the 18-year-old musician to Vienna and presumably recommended him to theimperial court. This seems unlikely, however, because at the time Sweden was alliedwith Lutheran Württemberg against the imperial forces; so exactly why Froberger leftfor Vienna at around 1634 and how he managed to find employment as a singer in theimperial chapel, remains a mystery.

In 1637 Basilius Froberger, his wife and one his daughters died of plague. Johann Jakoband his brother Isaac sold their father's music library to the Württemberg court (this is

how the contents of Basilius' library became known – through the court archives); thesame year Johann Jakob became court organist in Vienna, assisting Wolfgang Ebner . InJune he was granted a leave and a stipend to go to Rome to study under Frescobaldi. Froberger spent the next three years in Italy and, like many other musicians who went tostudy there, apparently converted to Catholicism. He returned to Vienna in 1641 andserved as organist and chamber musician until the fall of 1645, when he took a secondtrip to Italy. It was previously thought that Froberger went to study under GiacomoCarissimi, but recent research shows that he most probably studied with AthanasiusKircher in Rome.[6] If so, Froberger's intention must have been acquiring mastery ofvocal composition of the prima pratica (Frescobaldi, who taught him instrumentalwriting, died in 1643). Sometime during 1648–49 Froberger might have met Johann

Kaspar Kerll, and possibly taught him.

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In 1649 Froberger travelled back to Austria. On his way back he stopped in Florence and Mantua to show the arca musurgica, a powerful compositional device Kirchertaught him, to some of the Italian princes. In September he arrived in Vienna anddemonstrated the arca musurgica to the Emperor , an avid amateur musician; he also

presented him with Libro Secondo, a collection of his own compositions (the Libro

Primo is now lost). Also in September, Froberger played before William Swann, anEnglish diplomat.[2] Through Swann he got to know Constantijn Huygens, who becameFroberger's lifelong friend and introduced the composer to works by contemporaryFrench masters – Jacques Champion de Chambonnières, Denis Gaultier and EnnemondGaultier .

1649–1653: Years of travels

Following the Empress Maria Leopoldine's death in August the court's musicalactivities were suspended. Froberger left the city and travelled widely for the next fouryears, likely entrusted by the Emperor with some extra-musical duties in the fields of

diplomacy and possibly espionage (as for example John Dowland and Peter PaulRubens were doing during their travels). Not much is known about these voyages.Dresden was probably one of the very first cities Froberger visited: he played before theelectoral court of John George I and presented the Elector with a collection of hisworks. He also met Matthias Weckmann while in Dresden, and this encounter turned toanother lifelong friendship; the two continued to exchange letters and Froberger evensent some of his music to Weckmann to illustrate his style. According to a pupil, afterDresden Froberger visited Cologne, Düsseldorf , Zeeland, Brabant and Antwerp;[2] wealso know that he also visited Brussels at least two times (in 1650 and 1652), London (after a disastrous voyage during which Froberger got robbed, an event he describedmusically in Plainte faite à Londres pour passer la mélancholie) and, most importantly,Paris (at least once, in 1652).

In Paris Froberger most probably became acquainted with many major Frenchcomposers of the era, including Chambonnières, Louis Couperin, Denis Gaultier and

possibly François Dufault. The latter two were famous lutenists writing in thecharacteristic French idiom of style brisé , which influenced Froberger's laterharpsichord suites. In turn, Louis Couperin was profoundly influenced by Froberger'sstyle; one of his unmeasured preludes even bears the subtitle "à l'imitation de Mr.Froberger ". In November 1652 Froberger witnessed the death of the famed lutenistBlancrocher (who was his friend and reportedly died in his arms). Although

Blancrocher himself was not an important composer ,[7]

his death left a mark on thehistory of music, as Couperin, Gaultier, Dufaut and Froberger all wrote tombeaux lamenting the event.

1653–1667: Last years in Vienna, retirement and death

In 1653 Froberger passed through Heidelberg, Nuremberg and Regensburg beforereturning to Vienna in April. He remained with the Viennese court during the next fouryears, producing at least one more collection of music, the Libro Quarto of 1656 ( LibroTerzo is now lost). Froberger was apparently deeply saddened by Emperor FerdinandIII's death on 2 April 1657 and wrote a lamentation dedicated to the memory of the

Emperor [5]. His relationship with Ferdinand's successor, Leopold I, was strained for anumber of political reasons (numerous forces were opposed to Leopold's election, and

