The picturesque quality reappears in the imitative trumpet-calls in the Battaglia, while in the numerous partite, or suites upon the Romanesca, the Frescobalda, the Aria di Monicha,[23] the Aria di Ruggiero, Frà Jacopino,[24] Frescobaldi acceded to the demands of the times for transcriptions and variations upon popular tunes.[25]
In several cases Frescobaldi gives us hints as to the execution of his works: "music in this style is not to be performed with invariable strictness of tempo...." he says in the preface to the second volume of toccatas, etc.[26] (1637). "It should be played slowly at the beginning, and in an arpeggiated manner, the tempo then being gradually accelerated. The end of a trill or phrase should be marked by the prolongation of the last note, that one phrase may be separated from the other. Cadences, even though written in short notes, should be retarded more and more toward the end.... If it be necessary to play a trill in one hand against a phrase in the other, the trill should be performed not note against note with the passage in the other hand, but independently; the phrase being played with repose and expression. Passages in eighth- or sixteenth-notes written for both hands must not be taken at a too rapid tempo; of two sixteenth-notes the second should always be slightly dwelt upon. In quick passages for two hands, hold back a little upon the next to the last beat; then finish brilliantly, displaying the agility of the hand. For the Partitas, which are characterized by expressive subjects, it will be well to adopt a broad tempo, as well as for the Toccatas; such of the latter as are not too exacting in their demands upon technique maybe taken faster; here the choice of tempi is left to the ready discernment and good taste of the performer...."
We perceive that Frescobaldi demanded the same qualities of imagination for the performance of his works that he exercised in their composition. They are, in fact, an example of a continual rubato. In the preface to the first book of caprices he gives us similar directions; adding: "movements in 3/1 and 6/2 should be taken adagio (he wrote adasio); those in 3/2 a little faster, those in 3/4 allegro." He also charges the performer to conform to the style of his works; serious in the Ricercatas, more brilliant in the Caprices.
"Frescobaldi marks one of the turning-points in the evolution of Music, and is himself the personification of the successful and unsuccessful endeavors, of the victories and defeats, of these periods of transition. His works, upon which is imprinted the stamp of genius, appear as classics in comparison with the inefficient products of that reign of Monody.... That with one hand they point backward to a great Art-epoch just terminated, while with the other they point forward to the hopeful future of a new Musical Art, lends to them an individual and wondrous charm."
This judgment of Ambros[27] sums up in a remarkable manner the rôle which Frescobaldi fills in the history of music. In the history of organ music, taken alone, he more than represents a period of transition; he stands as a creator, who brought into view, although framed in obsolete mannerisms, a whole hereafter; his inability to partake of which is the cause of the melancholy regret which he often unsuccessfully attempts to cloak under a certain amount of affectation.
II
Johann Jakob Froberger, the son of a cantor in Halle, was born in that city; the exact date of his birth is uncertain, but may perhaps be fixed at between 1610 and 1620.[28]
A Swedish ambassador, temporarily in Halle, took Froberger with him to Vienna, says Walther (Lexicon, Leipzig, 1732); he was charmed with the fine voice of the youth—who was fifteen years of age—and astonished at his rare musical talent. Soon Froberger became a member of the imperial choir. In the treasury records of the Hofburg we find him designated as organist of the palace from January 1, 1637, to September 30 of the same year.[29] After this he left Vienna for Rome to study with Frescobaldi. This move had previously been decided upon; the records above mentioned contain the following entry upon the subject: "J.J. Froberger requests that he be sent to Rome, to Frescobaldi, as he was promised. The sum of 200 florins is granted him." After four years of study he resumed his service at court, April 1, 1641. In 1645 he obtained leave of absence. Where did he pass this time? Perhaps he remained in Vienna, where his ability as a clavecinist was highly appreciated; at any rate he was there in 1649. William Swann, chevalier lettré et grand amateur de musique, wrote from Vienna, September 15, 1649, to Constantin Huygens,[30] a councillor to the Prince of Orange, that he was sending him "some pieces given me by a Monsieur Froberger, who has great talent for the spinet."[31]
Still further, the manuscript of the second volume of Froberger's compositions is dated "Vienna, li 29 Settembre 1649."[32] This book he dedicated to Emperor Ferdinand III.,[33] his patron; this act of homage perhaps gave him an opportunity to beg for the extension of his leave.[34]
Froberger took this occasion to go to Brussels; witness to his presence there is borne by the following record, found upon one of the Toccatas: "fatto a Bruxellis, anno 1650." This toccata is included in a manuscript collection preserved in Paris, together with other pieces, one of which[35] indicates that he went to Paris at about the same period. His stay there brought him into touch with Galot and Gautier, whose style of playing the harpsichord he acquired, Mattheson tells us. Thus he endowed the German school with that profusion of ornaments which characterized the performance of these virtuosi, renowned for their skill in playing the lute.[36]