Professional Documents
Culture Documents
Contents
1 Life
1.1 16161634: Early years in Stuttgart
1.2 16341649: Court service in Vienna and voyages to Italy
1.3 16491653: Years of travels
1.4 16531667: 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
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Life
16161634: Early years in Stuttgart
Johann Jakob Froberger was baptized on 19 May 1616 in Stuttgart. The exact date of
his birth is unknown. His family came from Halle, where his grandfather Simon lived[2]
and his father Basilius (15751637) was born. In 1599 Basilius moved to Stuttgart and
became a tenor in the Wrttemberg court chapel. At some point before 1605 he married
Anna Schmid (15771637), who came from a Schwabian family living in Stuttgart. By
the time Johann Jakob was born, his father's career was already flourishing, and in 1621
Basilius became court Kapellmeister. Of his eleven children with Anna, four became
musicians (Johann Jakob, Johann Christoph, Johann Georg and Isaac; all but Johann
Jakob served at the Wrttemberg court in Stuttgart[3]), and so it is likely that Johann
Jakob received his first music lessons from his father.
Although the Thirty Years' War which started in 1618 undoubtedly made life in
Stuttgart 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 life
Froberger must have been exposed to a wide variety of musical traditions. Little is
known about his actual education, though. His teachers possibly included Johann Ulrich
Steigleder, and he might have met Samuel Scheidt during the latter's visit to Stuttgart in
1627; 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 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. It
contained more than a hundred volumes of music, including works by Josquin des
Prez,[4] Samuel Scheidt and Michael Praetorius, as well as pieces by the lesser known
Johann Staden, founder of the Nuremberg school, and Giovanni Valentini, the thenfamous Viennese Kapellmeister who later taught Johann Kaspar Kerll.[5]
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 Kircher
taught him, to some of the Italian princes. In September he arrived in Vienna and
demonstrated 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, an
English diplomat.[2] Through Swann he got to know Constantijn Huygens, who became
Froberger's lifelong friend and introduced the composer to works by contemporary
French masters Jacques Champion de Chambonnires, Denis Gaultier and Ennemond
Gaultier.
among them were the Jesuit order and Johann Philipp von Schnborn, ElectorArchbishop of Mainz; Froberger's mentor and friend Kircher was an important figure in
the 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, 1657
Froberger 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 the
letter exchange between Constantijn Huygens and the dowager Duchess of Montbliard,
Sybilla (16201707). Since the death of her husband Lopold-Frdric of WrttembergMontbliard in 1662 the Duchess lived in Hricourt (near Montbliard, then territory of
the house of Wrttemberg; now dpartement Doubs), and Froberger became her music
teacher at around the same time (this indicates that Froberger must have maintained a
link with the ducal family of Wrttemberg since his Stuttgart years). He lived in
Chteau dHricourt, the dower house of Duchess Sibylla. The Huygens-Sybilla letters
indicate that in 1665 Froberger travelled to Mainz, where he performed at the court of
the 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 Hricourt until his death on 6 or 7
May 1667. Froberger apparently knew that he was going to die soon, as he made all
necessary preparations a day before he died.
Works
See also: List of compositions by Johann Jakob Froberger
General information
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.[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.
the numbers used in the early 20th century Denkmler der Tonkunst in
sterreich series and the Guido Adler edition; commonly referred to as the DT
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 DT contains a few compositions falsely attributed to
Froberger, and some identical ones.
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.
later copy adds gigues to suites nos. 3 and 5). The suites of Libro Quarto all have gigues
as the 2nd movement. The order that became the standard after Froberger's death, with
the 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 rarely
in the standard 8+8 bars scheme. When symmetrical structure is employed, it may be
7+7 bars or 11+11 bars; more frequently one of the sections is longer or shorter than the
other (more often the second is shorter than the first). This irregularity may be
employed by Froberger in any dance, whereas in Chambonnires, who used similarly
irregular patterns, the sarabande is always composed in the 8+16 fashion. Froberger's
keyboard adaptation of the French lute style bris almost invariably shows itself in most
pieces written during and after his Paris visit.
