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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In November Froberger witnessed the death of the famed lutenist Blancrocher who was his friend and reportedly died in his arms. We have much better information about the instruments, techniques, and interpretive traditions that would have been used during the latter period, as opposed to during the period when these pieces were first written. But what does it tell us except that some musicians were content to play haphazard arrangements of favorite bits from early seventeenth-century classics?

That the autograph was vague in the latter passage is evident from the apparently defective readings in all three sources; e. Corresponding indications are entirely lacking in Dl, raising the question of when the titles came to be attached to these pieces. But the present Courante seems to lose its way in measure 11, where a phrase ends prematurely, and the penultimate measure of each half is awkward and unimaginative.

Indeed, the editor of Dl, Rudolf Rasch, has generously supplemented the text of the manuscript, even including an entire movement that is preserved only in a concordance the double of the courante in Suite The latter somewhat resembles the early lute doubles in the restrained character of the variation; the other partite are reminscent of the various types of keyboard cantus firmus setting composed in the earlier seventeenth century.

Routledge,—3. Such anachronisms are unobjectionable except when they are put forth as authentic bits of original practice. Preface to “Johann Jakob Froberger: Needless to say, it will also allow us to hear the music, perhaps in ways not yet dreamt of. Faber and Faber,93n4. But the music is played with the freedom it seems to demand, even if the tempos tend to be rather phlegmatic—grotesquely so in C14, which is played as if it were a sarabande grave.

Timothy Roberts in his review of the present facsimile mistakenly identifies the suite in question as no. Van Asperen paragraphs 5. Whether Froberger himself used tablature must remain open; variants characteristic of tablature copies, such as octave displacement of individual pitches, occur in surviving tablature copies as well as in scores such as Dl. Grimm, the presumed copyist of the Grimm tablature from which four suites are taken.


List of compositions by Johann Jakob Froberger

Autograph in Sotheby’s manuscript. All three performers find musically effective solutions to the questions fgoberger above, whether or not historically authentic. Froberger left the city and travelled widely for the next four years, 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 Paul Rubens were doing during their travels.

He was one of gugue earliest composers to produce such programmatic pieces. Some movements likely by Froberger’s father, Basilius. The independence of the two sources inspires confidence where concordances exist.

But although doubtless a part of historical practice in this repertory, this type of free invention is in some ways less difficult, less creative, than attempting to recreate more basic seventeenth-century practices. For instance, the Allemande, faite en passat le Rhin droberger 26 numbered passages with explanation for each; the Blancrocher tombeau features a written preface in which frkberger circumstances of the lutenist’s death are recounted, etc.

The first two volumes of that edition have been reviewed elsewhere, 9 and although the present publication differs in important respects, two common and somewhat figue features are, on the one hand, an almost alarming accumulation of information about sources, copyists, and related matters, and on the other hand a failure to evaluate or interpret the musical texts that they preserve.

Problems playing these files? Hence for this suite Dl froberver to Grimm as it does to the Amsterdam editions in the case of Suite Movements with Reduced Note Values in Dl. But even if such a hypothesis were plausible—and the attributions are unlikely on stylistic grounds—it would be virtually unprovable. Froberger spent the next three years in Italy and, like many other musicians who went to study there, apparently converted to Catholicism.

Such pieces include the following in alphabetical order:. In Basilius Froberger, his wife and one of his daughters died of plague.

His harpsichord pieces are highly idiomatic and programmatic. The typical Froberger suite established allemandecourantesarabande and gigue as the obligatory parts of a suite. In measure 16, sixteenths d”—f’ perhaps should be replaced by a single sixteenth a’. From Wikipedia, the free encyclopedia. But this may be to hang too much speculation on a few intentionally tantalizing titles.

GIGUE TAB by Johann Jakob Froberger @

The Courante is derived from the Allemande, but although in both movements the first half contains seven measures, the second half of the Allemande is eight measures long, whereas that of the Courante contains only six. Many of these changes resemble the sorts of alterations that a practiced player presumably made improvisatorily. But it also includes works that probably date from before or after that period, and which may have been written outside the Empire properly defined, including Belgium, Scandinavia, and even England.


No parallelism can irrefutably establish that two movements were composed to form part of a group—anybody could have composed a variation at a later date—but at least it provides a musical reason for a grouping, which otherwise is based simply on a common tonality.

His teachers possibly included Johann Ulrich Steiglederand he might have met Samuel Scheidt during the latter’s visit to Stuttgart in ; it is possible that Froberger sang in the court chapel, but there is no direct evidence 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 —22 [1] — it is not known whether this son was Johann Jakob, but if so, it would explain his later interest in French lute music.

Not evident from the facsimile is the wearing of the paper, especially in the lower right corners; this plus occasional pencil corrections raises the possibility that the manuscript was used into the nineteenth century.

First movement titled Meditation faist sur ma Mort future la quelle se jove lentement avec discretion. This practice is akin to the anticipatione della syllabawhich in effect slurs a short afterbeat, often resolving a dissonance as in a 4—3 cadential suspensionnot to the previous but to the following note.

Journal of Seventeenth-Century Music. The Allemande of the latter suite contains Frobergerian echoes, including an opening quotation from the Lamento of Suite But it is clear that the composer of this piece was more comfortable writing idiomatic keyboard figuration than imaginative counterpoint. But because Foberger also contains apparently reliable texts, close to those in other sources including SA and the giyueand because its score format and provenance appear to place it relatively close to the composer, frobegger alternate readings are worthy of careful consideration.

The last fantasia no.