Dale Carr | Gigue by Johann Jakob Froberger {1616-1667}, performed by Dale Carr in Groningen on 7 October 1989 @dalecarr6361 | Uploaded December 2021 | Updated October 2024, 3 hours ago.
Gigue by Johann Jakob Froberger {1616-1667} from the suite in D Major for harpsichord, performed by Dale Carr in the Pelstergasthuiskerk in Groningen on 7 October 1989 on a harpsichord built in 1975 by Hendrik Broekman, modeled on an instrument by Michel Richard, 1688
In the earliest sources this gigue is the 2nd movement of the suite; this order of movements is found in some other suites by Froberger and also by other composers, but by the end of the century it was out of style. The gigue is in duple meter, C, rather than the more usual triple meter with dotted rhythms. This was one of the possibilities for a gigue at that time, and some individual movements are preserved both in duple- and in triple-meter variants.
The tone *b*, left hanging at the end of the Méditation, reappears in the gigue only toward the end*, after a measure marked "avec discretion", indicating a short freedom of the tempo. It is first approached in the top voice via a c𝄮, and sounds in the highest & lowest voices together. The following measure echoes the last approach to *b* in the Méditation: the bass sounds d-g-g#, above which the top voice has the same chord of d-e-b. This top *b* is again left hanging, & the denial of resolution is accented by the b𝄬 that follows.
*Maybe there's a slight suggestion of a *b* toward the end of the 1st section.
Thanks to Frans Driesens {youtube.com/channel/UCmXEELNhALXg1vf2MBdLqHA/videos } for the recording!
Gigue by Johann Jakob Froberger {1616-1667} from the suite in D Major for harpsichord, performed by Dale Carr in the Pelstergasthuiskerk in Groningen on 7 October 1989 on a harpsichord built in 1975 by Hendrik Broekman, modeled on an instrument by Michel Richard, 1688
In the earliest sources this gigue is the 2nd movement of the suite; this order of movements is found in some other suites by Froberger and also by other composers, but by the end of the century it was out of style. The gigue is in duple meter, C, rather than the more usual triple meter with dotted rhythms. This was one of the possibilities for a gigue at that time, and some individual movements are preserved both in duple- and in triple-meter variants.
The tone *b*, left hanging at the end of the Méditation, reappears in the gigue only toward the end*, after a measure marked "avec discretion", indicating a short freedom of the tempo. It is first approached in the top voice via a c𝄮, and sounds in the highest & lowest voices together. The following measure echoes the last approach to *b* in the Méditation: the bass sounds d-g-g#, above which the top voice has the same chord of d-e-b. This top *b* is again left hanging, & the denial of resolution is accented by the b𝄬 that follows.
*Maybe there's a slight suggestion of a *b* toward the end of the 1st section.
Thanks to Frans Driesens {youtube.com/channel/UCmXEELNhALXg1vf2MBdLqHA/videos } for the recording!
