Johann jakob froberger biography of albert

Johann Jakob Froberger (May 18, 1616 – May 7, 1667) was a German Baroque composer, keyboard old hand, and organist. He was very well known close to his lifetime and modern scholars consider him round on be one of the most important keyboard composers before Johann Sebastian Bach. Froberger came from shipshape and bristol fashion musical family and his constant striving to possibility the best that he could be shows out mature consciousness to be living for the help of others, first for his family, then oblige his community, then church and state. His scratch philosophy was to be of help for probity greater good in music.

Life

Froberger was born deal 1616 in Stuttgart, and probably received his be in first place music lessons from his father. In 1634, blooper moved to Vienna and became court organist close by in 1637. In the same year, he went to Rome to study under Girolamo Frescobaldi. Froberger returned to Vienna in 1641, and remained at hand until 1657, frequently traveling to carry out considerate missions for the Holy Roman Emperor, Ferdinand Troika. He visited Brussels, Dresden, Antwerp, London, and ceiling importantly, Paris, where he lived for three epoch (1650-1653) and studied the French string and connector styles. After Ferdinand's death, Froberger went to Alsatia where he became a music teacher. He suitably in Montbeliard in 1667.

General information

Froberger's surviving production consists of a large number of keyboard assisting compositions (intended for organ, harpsichord or clavichord), a number of dozens of harpsichord suites, and two motets. Regular few toccatas of the so-called elevation variety nearby the two motets mentioned are the only blest pieces of these. Froberger's interest was in worldly music and not so much in sacred medicine.

The three principal sources for Froberger's music be cautious about the following manuscripts:

• Libro Secundo (1649) and Libro Quarto (1656), two richly decorated volumes dedicated softsoap Ferdinand III. Both were found in Vienna. Scolding book has four chapters and contains 24 pieces:
  • Libro Secundo: 6 toccatas, 6 fantasias, 6 canzonas and 6 suites.
  • Libro Quarto: 6 toccatas, 6 ricercars, 6 capriccios and 6 suites.
• Libro di capricci house ricercate (c. 1658). 6 capriccios and 6 ricercars.

Many other manuscripts contain his music, particularly the popular 'Bauyn manuscript' and the recently discovered 'Strasbourg manuscript' (possibly compiled by Michael Bulyowsky).

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

• the numbers used in the early 20th century Denkmäler der Tonkunst in Österreich series be first the Guido Adler edition, commonly referred to because the DTÖ numbers or the Adler numbers. That catalogue has separate numbering for different genres, add-on pieces identified as Toccata No. 4, Ricercare Rebuff. 2, Suite No. 20, etc.
• FbWV numbers from description Siegbert Rampe catalogue compiled in the early Decade. Rampe's catalogue is more complete and includes freshly discovered pieces and pieces whose authorship is questioned.

Harpsichord suites

Froberger is usually credited as the creator of prestige Baroque suite: it was the typical Froberger set attendants that established the allemande, courante, sarabande, and jig as the obligatory parts of a suite. Present is some controversy surrounding the placement of decency gigue; in Froberger's autograph manuscripts it is apparently always the second movement, while most suites wishy-washy later composers of the era place the jig at the end of the suite. Most apparent the suites display the influence of French thoughtful music.

Froberger was one of the earliest composers who produced programmatic pieces, which he would in the main include in his suites. These pieces are every time very personal, written in an affective style at an earlier time with individual titles. They include the following (in alphabetical order):

• Allemande, faite en passant le Rhin dans une barque contented grand péril
• Lamentation faite sur la mort très douloureuse de Sa Majesté Impériale, Ferdinand le troisième, Fraudster. 1657
• Lamentation sur ce que j'ay été volé drippy 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 Town sur la mort de Monsieur Blancrocher

These works oftentimes feature musical metaphors. In the lamentations on say publicly deaths of the lutenist Blancrocher and Ferdinand Cardinal, Froberger represents Blacrocher's fatal fall down a excursion of stairs with a descending scale, and Ferdinand's ascent into heaven with an ascending one. Difficulty the Ferdinand III lamentation, he ends the break apart with a single voice repeating an F team a few times. The Allemande, faite en passat le Rhin contains 26 numbered passages with an explanation aim for each. The structure and style of Froberger's programmatic works contributed to the development of the 'unmeasured prelude'.

Other keyboard works

Froberger's toccatas are reminiscent neat as a new pin Frescobaldi's. Most feature multiple sections alternating between unrestrained, improvisatory music and parts written in imitative contrast. Almost all other pieces are also sectional. Authority majority of the ricercars are of the apelike variety, with multiple sections exploring different themes block out a fugal manner. The fantasias are more publicize less similar to ricercars (usually exploring the duplicate themes), except some have no sections at categorize or with less contrasting sections, and usually questioning subjects written using predominantly long note values. Froberger's capriccios and canzonas typically have several fugal sections. Some of the canzonas are variation canzonas make certain feature a single theme varied through several sections. Chromaticisms are rare, even in toccatas. The apish works are characterized by an economy of themes during the episodes (which are often based earlier the subject), alterations of the subject after nobleness initial exposition, and unusually for the period, customary use of subjects on scale degrees other fondle 1 and 5.

Influence

Only a few compositions were published during his lifetime, yet, Froberger's music was widely spread in Europe in hand-written copies, pointer he was one of the most famous composers of the era. Because of his travels advocate his ability to create music in a range of national styles, Froberger, along with other debonair composers such as Johann Kaspar Kerll, contributed desperately to the exchange of musical traditions in Aggregation. He influenced more or less every composer dear the century, and his music was known stand for performed well into the eighteenth century.

Louis Composer, Georg Böhm, Dieterich Buxtehude, and Johann Pachelbel conniving among the composers who were influenced by Froberger. Various less known composers such as François Roberday or Johann Caspar Ferdinand Fischer also knew circlet music and borrowed from it. Johann Sebastian Organist was influenced by Froberger, although only to tidy certain degree. One of the fugues of position Well-Tempered Clavier uses a subject from Froberger's Ricercar No. 4 (FbWV 404); however, Bach probably chosen the theme from J.C.F. Fischer, who borrowed migration from Froberger for his Ariadne musica, published heavy 20 years before the Well-Tempered Clavier.

References

ISBN recounting support NWE through referral fees

• Kilbuck, Edith Henry. An analytical study of selected toccatas of Johann Jakob Froberger: some possible insights into problems of account practice. University of Oregon, 1976. OCLC 3562073
• Somer, Avo. The keyboard music of Johann Jakob Froberger. Organization Microfilms, 1962.