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erdinand_III,_Holy_Roman_Emperorhttps://en.wikipedia.org/wiki/Ferdinand_III,_Holy_Roman_Emperorhttps://en.wikipedia.org/wiki/Ferdinand_III,_Holy_Roman_Emperorhttp://earlymusic.cal.pl/pawel/mp3/Froberger.mp3http://earlymusic.cal.pl/pawel/mp3/Froberger.mp3http://earlymusic.cal.pl/pawel/mp3/Froberger.mp3https://en.wikipedia.org/wiki/Leopold_I,_Holy_Roman_Emperorhttps://en.wikipedia.org/wiki/Leopold_I,_Holy_Roman_Emperorhttps://en.wikipedia.org/wiki/Leopold_I,_Holy_Roman_Emperorhttps://en.wikipedia.org/wiki/Leopold_I,_Holy_Roman_Emperorhttp://earlymusic.cal.pl/pawel/mp3/Froberger.mp3https://en.wikipedia.org/wiki/Ferdinand_III,_Holy_Roman_Emperorhttps://en.wikipedia.org/wiki/Ferdinand_III,_Holy_Roman_Emperorhttps://en.wikipedia.org/wiki/Regensburghttps://en.wikipedia.org/wiki/Nuremberghttps://en.wikipedia.org/wiki/Heidelberghttps://en.wikipedia.org/wiki/Tombeauhttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-7https://en.wikipedia.org/wiki/Charles_Fleuryhttps://en.wikipedia.org/wiki/Unmeasured_preludehttps://en.wikipedia.org/wiki/Suite_%28music%29https://en.wikipedia.org/wiki/Harpsichordhttps://en.wikipedia.org/wiki/Style_bris%C3%A9https://en.wikipedia.org/wiki/Fran%C3%A7ois_Dufaulthttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Parishttps://en.wikipedia.org/wiki/Londonhttps://en.wikipedia.org/wiki/Brusselshttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-Schott.2C_Grove-2https://en.wikipedia.org/wiki/Antwerphttps://en.wikipedia.org/wiki/Duchy_of_Brabanthttps://en.wikipedia.org/wiki/Zeelandhttps://en.wikipedia.org/wiki/D%C3%BCsseldorfhttps://en.wikipedia.org/wiki/Colognehttps://en.wikipedia.org/wiki/Matthias_Weckmannhttps://en.wikipedia.org/wiki/John_George_I,_Elector_of_Saxonyhttps://en.wikipedia.org/wiki/Electorate_of_Saxonyhttps://en.wikipedia.org/wiki/Dresdenhttps://en.wikipedia.org/wiki/Peter_Paul_Rubenshttps://en.wikipedia.org/wiki/Peter_Paul_Rubenshttps://en.wikipedia.org/wiki/John_Dowlandhttps://en.wikipedia.org/wiki/Maria_Leopoldine_of_Austriahttps://en.wikipedia.org/wiki/Ennemond_Gaultierhttps://en.wikipedia.org/wiki/Ennemond_Gaultierhttps://en.wikipedia.org/wiki/Denis_Gaultierhttps://en.wikipedia.org/wiki/Jacques_Champion_de_Chambonni%C3%A8reshttps://en.wikipedia.org/wiki/Constantijn_Huygenshttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-Schott.2C_Grove-2https://en.wikipedia.org/wiki/Ferdinand_III,_Holy_Roman_Emperorhttps://en.wikipedia.org/wiki/Mantuahttps://en.wikipedia.org/wiki/Florence


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among them were the Jesuit order and Johann Philipp von Schönborn, Elector-Archbishop of Mainz; Froberger's mentor and friend Kircher was an important figure inthe former, and Froberger had strong ties with the court of the latter .[2] Froberger did,however, dedicate a new volume of his works to Leopold), and on June 30, 1657Froberger received his last salary as a member of the imperial chapel.

Little is known about Froberger's last 10 years. Most of the information comes from theletter exchange between Constantijn Huygens and the dowager Duchess of Montbéliard, Sybilla (1620–1707). Since the death of her husband Léopold-Frédéric of Württemberg-Montbéliard in 1662 the Duchess lived in Héricourt (near Montbéliard, then territory ofthe house of Württemberg; now département Doubs), and Froberger became her musicteacher at around the same time (this indicates that Froberger must have maintained alink with the ducal family of Württemberg since his Stuttgart years). He lived inChâteau d’Héricourt, the dower house of Duchess Sibylla. The Huygens-Sybilla lettersindicate that in 1665 Froberger travelled to Mainz, where he performed at the court ofthe Elector-Archbishop of Mainz and met Huygens in person for the first time; and at a

certain point in 1666 the composer had plans to return to the imperial court in Vienna.As far as is known, though, he never did, and lived in Héricourt until his death on 6 or 7May 1667. Froberger apparently knew that he was going to die soon, as he made allnecessary preparations a day before he died.

Works

See also: List of compositions by Johann Jakob Froberger

General information

The fourth suite from one of the Vienna manuscripts.

Only two compositions by Froberger were published during his lifetime: the HexachordFantasia, published by Kircher in 1650 in Rome, and a piece in François Roberday'sFugues et caprices (1660, Paris). In addition to these, a comparatively large number ofworks are preserved in authenticated manuscripts. The three principal sources forFroberger's music are the following manuscripts:

• Libro Secundo (1649) and Libro Quarto (1656), two richly decorated volumesdedicated to Ferdinand III. Both were found in Vienna; the decorations andcalligraphy are by Johann Friedrich Sautter, Froberger's friend from his Stuttgartyears.[2] Each book has four chapters and contains 24 pieces. Both include six

toccatas and six suites; Libro Secundo adds 6 fantasias and 6 canzonas, whereas Libro Quarto instead has 6 ricercars and 6 capriccios.

