Started by Mandryka, July 17, 2016, 11:47:11 PM
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Quote from: Simone Stella https://www.gofundme.com/Froberger, my emphasisDear Music Lovers,actually I'm recording the complete works for harpsichord and organ of Johann Jakob Froberger for the dutch label Brilliant Classics (production by OnClassical). For this project I have chosen to use two important italian historical organs, where I'm proud to be titular organist: the organ by Domenico Di Lorenzo da Lucca (1509-1521) in the church of Santissima Annunziata and the instrument by Onofrio Zeffirini da Cortona (1558) in the church of Badia Fiorentina, both in the historical centre of Florence (IT).The first instrument by Domenico Di Lorenzo needs urgently a great work of repair to be good for being recorded, estimated in 3000 euros. This is why I'm asking you, with this crowdfunding, to help us to repair this ancient organ, giving us the chance to let you hear its beautiful and unique sound in a valuable Brilliant Classics cd-box.I want to thank everybody who will help us to finish this recording project within this year! I offer my cds to our donors.I wish you all the best,Simone Stella
Quote from: Mandryka on March 04, 2017, 05:07:55 AMInteresting thesis on keyboard temperaments in Frobergerhttp://etheses.whiterose.ac.uk/12055/21/PhD%20Masumi%20Yamamoto.pdf
Quote from: (: premont :) on March 04, 2017, 05:46:55 AMThanks for this fine link, Mandryka.
Quote from: Mandryka on August 14, 2016, 10:18:38 AMAs with many of Lars Ulrik Mortensen's recordings the instrument is quite resonant. He plays in a way which is texturally busy - not much space between notes because of the ornamentation, but the phrasing is clear and sharp - I can't really think of the word in English but in French you'd say the phrasing is tranchant - "decisive" is possibly the right word - so there's no problem with respiration. The recording is taken from an audience's perspective - it's good and natural, what you might hear if you were in a recital. But it's not what people expect from harpsichord recordings, which are often recorded as if the microphone is actually in the instrument. The performances are very distinctive because they are passionate - not miserable melancholy, but hot hot hot! Like he's boiling over with emotions, Latin emotions. Even in a sweet little thing like the partita on Die Mayerin he's intense, ardent. The combination of the unusual sound, the busy textures and the fervour have made this a really challenging recording for me to get into (I'm a Brit so my upper lip is stiff.) But now I've lightened up and I love it.
Quote from: milk on April 07, 2017, 02:44:47 AMthe suggestion that in some Bach, the influence of Froberger is felt.
Quote from: Ubiquitous on April 07, 2017, 04:15:33 AMBelow is an excerpt from a 19th century book written by Spitta. In addition, Bach varied the form of the suite in his solo violin partitas and cello suites. The form of the suite for instrumental music was established by Froberger.It originally contained Allemande, Courante, Sarabande, and Gigue. Bach followed the tradition and varied the form in each his sets. A prelude and fugue in E flat major must also be mentioned here. Mention has frequently been made of J. Jakob Froberger, of Halle, who, in the middle of the seventeenth century, was one of the most prominent masters of the clavier and organ, in Germany. Although a native of Central Germany, he had devoted himself chiefly to the southern type of organ-music, just then raised to its zenith by Frescobaldi in Rome. But his performances were known and valued throughout Germany, least of all, indeed, in his own native province since his education had left him unfamiliar with the chorale form but much more in the north. It has been already noticed that his toccatas contributed to the formation of the North German fugue-form, consisting of several sections. With regard to free organ composition Froberger stands about half-way between the northern and southern masters. We are told that in the book belonging to Bach's elder brother, which he secretly transcribed for himself in Ohrdruf, there were pieces by Froberger, so that he had made this master's acquaintance when quite a boy. The northern masters, of whom he learnt in later life, had, it is true, long since overtaken Froberger, but they still referred to him, and did not hinder the delight which Bach, determined by his earliest impressions, took in his works. That this was actually the case, is shown by Adlung, a personal friend of Bach, who says : " Froberger was held at that time in high honour by the late Bach, of Leipzig, although he was somewhat antiquated." But in the nature of the case, it cannot be thought that Froberger had any important or direct influence on Bach through his own works ; the principal elements of Froberger's genius were probably transmitted to him through the northern masters, with whom he stood in closer connection than with Froberger. In fact the only work where beside or beneath Buxtehude's manner that of Froberger appears at all, is this same prelude and fugue. It was a favourite device with this master to display at the beginning and end of his toccatas a kind of passage-writing accompanied with chords now lying above and now underneath ; these passages consist of notes of different values irregularly mixed, and are easily recognisable by this restless character. From such a germ grew the pre- lude of Buxtehude, who, however, added the elements of proportion, order, and development; his "finales" or perorations, ingenious as they are, are allied to the finale passages of Froberger's toccatas. Bach's composition reminds us strongly of Froberger, not only in the form of the running passages (e.g., the phrase of zig-zag descending semiquavers) and the massive chords, but also in the repetition of the fugue in a form adorned with trivial figures which have no inner connection with it, expanded to a length which in later times the composer never permitted. On the other hand, the passages have a quieter flow and more connection by means of imitation, as in the works of Buxtehude. Both influences seem to me less conspicuous in the fugue ; the theme has not sufficient motion for the Liibeck master, and the style of contrapuntal invention is not his, while, on the other hand, the harmony is too complicated for Froberger.
Quote from: milk on April 07, 2017, 06:00:30 AMI'm straining to get all the musicology here but it's interesting. Froberger is a strange duck. Sometimes he seems more well-placed in the atmospherics of French music. Yet, his way of organizing gets through in Bach. Well, he's not fancy-free at all like the French. There's a lot of emotional control (to the breaking point?). It's easy to forget the idea of form because Froberger has so much less musical breadth and is so much moodier than Bach.
Quote from: Mandryka on June 27, 2017, 04:11:50 AMA new Froberger recording by Johannes Maria Bogner, who uses a clavichord. The timbres of the instrument are so rich that Bogner can use them as means of expression. Similarly for the dynamic variation. The music sounds good played like this. I prefer it to Tuma's second - I'll cherish it along with Tuma's first and Dart's.
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