Alternative Names/Transliterations: Johann Jakob Froberger, Giacomo Frobergue Name in Other Languages: Johann Jakob Froberger, 요한 야콥 프로 베르거. Johann Jakob Froberger () – Gigue June 27, This is an absolutely beautiful baroque song and is one of the reasons why I continued studying. Johann Jacob Froberger: The Strasbourg Manuscript: Fourteen Suites. Froberger may at first have regarded gigues as less essential to a suite than other.
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The Repertory of Dl and SA. All four movements are relatively restrained in style, perhaps less imaginative than the others of SA.
The spotty transmission of his keyboard music has prevented its importance from being recognized, and one would like to find more works comparable to those preserved in the Fitzwilliam Virginal Book.
This suite is particularly notable for its Gigue, whose second half develops a chromatic subject with considerable intensity. It is likely that several of the more doubtful suites—such as Suites 23 and 24, which are preserved at least partially in more copies than most others—are indeed early works of Froberger, perhaps including their doubles.
Two of the players exercise their imagination in adding embellishments, even whole preludes, to the extant texts. Verlet does not seem to have had access to Dl, and SA was unknown at the time her recording was made; her texts appear to droberger her own.
These discrepancies suggest some imprecision, if not an evolution, in exactly what these pieces represented.
A Hitherto Unrecorded Autograph Manuscript. Where Dl gives alternate titles or rubrics, these tend to be much shorter and less formal, implying closeness to a aural rather than a written tradition.
No work is common to all three manuscripts, although four suites and one lament are shared by the autograph and one of the two recently discovered copies. But it is clear that the composer of this piece was more comfortable writing idiomatic keyboard figuration than imaginative counterpoint. For the experienced scholar-performer, this may be gigur bonus, but for anyone else it is a source of confusion, as the editor provides little guidance toward understanding the status of individual versions or readings.
Yet there is reason to suspect that frobergee markedly inferior texts in some sources derive ultimately from autographs other than those used for SA and Dl.
Journal of Seventeenth-Century Music
If so, then it is possible that many refinements were set in notation not by Froberger but by others seeking to preserve his manner of performance. February Learn how and when to frobergfr this template message. A musician who traveled as widely as Froberger would have come into contact with many local traditions; such a person is perhaps less likely than more sedentary ones to have followed any one set of rules in his own playing, or to have expected performers of his music to apply them.
He returned to Vienna in and served as organist and chamber musician until the fall ofwhen he took a second trip to Italy. The performances reviewed above all follow a modern tradition of Froberger interpretation that can be traced especially to Gustav Leonhardt.
The attributions of two chorales attributed to Buttstett, and a little praeludium prelude and fugue assigned to Kuhnau, are almost plausible on a stylistic basis, if one overlooks questionable details of voice leading. The Unknown Works vigue, vol.
List of compositions by Johann Jakob Froberger
It was previously thought that Froberger went to study under Giacomo Carissimibut recent research shows that he most givue studied with Athanasius Kircher gitue Rome. But here and elsewhere the musical texts of Dl and SA represent quite different traditions. An idiomatic sequence first heard in measures 14—15 returns twice in inverted form in the second half mm. These discrepancies are particularly troubling in Suite 11, whose unique titles in SA would connect it with events in the life of the imperial family.
Many of these changes resemble the sorts of alterations that a practiced player presumably made improvisatorily. There is one lovely moment, when the treble suddenly leaps up to g” from the middle register, but this occurs in both frobergdr Allemande m. But in addition to works issued before the repatriation of the archive such as C. The last fantasia no.
They include, for example, frobegrer tablature copy of Toccata 14 dated as early aswhich would fit nicely with the postulated chronology for the first six suites in SA, if it derives from an autograph Vorlage. But each of these editions and recordings is worth having, and each adds to our understanding of seventeenth-century music.
No such relationship occurs consistently in the autographs.
Suites 11 and 27 might be relatively plain works, or simply weak ones, that nevertheless postdate more complex or imaginative ones. Gallimard,2: Bound in covers that show the arms of Emperor Leopold I, the manuscript comprises three sections containing, respectively, six fantasies, six caprices, and five four-movement suites followed by three one-movement laments. Werke frroberger Erstausgabenvol. Hence the origin of the distinctive readings in these sources must remain uncertain, although they certainly reflect performance practices of the late seventeenth century.
Also, in an autograph manuscript was discovered and subsequently sold at Sotheby’sreportedly containing 35 pieces of music, 18 of which were previously unknown.