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• Libro di capricci e ricercate (c. 1658). 6 capriccios and 6 ricercars.

Also, in 2006 an autograph manuscript was discovered (and subsequently sold atSotheby's), reportedly containing 35 pieces of music, 18 of which were previouslyunknown. The manuscript dates from Froberger's final years and may contain his last

compositions.[8]

Three toccatas in Ms. Chigi Q.IV.25 very likely are early Frobergercompositions while he studied with Frescobaldi, as Bob van Asperen has argued in2009.[9] Other than these, numerous manuscripts of various origin contain Froberger'smusic. These include the well-known Bauyn manuscript, and a very large number ofless known sources, some reliable (such as the only unbowdlerized text for Méditationsur ma mort future, presumably in Weckmann's hand, or the Strasbourg manuscript ofsome couple of dozen of suites, possibly compiled by Michael Bulyowsky) and somenot very much so. Problems arise with many of the newly discovered copies: eitherFroberger was constantly reworking his compositions, or the scribes were not attentiveenough, but many works exist in several variants, some of which even have wholemovements changed.

Two standard numbering systems are used to identify Froberger's works. These are:

• the numbers used in the early 20th century Denkmäler der Tonkunst inÖsterreich series and the Guido Adler edition; commonly referred to as the DTÖnumbers or the Adler numbers. This catalogue has separate numbering fordifferent genres, with pieces identified as Toccata No. 4, Ricercare No. 2, Suite

No. 20, etc. The DTÖ contains a few compositions falsely attributed toFroberger, and some identical ones.

• FbWV numbers from the Siegbert Rampe catalogue compiled in the early1990s. Rampe's catalogue is more complete and includes newly discovered

pieces as well as pieces whose authorship is questioned. The Adler numbers areincorporated, for example all Toccatas are numbered 1xx, hence Adler Toccata

No. 1 has the Rampe number FbWV 101. For more information, see List ofcompositions by Johann Jakob Froberger .

Harpsichord suites and programmatic pieces

One of the toccatas from the Vienna manuscripts.

Froberger is usually credited as the creator of the Baroque suite. While this may bemisleading, French composers of the time did group dance pieces by tonality aboveall,[10] and while other composers such as Kindermann did try to invent some kind oforganisation, their dances did not attain as high a degree of artistic merit as seen inFroberger's suites. The typical Froberger suite established allemande, courante, sarabande and gigue as the obligatory parts of a suite. However, there is somecontroversy surrounding the placement of the gigue. In Froberger's earliest

authenticated autograph, Libro Secondo, five out of six suites are in three movements,without the gigue. A single suite, no. 2, has a gigue added as a 4th movement (and a

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later copy adds gigues to suites nos. 3 and 5). The suites of Libro Quarto all have giguesas the 2nd movement. The order that became the standard after Froberger's death, withthe gigue being the last movement, first appeared in a 1690s print of Froberger's works

by the Amsterdam publisher Mortier.

All Froberger's dances are composed of two repeated sections, but they are very rarelyin the standard 8+8 bars scheme. When symmetrical structure is employed, it may be7+7 bars or 11+11 bars; more frequently one of the sections is longer or shorter than theother (more often the second is shorter than the first). This irregularity may beemployed by Froberger in any dance, whereas in Chambonnières, who used similarlyirregular patterns, the sarabande is always composed in the 8+16 fashion. Froberger'skeyboard adaptation of the French lute style brisé almost invariably shows itself in most

pieces written during and after his Paris visit.

Froberger's allemandes abandon the original dance's rhythmic scheme almostcompletely, abounding in short gestures, figures, ornaments and runs typical of style

brisé . Like Chambonnières, Froberger avoids emphasizing internal cadences, or indeedanything that would hint at any sort of regularity;[11] unlike him, Froberger tends to usefaster sixteenth-note figurations and melodies. Most of the courantes are in 6/4 timewith occasional hemiolas and the eighth-note motion typical of the courante. Some ofthe others, however, are in 3/2 time, twice slower and moving in quarter notes. Stillothers are in 3/4 time and closely resemble the Italian corrente of the time. Thesarabandes are mostly in 3/2 time and employ a 1+1/2 rhythm pattern, rather than thestandard sarabande rhythm with the accent on the second beat. The gigues are almostinvariably fugal, either in compound (6/8) or triple (3/4) meter; different sections mayuse different motifs, and occasionally the first section's subject is inverted for anothersection. Bizarrely, a few gigues use dotted rhythms in 4/4 time, and a couple featureexquisite rhapsodic 4/4 endings.

