Johann Jacob Froberger(1616-1667)
           Keyboard Works

Toccata II in D minor, FbWV 102
Partita in G minor, FbWV 614
Fugue in D minor, FbWV 407a
Capriccio IV in F major, FbWV 504
Partita II in D minor, FbWV 602
Canzon V in C major, FbWV 305
Ricercar VI in F sharp minor, FbWV 412
Toccata II in E major, FbWV 108
Partita in F major, FbWV 617
Toccata IV in F major, FbWV 110
Toccata VI in G minor, FbWV 106
Fantasia II in A minor, FbWV 202
Toccata V in E minor, FbWV 111
Fantasia I in C major, FbWV 201

Virgin Veritas 45308 - Recorded July 1996
Siegbert Rampe, Harpsichord & Organ
TT 78:00

Summary for the Froberger Enthusiast: Another wonderful Froberger disc

I have reviewed three exceptional Froberger keyboard recordings within
the past year:  Blandine Verlet on Astree, H. K. Sveen on Norway Music,
and Ludger Remy on CPO.  Each of these is quite different from one another.
Verlet stresses slow tempos and horizontal expressiveness, Sveen
prioritizes the inevitability and momentum of the music, and Remy provides
the softer and more gentle approach with great poetry.

Siegbert Rampe's Froberger disc can be added to the other three as a
superb representation of Froberger's musical inspiration and mastery of
form.  Rampe certainly does not scrimp on harpsichords, using six different
instruments.  For further instrumental diversity, the last five works on
the recording are performed on the Organ of the St.  Stephanskirche in
Tangermunde which was constructed by Hans Scherer Junior in 1623/24.
Although the acoustics do vary some from one harpsichord to another, the
changes are not pronounced.  Each of the harpsichords produces for Rampe
a tangy and bright sound.

Partly due to Froberger's distaste for having his works published, the
cataloging of his music is not exacting.  For example, his Suites are
sometimes catalogued as Partitas; one of the Partitas on the Rampe disc
is the same as a particular Suite on Remy's CPO set.  The result is that
there tends to be more overlapping of works on these discs that would
appear from simply reading the listing of works.

What makes Rampe's disc an excellent alternative to the other three is
his priority on rhythmic vitality which seems to leap out of the speakers.
Whenever Froberger's music can accomodate great energy and fast tempos,
Rampe delivers the goods.  None of the three other recordings comes close
to conveying this high level of energy.  This trait comes out very often
on the disc; just three examples are the second section of the Toccata II
in D minor, the Courante from the Partita in G minor, and the Capriccio
IV in F major.  Rampe's Capriccio IV almost sounds like a different piece
of music than Sveen's performance on Norway Music.  Sveen moves forward
inexorably in a steady and sure manner; Rampe lifts the music into the
upper stratosphere.

How about the Froberger music which requires austerity and weight?
Rampe adjusts here beautifully, conveying the full measure of Froberger's
melancholic personality tinged with some rays of light.  The long Allemande
from the Partita in G minor and the beginning of the organ performance of
the Fantasia I in C major are good examples of Rampe's fully idiomatic
interpretations of relatively severe Froberger music.

Don's Bottom Line:  Froberger's keyboard music is superb, and Rampe's
interpretations do it full justice.  The variety injected by the organ
is advantageous, and Rampe has a style distinct from the other recorded
artists I am familiar with.  Verlet, Remy, Sveen, and Rampe are all
essential acquisitions for those in the Froberger camp.  I'll be buying
more Froberger keyboard recordings, including a second disc from Rampe on
Virgin Veritas.  The bottom line is that Froberger recordings are a great
acquisition for those who love Bach's more austere works such as the Art
of Fugue, Musical Offering, and many of his organ works.  If you are in
this category, it's time to dive into Froberger head first.

Don Satz
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