Johann Jacob Froberger was the outstanding German composer
of keyboard music of his generation. His works, with strict contrapuntal
design, expressive melodic writing and vivid rhythmic patterns, served
as an inspiration for such composers as D. Buxtehude and J.S.Bach. His
cosmopolitan life – from Stuttgart to Vienna, from Rome to Brussels,
from Paris to London- certainly influenced his works, which form part
of the characteristic 17th century, Italian and French keyboard
genres. His studentship with Frescobaldi in Rome was a landmark in his
career as a composer. Although he is well known nowadays for his 30
harpsichord suites (French influenced), there are numerous other works
either for organ or harpsichord, which are Italianate.
This recording aims to present the ‘Italian’ Froberger
and according to Kelemen’s accompanying notes, it ‘takes its inspiration
from the fruits of his four years study in Rome…However, the works recorded
here also show clearly the influence of Froberger’s South German homeland;
the combination of Italy and Germany made his music into a wonderful
blend of elegance and profundity’.
The booklet of the CD provides information on Froberger’s
life and works and also on the history, disposition and registration
of the Baumeister organ. Kelemen notices that the recorded pieces ‘…are
taken from three collections, published in Vienna during Froberger’s
lifetime’; whereas the only published work of Froberger, during his
lifetime, was the Fantasia 1, Sopra UT RE MI FA SO LA. Actually during
his lifetime, almost half of his works were contained in three autograph
manuscripts and only in the 1690s did publications of his music make
their appearance.
The chosen organ for this recording has a unique history.
It was built between 1734-1737 by Baumeister but when the church was
sold to the aristocratic family of Prince Oettingen-Wallerstein in 1802,
as the booklet inform us, the organ was marked with a seal. It was not
until two centuries later that the organ was restored by the Steinmeyer
company from Oettingen and sounded again in all its past glory. It has
a mean tone temperament, which gives clarity to the keys of C, F and
G major. It has also no reed stops, but its plenum (full organ)
gives a deep, bright sound thanks to the high mixtures. There is no
4’flute stop in the manuals, but the Cythara 8’ when combined
with the Flauten 8’ gives a similar to the Italian ‘voce humana’
trembling sound.
Kelemen’s playing is clear and balanced most of the
time. Sometimes though, in the toccatas, the adding of too many trills,
especially at the last chord, spoils the feeling of arrival and ending
. He also occasionally breaks the phrases too suddenly and the result
is a sense of gap in the music. The chosen registrations are quite exploratory,
but the frequent changes in the toccatas is not an approach that I would
recommend, as this spoils their thematic unity. On the other hand, the
capriccios are lively and sparkly but they also lack a rhythmic unity
between the different tempi of the sections. The so-called ‘Hexachord
Fantasia’ (UT RE MI FA SOL LA) and the ricercares, which have a very
firm design, are played with a very nice articulation that reveals this
design. The Toccata alla Levatione - written for liturgical use- is
the highlight of this recording for its analogous dignity and calmness.
The recording certainly deserves a warm welcome.
Christina Antoniadou
Joseph Kelemen, Organist.