Some of the works feature written indications such as "f" and "piano" (to notate an echoeffect), "doucement" ("gently") an "avec discrétion" (expressive rubato). In some of thesources such markings are particularly abundant, and the newly (2004) discoveredBerlin Sing-Akademie SA 4450 manuscript adds similar indications to free sections inorgan toccatas.[12] Some suites feature doubles; in a few, the courante is a derivative ofthe allemande (although this is rare; more often Froberger unites the two dances bygiving them somewhat similar beginnings, but keeps the rest of the material different).Suite no. 6 from Libro Secondo is actually a set of variations subtitled Auff der Mayerin,

and one of the more popular Froberger works, although it is clearly an early work andnot comparable to the late suites either in technique or in expression.

Apart from the suites, Froberger also wrote titled, descriptive pieces for the harpsichord(some of the suites incorporate such works as their first movement). He was one of theearliest composers to produce such programmatic pieces. Nearly all of them are very

personal; the style resembles Froberger's allemandes in its irregularity and style briséfeatures. Such pieces include the following (in alphabetical order):

https://en.wikipedia.org/wiki/Amsterdamhttps://en.wikipedia.org/wiki/Amsterdamhttps://en.wikipedia.org/wiki/Amsterdamhttps://en.wikipedia.org/wiki/Jacques_Champion_de_Chambonni%C3%A8reshttps://en.wikipedia.org/wiki/Jacques_Champion_de_Chambonni%C3%A8reshttps://en.wikipedia.org/wiki/Jacques_Champion_de_Chambonni%C3%A8reshttps://en.wikipedia.org/wiki/Style_bris%C3%A9https://en.wikipedia.org/wiki/Style_bris%C3%A9https://en.wikipedia.org/wiki/Style_bris%C3%A9https://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-11https://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-11https://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-11https://en.wikipedia.org/wiki/Hemiolahttps://en.wikipedia.org/wiki/Hemiolahttps://en.wikipedia.org/wiki/Hemiolahttps://en.wikipedia.org/wiki/Correntehttps://en.wikipedia.org/wiki/Correntehttps://en.wikipedia.org/wiki/Correntehttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-12https://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-12https://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-12https://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-12https://en.wikipedia.org/wiki/Correntehttps://en.wikipedia.org/wiki/Hemiolahttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-11https://en.wikipedia.org/wiki/Style_bris%C3%A9https://en.wikipedia.org/wiki/Jacques_Champion_de_Chambonni%C3%A8reshttps://en.wikipedia.org/wiki/Amsterdam


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Allemande faite en passant le Rhin dans une barque en grand péril. Note the 26numbered passages with explanations of each.

• Allemande, faite en passant le Rhin dans une barque en grand péril • Lamentation faite sur la mort très douloureuse de Sa Majesté Impériale,

Ferdinand le troisième, An. 1657 [6] • Lamentation sur ce que j'ay été volé et se joüe à la discretion et encore mieux

que les soldats m'ont traité •

Lamento sopra la dolorosa perdita della Real Maestà di Ferdinando IV Rè de Romani

• Méditation sur ma mort future • Plainte faite à Londres pour passer la melancholie • Tombeau fait à Paris sur la mort de Monsieur Blancrocher

These works frequently feature musical metaphors: in the lamentations on the deaths ofthe lutenist Blancrocher and Ferdinand IV, Froberger represents Blancrocher's fatal falldown a flight of stairs with a descending scale, and Ferdinand's ascent into heaven withan ascending one; in the Ferdinand III lamentation he ends the piece with a single voicerepeating an F three times. Froberger would often supply such works with anexplanation, sometimes very detailed (see illustration), of the events that led to thecomposition of the piece. For instance, the Allemande, faite en passat le Rhin contains26 numbered passages with explanation for each; the Blancrocher tombeau features awritten preface in which the circumstances of the lutenist's death are recounted, etc. Thestructure and style of Froberger's programmatic works, as well as his allemandes,contributed to the development of the unmeasured prelude through the efforts of LouisCouperin.

Polyphonic keyboard works

The rest of Froberger's keyboard works may be performed on any keyboard instrument,including the organ. The toccatas are the only ones to employ free writing to some

http://earlymusic.cal.pl/pawel/mp3/Froberger.mp3http://earlymusic.cal.pl/pawel/mp3/Froberger.mp3http://earlymusic.cal.pl/pawel/mp3/Froberger.mp3https://en.wikipedia.org/wiki/Lutenisthttps://en.wikipedia.org/wiki/Lutenisthttps://en.wikipedia.org/wiki/Lutenisthttps://en.wikipedia.org/wiki/Unmeasured_preludehttps://en.wikipedia.org/wiki/Unmeasured_preludehttps://en.wikipedia.org/wiki/Unmeasured_preludehttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/File:Froberger-allemande-rhin.jpghttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Unmeasured_preludehttps://en.wikipedia.org/wiki/Lutenisthttp://earlymusic.cal.pl/pawel/mp3/Froberger.mp3


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degree; the majority are strictly polyphonic. In terms of organisation, Froberger'stoccatas are reminiscent of those by Michelangelo Rossi, also a student of Frescobaldi; instead of being composed of numerous brief parts, they feature a few tightly wovensections, alternating between strict polyphony and free, improvisational passages. Theyare usually of moderate length and the harmonic content is not dissimilar to

Frescobaldi's, although Froberger's harmony favors softer, more pleasing turns[13]

(notwithout some notable exceptions, particularly in the two Da sonarsi alla Levatione works), and his toccatas are always more focused on the original tonality, unlike those

by either Frescobaldi or Rossi. The fugal sections are present in most toccatas and arequasi-imitative and are not as strict as later 17th century fugues; when a toccata featuresseveral fugal inserts, a single motif may be used for all of them, varied rhythmically.