Froberger's allemandes abandon the original dance's rhythmic scheme almost
completely, abounding in short gestures, figures, ornaments and runs typical of style
bris. Like Chambonnires, Froberger avoids emphasizing internal cadences, or indeed
anything that would hint at any sort of regularity;[11] unlike him, Froberger tends to use
faster sixteenth-note figurations and melodies. Most of the courantes are in 6/4 time
with occasional hemiolas and the eighth-note motion typical of the courante. Some of
the others, however, are in 3/2 time, twice slower and moving in quarter notes. Still
others are in 3/4 time and closely resemble the Italian corrente of the time. The
sarabandes are mostly in 3/2 time and employ a 1+1/2 rhythm pattern, rather than the
standard sarabande rhythm with the accent on the second beat. The gigues are almost
invariably fugal, either in compound (6/8) or triple (3/4) meter; different sections may
use different motifs, and occasionally the first section's subject is inverted for another
section. Bizarrely, a few gigues use dotted rhythms in 4/4 time, and a couple feature
exquisite rhapsodic 4/4 endings.
Some of the works feature written indications such as "f" and "piano" (to notate an echo
effect), "doucement" ("gently") an "avec discrtion" (expressive rubato). In some of the
sources such markings are particularly abundant, and the newly (2004) discovered
Berlin Sing-Akademie SA 4450 manuscript adds similar indications to free sections in
organ toccatas.[12] Some suites feature doubles; in a few, the courante is a derivative of
the allemande (although this is rare; more often Froberger unites the two dances by
giving 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 and
not 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 the
earliest composers to produce such programmatic pieces. Nearly all of them are very
personal; the style resembles Froberger's allemandes in its irregularity and style bris
features. Such pieces include the following (in alphabetical order):
Allemande faite en passant le Rhin dans une barque en grand pril. Note the 26
numbered passages with explanations of each.
These works frequently feature musical metaphors: in the lamentations on the deaths of
the lutenist Blancrocher and Ferdinand IV, Froberger represents Blancrocher's fatal fall
down a flight of stairs with a descending scale, and Ferdinand's ascent into heaven with
an ascending one; in the Ferdinand III lamentation he ends the piece with a single voice
repeating an F three times. Froberger would often supply such works with an
explanation, sometimes very detailed (see illustration), of the events that led to the
composition of the piece. For instance, the Allemande, faite en passat le Rhin contains
26 numbered passages with explanation for each; the Blancrocher tombeau features a
written preface in which the circumstances of the lutenist's death are recounted, etc. The
structure and style of Froberger's programmatic works, as well as his allemandes,
contributed to the development of the unmeasured prelude through the efforts of Louis
Couperin.
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 Dben
collection, compiled by Gustaf Dben, a famous Swedish collector and composer. The
manuscript is kept in the Uppsala University library. These motets are quite similar in
style: both are scored for a three-voice (STB) choir, two violins and organ (which is
given a single melodic line, not polyphony, as was common in Italian motets of the
time), and cast in the early 17th century Venetian stile concertante,[14] in marked
contrast with Froberger's preference for older techniques in his polyphonic keyboard
works. Another connection to contemporary practice is that the small ensemble is
almost identical to one used by Heinrich Schtz in the second volume of Symphoniae
sacrae published in 1647.
Posthumous influence
Although only two of Froberger's works were published during his lifetime, his music
was widely spread in Europe in hand-written copies, and he was one of the most famous
composers of the era (interestingly, although he studied in Italy and obviously had
friends and former mentors there, no Italian sources of his music were found). Because
of his travels and his ability to absorb various national styles and incorporate them into
his music, Froberger, along with other cosmopolitan composers such as Johann Kaspar
Kerll and Georg Muffat, contributed greatly to the exchange of musical traditions in
Europe. Finally, he was among the first major keyboard composers in history and the
first to focus equally on both harpsichord/clavichord and organ.
Froberger's compositions were known to and studied by, among many others, Johann
Pachelbel, Dieterich Buxtehude, Georg Muffat and his son Gottlieb Muffat, Johann
Caspar Kerll, Matthias Weckmann, Louis Couperin, Johann Kirnberger, Johann
Nikolaus Forkel, Georg Bhm, George Handel and Johann Sebastian Bach.
