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‹‹ Table of Contents
Volume 29 (2023) No. 1

A Note from the Editor

Around the beginning of this century, three previously unknown early manuscripts containing the music of Johann Jacob Froberger came to light, two of them the work of copyists who apparently had access to highly reliable sources, and the third an autograph collection that the composer created in the last years of his life. As David Schulenberg put it in a review-essay, unearthing any one of these three alone “would have constituted the most important Froberger discovery for a century or more.” The two copyists’ scores were immediately published in handsome editions, by Rudolf Rasch and Peter Wollny respectively; the autograph, in private hands, could not be published but generated plenty of interest, not least in this Journal. At the same time, Siegbert Rampe’s multi-volume Neue Ausgabe of Froberger’s works (Bärenreiter, 1993–2015) continued apace, as did Bob van Asperen’s eight-CD set of the composer’s works (Froberger Edition, Aeolus, 2000–2016). All in all, the 400th anniversary of the composer’s birth, in 2016, might well have struck some observers as a culmination, certainly a good moment to stand back and take stock. The anniversary was marked by two international conferences; one, “Johann-Jacob Froberger 1616–2016: nouvelles perspectives,” was held at the abbey of Royaumont, outside Paris; and the other, “ ‘Con discrezione’: Rethinking Froberger,” floated from Stuttgart to Vienna to Rome—thus, the three cities important to the composer’s youth.

The Royaumont conference was the eventual impetus for this mini symposium in JSCM, an idea proposed to me by Lex Silbiger. His paper for this issue grew out of the one he gave there, on the transmission of Froberger’s keyboard music. Here he focuses on a single toccata, but in doing so, he gives us a roadmap for evaluating the authenticity of seventeenth-century keyboard works in general and pieces attributed to Froberger in particular. Akira Ishii examines Froberger’s use of meter signatures and metrical patterning to imply tempo changes without disturbing a largely regular tactus. (Ishii was not at Royaumont. His paper for the other anniversary conference was published in the impressive conference report: “Avec discrétion”: Rethinking Froberger, Böhlau, 2018.) Yves Ruggeri’s paper, inspired by a conversation he had at Royaumont, presents and contextualizes a keyboard masterpiece found in the newly discovered autograph manuscript. Thanks to special permission from the manuscript’s owner, his article is accompanied by a complete transcription of this magnificent piece, which is otherwise unavailable to the public.

Lois Rosow
Editor-in-Chief
rosow.1@osu.edu