Transkriptionen fur Gitarre solo transcriptions for solo guitar 7 PR Johann J. Froberger TOMBEAU “...SUR LA Mort De M. BLANCROCHER” Suite Nr. 18 ING SuITE NO. 18 ING orig. fur Cembalo “orig. for harpsichord - Bearbeitung und Fingersatze von/ transcription and fingerings by _Tilman Hoppstock PRIM- MUSIKVERLAG DARMSTADT ee nezieot eeFROBERGER AND HIS TIME In the eorly seventeenth century the centres of the musical world for viola do gamba, harpsichord and lute were orientated to aly, England and especially to France. As hoppened later during romanticism cond the doys of impressionism, many composers ond players were attracted to the French cultural metropolis, Paris. Apart from a stay of several years in Rome ~ where he studied with Frescoboldi — Jehann Jacob Frober- ger 11616-1667} spent a considerable part of his life in the French capital. He was cleady seen os one of the forerunners in the development of poly- phonic harpsichord and organ music influenced by italy. However, he may be seen especialy, nex to lovis Couperin (1626-1661}, as an innovating spit fit of avantgardism of the ‘ime, an aventgarde which revolutionised harmony and form for the com position of suites for their instrument. It should olso be noted that the great masters of the lute such as Ennemond (15752-1651) ond Denis Gaultier (15972-16722) and also Francois Dufaut f.1600- 6.1670) had not litle influence on the idiom with which the new keyboard expressionisis determined the composing syle of neatly hwo gene- rations. It was not unl o new school evolved, centred around ihe hereos of the late seventeenth century, that Froberger’s works, which had never been published during the composer's lifetime apart from a handful of pieces, were doomed to obscurily fo ¢ long fime Even today Froberger’se music is mainly apprecior ted a8 0 litbit for connoisseurs ond specialists, os its daring harmonies cause it to stond in the shade of other great masters such as Bach, Handel, F. Cou- perin, Rameau. The present transcription of the famous “Tombeau sur la mort de Monsieur Blancrocher” here oppe- ots, forthe first time, ing minor. An earlier version by Michoel Lorimer {in d) lends more dominance cond volume to the frst part of the composition becouse of is diferent tonaliy, However, os the composition’s dramatic stucture deliberately builds ‘up towards the end ~ an excessive explosion which, continously insisting with its pedalpoint D [in the pre- sent version} in the boss, announces the concluding descending scale which supposedly describes the cause of the dedicatee’s death ~ the choice of any ther tonality weakens the development of the piece. Next to the admirable composition technique of the piece, © certain harmonic metamorphosis enobles the thrilled listener to experience the different stoges in the atmosphere of this lament, ond reflects in an inimitable way contemporary understonding of har mony. Out of circa 30 perservered suite compositions, the Suite in geminor (doric} is one of the most fe quently performed works by Froberger. In the course of this so-called Variation Suite - with Allemance, Courante, Sorabonde, Gigue or o Gigue coming second in the sequence - cn innovation probably troceable to Froberger shows certain motives o: har monic figures, which return in similor way in every movement Proof of the flexibility of early instrumentalists hos been handed down to us in many arrangements of ‘works, by © host of composers, both from harps chord to lute ond conversely, arrangements of lute music made by harpsichordists for their instrument The Gigue of the suite in hand wos olso arranged * for the lute by @ contemporary of Froberger's. We do not know wether this is only © preserved frog: ment of ¢ complete arrangement of the suite. Hower ver, such disconeries moy motivate, even today, cerrangements for fhe guitar of works writen for other instruments For greater eose in playing, but also on grounds of sound qualy, we hove designated @ scordatura of the two lower sings to D, respectively G. Wihin the near fulure both works by Froberger published here will oppear in @ CD recording by the attonger (om “Signum”, distributed by “note 1”, Heidel- berg, Germany). Tilman Hoppstock, june 2001 (Translation: Andreas Kiihner) Prim 21 801, es‘Transcription and fingerings for guitar Ep Rtn Hoppstock Tombeau “fait & Paris sur la mort le Monsieur Blancrocher Original fiir Cembalo in e-moll ‘Original for harpsichord in c-minor Bearbeitung und Fingersitze fir Gitarre von Tilman Hoppstock Johann Jacob Froberger (1616 - 1667) "2 tequel se joue fort lentement a la discretion sans observer aucune mesure —__f—__—__f *! anlisslich des Todes des Hern Blancrochers in Paris komponiert / composed in Paris on the death of Mr. Blancrocher *? tangsam, geschmackvoll und ohne metrische RegelmaBigkeit zu spielen / ‘which one plays very slowly with taste and without metnc regularity 7 Prim 21 801; Prim 21 801 5Prim 21 801a el oT Pim 21 801Teguise guar Suite Nr. 18 g-moll by Tilman Hoppstock Original ftir Cembalo Suite no. 18 g-minor (Original for harpsichord Bearbeitung uné Fingersatze fr Gtarre von Tilman Hoppstock Johann Jacob Froberger (1616 - 1667) 4 pas z mt = . 2 5 i 4 ° Prim 21 801Prim 21 801Courante i 7? ) ) t 3 2 r Prim 21801Sarabande Prim 21 801Prim 21 801, Ge Gigue