Froberger: Meditation faite sur ma mort future

Played by Johannes Keller. Harpsichord by Tony Chinnery (after Grimaldi), keyboard by Markus Krebs. Meantone temperament.

[@CrossbowManD]

Beautiful, what a piece of music. So glad we get to enjoy it all these years later

[@polomokipo6000]

JOHANN JAKOB FROBERGER { STUTTGART 1616-1667 HERICOURT } MÉDIATION FAITE SUR MA MORT FUTURE { PARIS 1660 }. Magnifique interprétation, au clavecin grandiose bravo. De ce chef-d'oeuvre de FROBERGER un des grands compositeurs de la musique baroque, au clavecin et à l'orgue qui est Eternel. Video sublime merci.

[@arnoudroth]

Beautiful (both instrument and playing)

[@Doctorcanniball]

title is "meditation on my future death" for non french readers

[@danielthonon]

great instrument ... and playing!

[@paulcaswell2813]

Absolutely magnificent.

[@samanthayork3125]

Superb!! Thank you for sharing!

[@edwardhackney9136]

Very lovely. Thank you.

[@sergeysimkin3263]

Великолепно ! Спасибо за публикацию .

[@LukeHarby]

Absolute banger

[@julienboutique8675]

2:29 That low A almost sounded like a theorbo !

[@aloisnostitz3747]

Super!

[@loeuvrededieu]

Incroyable

[@therealzilch]

Lovely.

[@bachplayer13]

tres bien!

[@poissonpuerile8897]

Somehow, I could not stop listening to this. If it were not for the fact that only an expert musician would even try to play an instrument like this, I would have assumed the instrument was fairly out of tune at times. So I assume this was what the composer intended, and that is just fascinating.

[@JohannesKellerCembalo]

Thank you, I confirm that the instrument was in tune quite well! If it was precisely what the composer wanted we will never know, but the evidence points to this solution quite clearly, at least in my way of reading it.

[@dion1949]

"Meantone temperament" in the description explains it all. We are so used to equal temperament since J. S. Bach.

[@ccoraxfan]

@@dion1949 J. S. Bach had nothing to do with equal temperament, except as an excuse for it in recent years. It was hardly ever used until the 19th century, and even then mostly on pianos. Even today most harpischords and organs are tuned to some kind of unequal temperament, because equal sounds so bad on most instruments other than the piano. Anyway, there’s a reason why Bach called his series “The Well-Tempered Clavier” and *not* “The Equal-Tempered Clavier”!

[@edwardhackney9136]

Whew! Powerful. Thank you. Blancrocher is next?

[@DurpenHeimer]

where can i find more music on this instrument?

[@kaiserochek]

Nowhere

[@victor_2403]

Vogelgeorg has some nice videos playing one of these called Clavemusicum Omnitonum tuned in 31EDO

[@julioginerdivenosa2446]

It 's a chromatic instrument throughout the range! I can't find it on your website...

[@lorenzopandiscia6552]

Wow, that’s amazing😍 Where can I find the manuscript ?

[@bifeldman]

Heaven.

[@jakubbelicki5755]

the title of this piece seems brutal

[@barafostusdreame7134]

sounds great! Have you recorded a disc out of this and the other posts or do you plan to?

[@JohannesKellerCembalo]

+barafostus dreame Thank you, I'm glad you like it! No, I never recorded a disk with this kind of music and there are no plans to do so in the immediate future...

[@СергейЛенков-б2г]

Why? Then record files for download on Bandcamp.

[@TheBrokenConsort]

@@JohannesKellerCembalo What a pity! It'd be great to listen to all these wonderful pieces released on a CD.

[@howardbent5437]

From what I understand, a key on a keyboard is just a long lever on a balance rail and when one side is pressed, the other side goes up, like a seesaw. So how is it possible to stack keys the way these black keys are stacked?