Whereas in Frescobaldi's oeuvre the fantasia and the ricercare are markedly differentgenres (the fantasia being a relatively simple contrapuntal composition that expands, asit progresses, into a flurry of intense, rhythmically complex counterpoint; the ricercare

being essentially a very strict contrapuntal piece with easily audible lines and somewhat

archaic in terms of structure), Froberger's are practically similar. A typical Frobergerricercare or fantasia uses a single subject (with different rhythmic variations fordifferent sections) throughout the whole piece, and the counterpoint adheres almostflawlessly to the 16th century prima pratica. Any of the standard contrapuntal devicesmay be used; the main subject is sometimes paired with another theme for a section ortwo, and there is usually a marked contrast between sections and much variety inside asingle piece.

Froberger's canzonas and capriccios are similarly conservative in terms of technique,and they too are essentially the same even though Frescobaldi distinguished between thegenres. Froberger follows Frescobaldi's example in constructing these pieces asvariation sets in several sections (usually three in canzonas and any number – as manyas six – in capriccios). The subjects are always faster, much more lively that those ofricercares and fantasias. A characteristic feature is the economy of themes: the episodes,which are somewhat rare, are almost invariably based on the material from the subject,somewhat like those in JS Bach's work some 60–70 years later. The counterpoint andharmony are very similar to the ricercares and fantasias; however, occasionally scaledegrees other than 1 and 5 are used.

Other works

The only surviving non-keyboard works by Froberger are two motets, Alleluia! Absorpta es mors and Apparuerunt apostolis. They are found in the so-called Düben collection, compiled by Gustaf Düben, a famous Swedish collector and composer. Themanuscript is kept in the Uppsala University library. These motets are quite similar instyle: both are scored for a three-voice (STB) choir, two violins and organ (which isgiven a single melodic line, not polyphony, as was common in Italian motets of thetime), and cast in the early 17th century Venetian stile concertante,[14] in markedcontrast with Froberger's preference for older techniques in his polyphonic keyboardworks. Another connection to contemporary practice is that the small ensemble isalmost identical to one used by Heinrich Schütz in the second volume of Symphoniaesacrae published in 1647.

https://en.wikipedia.org/wiki/Michelangelo_Rossihttps://en.wikipedia.org/wiki/Michelangelo_Rossihttps://en.wikipedia.org/wiki/Michelangelo_Rossihttps://en.wikipedia.org/wiki/Girolamo_Frescobaldihttps://en.wikipedia.org/wiki/Girolamo_Frescobaldihttps://en.wikipedia.org/wiki/Girolamo_Frescobaldihttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-13https://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-13https://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-13https://en.wikipedia.org/wiki/Prima_praticahttps://en.wikipedia.org/wiki/Prima_praticahttps://en.wikipedia.org/wiki/Prima_praticahttps://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttps://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttps://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttps://en.wikipedia.org/wiki/Motethttps://en.wikipedia.org/wiki/Motethttps://en.wikipedia.org/wiki/Motethttps://en.wikipedia.org/wiki/Gustaf_D%C3%BCbenhttps://en.wikipedia.org/wiki/Gustaf_D%C3%BCbenhttps://en.wikipedia.org/wiki/Gustaf_D%C3%BCbenhttps://en.wikipedia.org/wiki/Swedenhttps://en.wikipedia.org/wiki/Swedenhttps://en.wikipedia.org/wiki/Swedenhttps://en.wikipedia.org/wiki/Uppsala_Universityhttps://en.wikipedia.org/wiki/Uppsala_Universityhttps://en.wikipedia.org/wiki/Uppsala_Universityhttps://en.wikipedia.org/wiki/Venicehttps://en.wikipedia.org/wiki/Venicehttps://en.wikipedia.org/wiki/Venicehttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-14https://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-14https://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-14https://en.wikipedia.org/wiki/Heinrich_Sch%C3%BCtzhttps://en.wikipedia.org/wiki/Heinrich_Sch%C3%BCtzhttps://en.wikipedia.org/wiki/Heinrich_Sch%C3%BCtzhttps://en.wikipedia.org/wiki/Heinrich_Sch%C3%BCtzhttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-14https://en.wikipedia.org/wiki/Venicehttps://en.wikipedia.org/wiki/Uppsala_Universityhttps://en.wikipedia.org/wiki/Swedenhttps://en.wikipedia.org/wiki/Gustaf_D%C3%BCbenhttps://en.wikipedia.org/wiki/Motethttps://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttps://en.wikipedia.org/wiki/Prima_praticahttps://en.wikipedia.org/wiki/Johann_Jakob_Froberger#cite_note-13https://en.wikipedia.org/wiki/Girolamo_Frescobaldihttps://en.wikipedia.org/wiki/Michelangelo_Rossi


