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List Of Compositions By Johann Jakob Froberger
This is a list of compositions by Johann Jakob Froberger, taken from the Froberger Neue Ausgabe sämtlicher Werke (Froberger New Edition of the Complete Works, or NFA), edited by Siegbert Rampe. The list is organized by genres, in a way that makes adding newly found pieces easier than in most other work-lists: numbers 1xx are reserved for toccatas, numbers 2xx for fantasias, etc. Within each section, Rampe has retained the order of the DTÖ numbers, which were assigned by Guido Adler in the early 20th century ''Denkmäler der Tonkunst in Österreich ''Denkmäler der Tonkunst in Österreich'' (Monuments of Fine Austrian Music) (1894–) is a historical edition of music from Austria covering the Renaissance, Baroque, and Classical periods. The most recent volume in the edition was published in ...'' series. For example, DTÖ Canzona No. 4 is FbWV 304, DTÖ Suite No. 7 is FbWV 607, etc. Adler, in turn, had followed the ordering in the composer's autograph manuscripts known at the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Jakob Froberger
Johann Jakob Froberger ( baptized 19 May 1616 – 7 May 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. Life 1616–1634: 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 livedSchott, Grove and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Toccata
Toccata (from Italian ''toccare'', literally, "to touch", with "toccata" being the action of touching) is a virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving, lightly fingered or otherwise virtuosic passages or sections, with or without imitative or fugal interludes, generally emphasizing the dexterity of the performer's fingers. Less frequently, the name is applied to works for multiple instruments (the opening of Claudio Monteverdi's opera ''L'Orfeo'' being a notable example). History Renaissance The form first appeared in the late Renaissance period. It originated in northern Italy. Several publications of the 1590s include toccatas, by composers such as Claudio Merulo, Andrea and Giovanni Gabrieli, Adriano Banchieri, and Luzzasco Luzzaschi. These are keyboard compositions in which one hand, and then the other, performs virtuosic runs and brilliant cascading passages against a chordal accompaniment in the other hand. Among the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fantasia (music)
A fantasia (; also English language, English: ''fantasy'', ''fancy'', ''fantazy'', ''phantasy'', german: Fantasie, ''Phantasie'', french: fantaisie) is a musical composition with roots in improvisation. The fantasia, like the impromptu, seldom follows the textbook rules of any strict musical form. History The term was first applied to music during the 16th century, at first to refer to the imaginative musical "idea" rather than to a particular compositional genre. Its earliest use as a title was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France. From the outset, the fantasia had the sense of "the play of imaginative invention", particularly in lute or vihuela composers such as Francesco Canova da Milano and Luis de Milán. Its form and style consequently ranges from the freely improvisatory to the strictly contrapuntal, and also encompasses more or less standard sectional forms. One of the most impo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guido Adler
Guido Adler (1 November 1855, Ivančice (Eibenschütz), Moravia – 15 February 1941, Vienna) was a Bohemian-Austrian musicologist and writer. Biography Early life and education Adler was born at Eibenschütz in Moravia in 1855. He moved with his family to Vienna nine years later. His father Joachim, a physician, died of typhoid fever in 1857. Joachim contracted the illness from a patient, and therefore told his wife Franciska to "never allow any of the children to become a doctor". Adler studied at the University of Vienna and — at the same time (1868-1874) — the Vienna Conservatory of Music (where he studied piano (main subject) and music theory and composition under Anton Bruckner and Otto Dessoff). He even briefly served at the Vienna Handelsgericht before deciding to pursue his interest in music history.Erica Mugglestone, "Guido Adler's 'The Scope, Method, and Aim of Musicology' (1885): An English Translation with an Historico-Analytical Commentary," ''Yearbook f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Denkmäler Der Tonkunst In Österreich
''Denkmäler der Tonkunst in Österreich'' (Monuments of Fine Austrian Music) (1894–) is a historical edition of music from Austria covering the Renaissance, Baroque, and Classical periods. The most recent volume in the edition was published in 2017. Volumes (''Bände'') 1 to 83 of DTÖ were published in annual issues (''Jahrgänge'') I to XXXV from 1894 to 1938. Parallels may be drawn between the historical edition entitled ''Denkmäler deutscher Tonkunst (DdT)'' (two series, 1892–1931, and 1900–1931), and DTÖ. The second series of ''DdT'' was separately titled ''Denkmäler der Tonkunst in Bayern (DTB)''. A new revised edition of ''DdT'' was published between 1957 and 1961. A new revised edition of ''DTB'' was started in 1962. Table of contents The publishers' names are abbreviated for space-saving: ''AK'', Akademische Druck- und Verlagsanstalt; ''AR'', Artaria & Co., Vienna; ''Ö'', Österreichischer Bundesverlag; and, ''U'', Universal-Edition. Alphabetical list of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canzona
The canzona is an Italian musical form derived from the Franco-Flemish and Parisian chansons, and during Giovanni Gabrieli's lifetime was frequently spelled canzona, though both earlier and later the singular was spelled either canzon or canzone with the plural canzoni. The use of canzone as the plural is sometimes found in Italian, but is not common. English (and often German) uses the form canzona, with canzonas as the plural. Background The canzona is an instrumental musical form that differs from the similar forms of ricercare and fantasia in its livelier, markedly rhythmic material and separation into distinct sections. At first based on the Franco-Flemish polyphonic songs (chansons) that gave it its name, the instrumental canzona was soon independently composed, not least by Gabrieli in his brass canzonas and by Girolamo Frescobaldi in his keyboard canzonas. As a form, the canzona would influence the fugue, and the ensemble canzonas were the direct ancestors of the 17th-centu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ricercar
A ricercar ( , ) or ricercare ( , ) is a type of late Renaissance and mostly early Baroque instrumental composition. The term ''ricercar'' derives from the Italian verb which means 'to search out; to seek'; many ricercars serve a preludial function to "search out" the key or mode of a following piece. A ricercar may explore the permutations of a given motif, and in that regard may follow the piece used as illustration. The term is also used to designate an etude or study that explores a technical device in playing an instrument, or singing. In its most common contemporary usage, it refers to an early kind of fugue, particularly one of a serious character in which the subject uses long note values. However, the term has a considerably more varied historical usage. Among the best-known ricercars are — for harpsichord — the two contained in Bach's ''Musical Offering'', and Domenico Gabrielli's set of seven for solo cello. The latter set contains what are considered to be some ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Capriccio (music)
A capriccio or caprice (sometimes plural: ''caprices'', ''capri'' or, in Italian, ''capricci''), is a piece of music, usually fairly free in form and of a lively character. The typical capriccio is one that is fast, intense, and often virtuosic in nature. The term has been applied in disparate ways, covering works using many different procedures and forms, as well as a wide variety of vocal and instrumental forces. The earliest occurrence of the term was in 1561 by Jacquet de Berchem and applied to a set of madrigals. In the late 16th and early 17th centuries, it could refer to madrigals, music intended alternatively for voices or instruments, or strictly instrumental pieces, especially keyboard compositions. Schwandt, Erich. 2001. "Capriccio (i)". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. Examples * Charles-Valentin Alkan: ''Capriccio alla soldatesca'' (1859) * Fikret Amirov: ''Azerbaijan Cap ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