Furthermore, copies in Mozart's hand of the Hexachord Fantasia survive, and even
Beethoven knew Froberger's work through Albrechtsberger's teachings. The profound
influence on Louis Couperin made Froberger partially responsible for the change
Couperin brought into the French organ tradition (as well as for the development of the
unmeasured 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 the
keyboard suite. Indeed, he established the form almost single-handedly and, through
innovative 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 mention
almost every major composer in Europe, since the vast majority composed suites and
were influenced by the "French style" exemplified by Froberger).
Notable recordings
Johann Jakob Froberger: The Complete Keyboard Works (1994). Richard Egarr
(organ, harpsichord). Globe GLO 60226025
o As of 2007, this is the only complete recording made. Organized by
manuscript and retains the original order of the pieces; works discovered
after 1994 are not included. Also includes several works by other
composers that were previously attributed to Froberger.
The Unknown Works (2003/4). Siegbert Rampe (organ, harpsichord, clavichord).
MDG 341 1186-2 and 341 1195-2
o A recording of some 20 newly discovered works (mostly suites) and
pieces of doubtful authorship.
The Strasbourg Manuscript (2000). Ludger Rmy (harpsichord). CPO 9997502
o Includes fourteen suites from the recently discovered Strasbourg
Manuscript, 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 the
newest discoveries from the manuscripts of the Berliner Singakademie.
10
See also
Stylus fantasticus
Notes
1.
Froberger and his heiress forbade any printed edition: the composer himself was
against printing of any of his manuscripts to keep his "arcana" and "art" confident; and
restrict to his noble patrons / the friends-composers he personally knew, considered
worthy and trusted. Also this was a common practice among the composers of the
17th/18th century to avoid becoming copied without payment. In Frobergers case this
was handled particularly rigidly, probably following his very high esteem as artist and
his good standing/intimate relations with some of the Wrttembergs 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 Wrtttemberg
(16201707) 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 death
the manuscripts entered the music library of the Wrttemberg family estate and
somehow vanished. So the non-printing was not a sign of low quality or esteem quite
to the contrary. This may appear a paradox in our times, but was common practice back
then. Source: editorial notes of Bob van Asperen and Siegfried Rampe
Schott, Grove
See J. Sittard: "Zur Geschichte der Musik und des Theaters am Wrttembergischen
Hofe" (Stuttgart, 189091/R)
G. B. Sharp. "J. J. Froberger: 16141667: A Link between the Renaissance and the
Baroque". The Musical Times, Vol. 108, No. 1498 (Dec., 1967), pp. 1093-1095+1097
Siedentopf Henning. "Johan Jakob Froberger". Stuttgarter Verlagkontor, Stuttgart
1977, p. 26-30. See [1] for a complete list.
C. Annibaldi: Froberger in Rome: from Frescobaldis Craftsmanship to Kirchers
Compositional Secrets, CMc, no.58 (1995), 527
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, Kln 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 der
Sing-Akademie zu Berlin, Faksimile und bertragung, ed. Peter Wollny (Kassel:
Brenreiter 2004)
Apel, 553
14. Yves Ruggeri. Preface to "Johann Jakob Froberger: Alleluia, absorpta est
mors; Apparuerunt apostolis", ditions de l'Oiseau-Lyre, Monaco, 1990.
11
Howard Schott. "Johann Jakob Froberger", Grove Music Online, ed. L. Macy,
grovemusic.com (subscription access).
Avo Smer. "The Keyboard Music of Johann Jakob Froberger." University of
Michigan, 1963, dissertation.
Willi Apel. The History of Keyboard Music to 1700. Translated by Hans
Tischler. Indiana University Press, 1972. ISBN 0-253-21141-7. Originally
published as Geschichte der Orgel- und Klaviermusik bis 1700 by BrenreiterVerlag, Kassel.
External links
Free scores by Johann Jakob Froberger at the International Music Score Library
Project
Facsimiles of two motets in the Dben collection
Froberger at Free-scores.com
Johann Jakob Froberger Lamentation faite sur la mort trs douloureuse de Sa
Majest Imperial Ferdinand III, et se joue lentement avec discrtion. An 1657.
MP3
Free scores at the Mutopia Project