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Posthumous influence

Although only two of Froberger's works were published during his lifetime, his musicwas widely spread in Europe in hand-written copies, and he was one of the most famouscomposers of the era (interestingly, although he studied in Italy and obviously hadfriends and former mentors there, no Italian sources of his music were found). Becauseof his travels and his ability to absorb various national styles and incorporate them intohis music, Froberger, along with other cosmopolitan composers such as Johann KasparKerll and Georg Muffat, contributed greatly to the exchange of musical traditions inEurope. Finally, he was among the first major keyboard composers in history and thefirst to focus equally on both harpsichord/clavichord and organ.

Froberger's compositions were known to and studied by, among many others, JohannPachelbel, Dieterich Buxtehude, Georg Muffat and his son Gottlieb Muffat, JohannCaspar Kerll, Matthias Weckmann, Louis Couperin, Johann Kirnberger , Johann

Nikolaus Forkel, Georg Böhm, George Handel and Johann Sebastian Bach. Furthermore, copies in Mozart's hand of the Hexachord Fantasia survive, and evenBeethoven knew Froberger's work through Albrechtsberger 's teachings. The profoundinfluence on Louis Couperin made Froberger partially responsible for the changeCouperin brought into the French organ tradition (as well as for the development of theunmeasured prelude, which Couperin cultivated).

Although the polyphonic pieces were highly esteemed in the 17th and 18th centuries,today Froberger is chiefly remembered for his contribution to the development of thekeyboard suite. Indeed, he established the form almost single-handedly and, throughinnovative and imaginative treatment of standard dance forms of the time, paved the

way for Johann Sebastian Bach's elaborate contributions to the genre (not to mentionalmost every major composer in Europe, since the vast majority composed suites andwere influenced by the "French style" exemplified by Froberger).

Notable recordings

• Johann Jakob Froberger: The Complete Keyboard Works (1994). Richard Egarr (organ, harpsichord). Globe GLO 6022–6025

o As of 2007, this is the only complete recording made. Organized bymanuscript and retains the original order of the pieces; works discovered

after 1994 are not included. Also includes several works by othercomposers that were previously attributed to Froberger.• The Unknown Works (2003/4). Siegbert Rampe (organ, harpsichord, clavichord).

MDG 341 1186-2 and 341 1195-2o

A recording of some 20 newly discovered works (mostly suites) and pieces of doubtful authorship.

• The Strasbourg Manuscript (2000). Ludger Rémy (harpsichord). CPO 9997502o

Includes fourteen suites from the recently discovered StrasbourgManuscript, only three of them known from autograph sources.

• Froberger Edition (2000–). Bob van Asperen (harpsichord, organ). AE 10024,10054, 10064, 10074 (harpsichord), AE 10501, AE 10601, AE 10701 (organ)

o The series is designed to be in 8 parts. Volume 4 makes use of thenewest discoveries from the manuscripts of the Berliner Singakademie.

