Composer: Johann Jacob Froberger
Works: Organ Works, including Toccata in A Minor FbWV 112, Capriccio in D Minor FbWV 503, Ricercar in D Minor FbWV 407a, among others
Performers: Joseph Kelemen, Organ
Recording: Monastery Church of Klostenkirche, Mainingen im Ries, Germany; Recorded September 2000
Label: ARTE NOVA Musikproductions GmbH 74321 85322 2
Johann Jacob Froberger occupies a vital position in the evolution of keyboard music, bridging the late Renaissance and early Baroque periods. His works are characterized by a unique fusion of Italian lyricism and Germanic structural rigor, reflecting his cosmopolitan upbringing and extensive travels across Europe. This recording of his organ works offers a glimpse into his innovative approach to composition, particularly in the context of 17th-century keyboard practices. Froberger’s Toccatas and Capriccios reveal not just technical prowess but also a deep emotionality that would later influence giants like J.S. Bach.
Joseph Kelemen’s interpretation of these pieces is a study in contrasts. The clarity of his playing allows Froberger’s intricate counterpoint to shine, particularly in the Ricercar in G Minor FbWV 405, where the thematic development is deftly articulated. Kelemen’s decisions regarding registration are intriguing, though not always effective. The organ’s mean-tone temperament adds a distinct clarity to the keys of C, F, and G major, yet Kelemen occasionally opts for registrations that disrupt the thematic unity inherent in the Toccatas. The frequent changes in registration, particularly in the Toccata in G Major FbWV 107, can lead to a fragmented listening experience, detracting from the overall coherence of the work.
The engineering quality of this recording deserves commendation. The acoustic of the Monastery Church enhances the organ’s sonority, allowing the rich textures of the Baumeister instrument—restored to its past glory in the late 20th century—to resonate beautifully. The absence of reed stops is notable, but Kelemen compensates with creative registrations that evoke the Italian ‘voce humana’ sound, especially when combining the Cythara 8′ with the Flauten 8’. However, certain interpretative choices, such as the excessive use of trills in the closing chords of the Toccatas, undermine the sense of finality and closure, often leaving the listener feeling suspended rather than resolved.
Froberger’s Toccata alla Levatione, intended for liturgical use, stands out as a highlight in this collection. Its dignified calm and flowing lines encapsulate the composer’s ability to marry structural integrity with emotional depth. Kelemen’s rendering of this piece is marked by a sensitivity that allows the work’s inherent grace to flourish. In contrast, the Capriccios, while lively and engaging, suffer from a lack of rhythmic cohesion across their sections, which ultimately detracts from their overall impact.
This recording serves as a valuable entry point into Froberger’s organ works, offering an auditory experience that is both enlightening and thought-provoking. While there are moments where Kelemen’s interpretations falter, particularly in their execution and registration choices, the album succeeds in showcasing the beauty and complexity of Froberger’s music. The combination of a historically significant instrument and a discerning performer makes this release a notable addition to the catalogue of early keyboard music.
