Johann Jakob Froberger (1616 – 1667) was a German
Baroque composer, keyboard virtuoso, and organist.
Among the most famous composers of the era, he was
influential in developing the musical form of the suite
of dances in his keyboard works. His harpsichord pieces
are highly idiomatic and programmatic. Only two of
Froberger's many compositions were published during his
lifetime. Froberger forbade publication of his
manuscripts, restricting access to his noble patrons
and friends, particularly t...(+)
Johann Jakob Froberger (1616 – 1667) was a German
Baroque composer, keyboard virtuoso, and organist.
Among the most famous composers of the era, he was
influential in developing the musical form of the suite
of dances in his keyboard works. His harpsichord pieces
are highly idiomatic and programmatic. Only two of
Froberger's many compositions were published during his
lifetime. Froberger forbade publication of his
manuscripts, restricting access to his noble patrons
and friends, particularly the Württembergs and
Habsburgs who had the power to enforce these
restrictions. After his death the manuscripts went to
his patroness Sibylla, Duchess of Württemberg
(1620–1707) and the music library of the Württemberg
family estate.
Only two compositions by Froberger were published
during his lifetime: the Hexachord Fantasia, published
by Kircher in 1650 in Rome, and a piece in François
Roberday's Fugues et caprices (1660, Paris). In
addition to these, a comparatively large number of
works are preserved in authenticated manuscripts. The
three principal sources for Froberger's music are the
following manuscripts:
1-Libro Secundo (1649) and Libro Quarto (1656), two
richly decorated volumes dedicated to Ferdinand III.
Both were found in Vienna; the decorations and
calligraphy are by Johann Friedrich Sautter,
Froberger's friend from his Stuttgart years. 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.
2-Libro di capricci e ricercate (c. 1658). 6 capriccios
and 6 ricercars.
Also, in 2006 an autograph manuscript was discovered
(and subsequently sold at Sotheby's to an anonymus
bidder), reportedly containing 35 pieces of music, 18
of which were previously unknown and remain unedited.
The manuscript dates from Froberger's final years and
may contain his last compositions. Three toccatas in
Ms. Chigi Q.IV.25 very likely are early Froberger
compositions while he studied with Frescobaldi, as Bob
van Asperen has argued in 2009. Other than these,
numerous manuscripts of various origin contain
Froberger's music. These include the well-known Bauyn
manuscript, and a very large number of less known
sources, some reliable (such as the only unbowdlerized
text for Méditation sur ma mort future, presumably in
Weckmann's hand, or the Strasbourg manuscript of some
couple of dozen of suites, possibly compiled by Michael
Bulyowsky) and some not very much so. Problems arise
with many of the newly discovered copies: either
Froberger was constantly reworking his compositions, or
the scribes were not attentive enough, but many works
exist in several variants, some of which even have
whole movements changed.
Two standard numbering systems are used to identify
Froberger's works. These are:
1-the numbers used in the early 20th century Denkmäler
der Tonkunst in Österreich series and the Guido Adler
edition; commonly referred to as the DTÖ numbers or
the Adler numbers. This catalogue has separate
numbering for different genres, with pieces identified
as Toccata No. 4, Ricercare No. 2, Suite No. 20, etc.
The DTÖ contains a few compositions falsely attributed
to Froberger, and some identical ones.
2- FbWV numbers from the Siegbert Rampe catalogue
compiled in the early 1990s. Rampe's catalogue is more
complete and includes newly discovered pieces as well
as pieces whose authorship is questioned. The Adler
numbers are incorporated, for example all Toccatas are
numbered 1xx, hence Adler Toccata No. 1 has the Rampe
number FbWV 101. For more information, see List of
compositions by Johann Jakob Froberger.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Johann_Jakob_Froberger).
Although originally composed for Organ (keyboard), I
created this Interpretation of the Capriccio I in G
Major (FbWV 509) for Woodwind Quartet (Flute, Oboe,
English Horn & Bassoon).
PARTITION