https://en.wikipedia.org/wiki/Johann_Kaspar_Kerllhttps://en.wikipedia.org/wiki/Johann_Kaspar_Kerllhttps://en.wikipedia.org/wiki/Johann_Kaspar_Kerllhttps://en.wikipedia.org/wiki/Johann_Kaspar_Kerllhttps://en.wikipedia.org/wiki/Georg_Muffathttps://en.wikipedia.org/wiki/Georg_Muffathttps://en.wikipedia.org/wiki/Georg_Muffathttps://en.wikipedia.org/wiki/Keyboard_instrumenthttps://en.wikipedia.org/wiki/Keyboard_instrumenthttps://en.wikipedia.org/wiki/Keyboard_instrumenthttps://en.wikipedia.org/wiki/Harpsichordhttps://en.wikipedia.org/wiki/Harpsichordhttps://en.wikipedia.org/wiki/Clavichordhttps://en.wikipedia.org/wiki/Clavichordhttps://en.wikipedia.org/wiki/Clavichordhttps://en.wikipedia.org/wiki/Pipe_organhttps://en.wikipedia.org/wiki/Pipe_organhttps://en.wikipedia.org/wiki/Pipe_organhttps://en.wikipedia.org/wiki/Johann_Pachelbelhttps://en.wikipedia.org/wiki/Johann_Pachelbelhttps://en.wikipedia.org/wiki/Johann_Pachelbelhttps://en.wikipedia.org/wiki/Johann_Pachelbelhttps://en.wikipedia.org/wiki/Dieterich_Buxtehudehttps://en.wikipedia.org/wiki/Dieterich_Buxtehudehttps://en.wikipedia.org/wiki/Dieterich_Buxtehudehttps://en.wikipedia.org/wiki/Gottlieb_Muffathttps://en.wikipedia.org/wiki/Gottlieb_Muffathttps://en.wikipedia.org/wiki/Gottlieb_Muffathttps://en.wikipedia.org/wiki/Matthias_Weckmannhttps://en.wikipedia.org/wiki/Matthias_Weckmannhttps://en.wikipedia.org/wiki/Matthias_Weckmannhttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Johann_Kirnbergerhttps://en.wikipedia.org/wiki/Johann_Kirnbergerhttps://en.wikipedia.org/wiki/Johann_Kirnbergerhttps://en.wikipedia.org/wiki/Johann_Nikolaus_Forkelhttps://en.wikipedia.org/wiki/Johann_Nikolaus_Forkelhttps://en.wikipedia.org/wiki/Johann_Nikolaus_Forkelhttps://en.wikipedia.org/wiki/Johann_Nikolaus_Forkelhttps://en.wikipedia.org/wiki/Georg_B%C3%B6hmhttps://en.wikipedia.org/wiki/Georg_B%C3%B6hmhttps://en.wikipedia.org/wiki/Georg_B%C3%B6hmhttps://en.wikipedia.org/wiki/George_Frideric_Handelhttps://en.wikipedia.org/wiki/George_Frideric_Handelhttps://en.wikipedia.org/wiki/George_Frideric_Handelhttps://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttps://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttps://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttps://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozarthttps://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozarthttps://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozarthttps://en.wikipedia.org/wiki/Ludwig_van_Beethovenhttps://en.wikipedia.org/wiki/Ludwig_van_Beethovenhttps://en.wikipedia.org/wiki/Johann_Georg_Albrechtsbergerhttps://en.wikipedia.org/wiki/Johann_Georg_Albrechtsbergerhttps://en.wikipedia.org/wiki/Johann_Georg_Albrechtsbergerhttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Unmeasured_preludehttps://en.wikipedia.org/wiki/Unmeasured_preludehttps://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttps://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttps://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttps://en.wikipedia.org/wiki/Richard_Egarrhttps://en.wikipedia.org/wiki/Richard_Egarrhttps://en.wikipedia.org/wiki/Richard_Egarrhttps://en.wikipedia.org/w/index.php?title=Siegbert_Rampe&action=edit&redlink=1https://en.wikipedia.org/w/index.php?title=Siegbert_Rampe&action=edit&redlink=1https://en.wikipedia.org/w/index.php?title=Siegbert_Rampe&action=edit&redlink=1https://en.wikipedia.org/wiki/Ludger_R%C3%A9myhttps://en.wikipedia.org/wiki/Ludger_R%C3%A9myhttps://en.wikipedia.org/wiki/Ludger_R%C3%A9myhttps://en.wikipedia.org/wiki/Bob_van_Asperenhttps://en.wikipedia.org/wiki/Bob_van_Asperenhttps://en.wikipedia.org/wiki/Bob_van_Asperenhttps://en.wikipedia.org/wiki/Bob_van_Asperenhttps://en.wikipedia.org/wiki/Ludger_R%C3%A9myhttps://en.wikipedia.org/w/index.php?title=Siegbert_Rampe&action=edit&redlink=1https://en.wikipedia.org/wiki/Richard_Egarrhttps://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttps://en.wikipedia.org/wiki/Unmeasured_preludehttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Johann_Georg_Albrechtsbergerhttps://en.wikipedia.org/wiki/Ludwig_van_Beethovenhttps://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozarthttps://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttps://en.wikipedia.org/wiki/George_Frideric_Handelhttps://en.wikipedia.org/wiki/Georg_B%C3%B6hmhttps://en.wikipedia.org/wiki/Johann_Nikolaus_Forkelhttps://en.wikipedia.org/wiki/Johann_Nikolaus_Forkelhttps://en.wikipedia.org/wiki/Johann_Kirnbergerhttps://en.wikipedia.org/wiki/Louis_Couperinhttps://en.wikipedia.org/wiki/Matthias_Weckmannhttps://en.wikipedia.org/wiki/Gottlieb_Muffathttps://en.wikipedia.org/wiki/Dieterich_Buxtehudehttps://en.wikipedia.org/wiki/Johann_Pachelbelhttps://en.wikipedia.org/wiki/Johann_Pachelbelhttps://en.wikipedia.org/wiki/Pipe_organhttps://en.wikipedia.org/wiki/Clavichordhttps://en.wikipedia.org/wiki/Harpsichordhttps://en.wikipedia.org/wiki/Keyboard_instrumenthttps://en.wikipedia.org/wiki/Georg_Muffathttps://en.wikipedia.org/wiki/Johann_Kaspar_Kerllhttps://en.wikipedia.org/wiki/Johann_Kaspar_Kerll


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See also

• Stylus fantasticus

Notes1.