[@Pownyan]

they are half thickness further down, fitting next to each other

[@video_camera]

@@Pownyan You mean third thickness? :)

[@SlayerPowa]

T H A N K S

[@Pony_ezpumi]

delicious.

[@Lucius1958]

How many tones to the octave does that keyboard have? 😲

[@JohannesKellerCembalo]

24 - of as you can see I don’t need that many for this piece!

[@ghmus7]

How do you achive 29k views?

[@mr88cet]

Curious: 24/octave but not likely quartertones as such. Possibly 24-tone meantone fragment?

[@JohannesKellerCembalo]

Yes, exactly, more or less 1/4-comma meantone!

[@mr88cet]

@@JohannesKellerCembalo, ah, excellent! You might be interested to check out the Lumatone keyboard (not advertising; I don’t work for them): kzbin.info/www/bejne/maG8c6GwlryNp7c kzbin.info/www/bejne/sInShpJtqNCNZ6M I _absolutely love mine_ , and have mostly (so far) been using it to explore 31-tone-per-octave equal-temperament, which for musically-practical purposes is audibly identical with QC meantone. The Lumatone also has the additional advantage of being “isomorphic”: Scales, chords, melodies, and entire complex compositions can be transposed by just moving your hands over. The fingering for Ab-major, say, is exactly the same as for D-major, or for any other major key!

[@mr88cet]

@@JohannesKellerCembalo, ah, excellent! You might be interested to check out the Lumatone keyboard (not advertising; I don’t work for them): kzbin.info/www/bejne/maG8c6GwlryNp7c kzbin.info/www/bejne/sInShpJtqNCNZ6M I _absolutely love mine_ , and have mostly (so far) been using it to explore 31-tone-per-octave equal-temperament, which for musically-practical purposes is audibly identical with QC meantone. The Lumatone also has the additional advantage of being “isomorphic”: Scales, chords, melodies, and entire complex compositions can be transposed by just moving your hands over. The fingering for Ab-major, say, is exactly the same as for D-major, or for any other major key! Lumatone keyboards also have really impressive expressive devices built in, like polyphonic aftertouch.

[@Lucius_Chiaraviglio]

@@mr88cet Might be hard to get this sound on it, though.

[@fidulario]

Is that key a C-flat or a B-sharp? And that other one, an F-flat or an E-sharp?

[@JohannesKellerCembalo]

Basically you can tune them to whatever you need. Normally I both tune them as sharps (e sharp and b sharp), but if a piece requires a c flat or an f flat, I would just lower them accordingly. You can't have both at the same time though.

[@blipblip88]

1/4 Wonktone?

[@DIGITALSWOON]

im not a music scholar, but i keep hearing long rests that sound awkward or "misplaced" as if the player is stuck or thinking. it makes me hold my breath. im not criticizing, but im curious, is this a hallmark of this kind of music? cause i hear it somewhat often in stuff like this

[@johnarrow]

I´d say the pauses are a distinguishing characteristic of a contemplative piece such as this.

[@ronwalker4849]

THE PAUSES ARE JUST AS NATURAL SPEACH WHICH HAS PERIODS AND COMAS AND RHYTHMIC DIFFRENCES IN THE SENTENCE STRUCTURE. MUSIC WHICH LACKS WHIS FLEXIBLE INFLECTION IS DEAD BORING. OR JUST DEAD DEAD.

[@FooVines]

relax man, he was just asking

[@isaacrothblumfield]

French baroque music often has a much more free or improvisatory character to it than German or Italian music from the same era. The genre of the unmeasured prelude is probably the clearest example of this, where barlines are non-existant and expressive slurs show the direction of the music.

[@the-art-of-organ-playing]

@@isaacrothblumfield Maybe you didn't imply this, but...Froberger was not French. He was a German who incidentally spent time in Austria and also had Italian / French influence. To say that German or Italian baroque music has less free / improvisatory character is to ignore the entire genre of "stylus fantasticus", epitomized by many composers in baroque North Germany and Italy.