• Froberger and his heiress forbade any printed edition: the composer himself wasagainst printing of any of his manuscripts to keep his "arcana" and "art" confident; andrestrict to his noble patrons / the friends-composers he personally knew, consideredworthy and trusted. Also this was a common practice among the composers of the17th/18th century to avoid becoming copied without payment. In Frobergers case thiswas handled particularly rigidly, probably following his very high esteem as artist andhis good standing/intimate relations with some of the Württembergs and Habsburgs who

had the factual power to execute these restrictions. After his death, the manuscripts became property of Froberger's latter patroness Sibylla, Duchess of Württtemberg(1620–1707) who declined any requests for manuscript copies, save a printed edition.This may have been part of Forbergers last will (can anybody verify?). After her deaththe manuscripts entered the music library of the Württemberg family estate andsomehow vanished. So the non-printing was not a sign of low quality or esteem — quiteto the contrary. This may appear a paradox in our times, but was common practice backthen. – Source: editorial notes of Bob van Asperen and Siegfried Rampe• • Schott, Grove• • See J. Sittard: "Zur Geschichte der Musik und des Theaters am Wьrttembergischen

Hofe" (Stuttgart, 1890–91/R)• • G. B. Sharp. "J. J. Froberger: 1614–1667: A Link between the Renaissance and theBaroque". The Musical Times, Vol. 108, No. 1498 (Dec., 1967), pp. 1093-1095+1097• • Siedentopf Henning. "Johan Jakob Froberger". Stuttgarter Verlagkontor, Stuttgart1977, p. 26-30. See [1] for a complete list.• • C. Annibaldi: ‘Froberger in Rome: from Frescobaldi’s Craftsmanship to Kircher’sCompositional Secrets’, CMc, no.58 (1995), 5–27• • Bruce K. Burchmore. "Fleury, Charles, Sieur de Blancrocher [Blanrocher,Blancheroche], Grove Music Online, ed. L. Macy"• • [2], [3], [4] • • Bob van Asperen: >Drei Toccaten< in der Handschrift Chigi Q.IV.25, in: Concerto

224, Köln 2009, pp.34-41• • Alexander Silbiger. "Keyboard Music to 1700". Routledge 2004, second edition, p.189• • Apel, 557• • Johann Jakob Froberger, Toccaten, Suiten, Lamenti: Die Handschrift SA 4450 derSing-Akademie zu Berlin, Faksimile und Übertragung, ed. Peter Wollny (Kassel:Bärenreiter 2004)• • Apel, 553

14. • Yves Ruggeri. Preface to "Johann Jakob Froberger: Alleluia, absorpta est

mors; Apparuerunt apostolis", Éditions de l'Oiseau-Lyre, Monaco, 1990.

https://en.wikipedia.org/wiki/Stylus_fantasticushttps://en.wikipedia.org/wiki/Stylus_fantasticushttp://www.musicologie.org/Biographies/f/froberger_johann_jakob.htmlhttp://www.musicologie.org/Biographies/f/froberger_johann_jakob.htmlhttp://www.musicologie.org/Biographies/f/froberger_johann_jakob.htmlhttp://www.gramophone.co.uk/newsMainTemplate.asp?storyID=2692&newssectionID=1http://www.gramophone.co.uk/newsMainTemplate.asp?storyID=2692&newssectionID=1http://en.epochtimes.com/news/6-11-14/48115.htmlhttp://en.epochtimes.com/news/6-11-14/48115.htmlhttp://en.epochtimes.com/news/6-11-14/48115.htmlhttp://sscm-jscm.press.uiuc.edu/v13/no1/vanasperen.htmlhttp://sscm-jscm.press.uiuc.edu/v13/no1/vanasperen.htmlhttp://sscm-jscm.press.uiuc.edu/v13/no1/vanasperen.htmlhttp://sscm-jscm.press.uiuc.edu/v13/no1/vanasperen.htmlhttp://en.epochtimes.com/news/6-11-14/48115.htmlhttp://www.gramophone.co.uk/newsMainTemplate.asp?storyID=2692&newssectionID=1http://www.musicologie.org/Biographies/f/froberger_johann_jakob.htmlhttps://en.wikipedia.org/wiki/Stylus_fantasticus


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References and further reading

• Howard Schott. "Johann Jakob Froberger", Grove Music Online, ed. L. Macy,grovemusic.com (subscription access).

• Avo Sõmer . "The Keyboard Music of Johann Jakob Froberger." University ofMichigan, 1963, dissertation.

• Willi Apel. The History of Keyboard Music to 1700. Translated by HansTischler. Indiana University Press, 1972. ISBN 0-253-21141-7. Originally

published as Geschichte der Orgel- und Klaviermusik bis 1700 by Bärenreiter-Verlag, Kassel.

External links

• Free scores by Johann Jakob Froberger at the International Music Score LibraryProject

• Facsimiles of two motets in the Düben collection • Froberger at Free-scores.com • Johann Jakob Froberger – Lamentation faite sur la mort très douloureuse de Sa

Majesté Imperial Ferdinand III, et se joue lentement avec discrétion. An 1657. MP3

• Free scores at the Mutopia Project
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Johann Jakob Froberger