Nevertheless, Gaultier was an important exponent of the French style brisé, and as such an influence on harpsichordists such as Johann Jakob Froberger.

Froberger lamented the emperor's death and dedicated to him one of his most celebrated works, Lamentation faite sur la mort très douloureuse de Sa Majesté Impériale, Ferdinand le troisième ; a tombeau for Ferdinand III's death was composed by the renowned violinist Johann Heinrich Schmelzer.

Johann Jakob Froberger is usually credited with establishing the classical suite through his compositions in this form, which were widely published and copied, although this was largely due to his publishers standardizing the order ; Froberger's original manuscripts have many different orderings of the movements, e. g. the gigue preceding the sarabande.

Frescobaldi's pupils included numerous Italian composers, but the most important was a German, Johann Jakob Froberger, who studied with him in 1637 – 41.

Muffat was, as Johann Jakob Froberger before him, and Handel after him, a cosmopolitan composer who played an important role in the exchanges between European musical traditions.

Fischer's harpsichord suites updated the standard Froberger model ( Allemande-Courante-Sarabande-Gigue ); he was also one of the first composers to apply the principles of the orchestral suite to the harpsichord, replacing the standard French ouverture with an unmeasured prelude.

Johann Jakob Froberger ( baptized 19 May 1616 – 7 May 1667 ) was a German Baroque composer, keyboard virtuoso, and organist.

Johann Jakob Froberger was baptized on 19 May 1616 in Stuttgart.

Although the Thirty Years ' War which started in 1618 undoubtedly made life in Stuttgart somewhat more difficult, the city's musical life was rich and varied, influenced by musicians from all over Europe, so already at the very beginning of his life Froberger must have been exposed to a wide variety of musical traditions.

His teachers possibly included Johann Ulrich Steigleder, and he might have met Samuel Scheidt during the latter's visit to Stuttgart in 1627 ; it is possible that Froberger sang in the court chapel, but there is no direct evidence to that ; and court archives indicate that one of the English lutenists employed by the court, Andrew Borell, taught lute to one of Basilius Froberger's sons in 1621 – 22 – it is not known whether this son was Johann Jakob, but if so, it would explain his later interest in French lute music.

This seems unlikely, however, because at the time Sweden was allied with Lutheran Württemberg against the imperial forces ; so exactly why Froberger left for Vienna at around 1634 and how he managed to find employment as a singer in the imperial chapel, remains a mystery.

It was previously thought that Froberger went to study under Giacomo Carissimi, but recent research shows that he most probably studied with Athanasius Kircher in Rome.

Dresden was probably one of the very first cities Froberger visited: he played before the electoral court of John George I and presented the Elector with a collection of his works.

In turn, Louis Couperin was profoundly influenced by Froberger's style ; one of his unmeasured preludes even bears the subtitle " à l ' imitation de Mr. Froberger ".

In November 1652 Froberger witnessed the death of the famed lutenist Blancrocher ( who was his friend and reportedly died in his arms ).

Although Blancrocher himself was not an important composer, his death left a mark on the history of music, as Couperin, Gaultier, Dufaut and Froberger all wrote tombeaux lamenting the event.

His relationship with Ferdinand's successor, Leopold I, was strained for a number of political reasons ( numerous forces were opposed to Leopold's election, and among them were the Jesuit order and Johann Philipp von Schönborn, Elector-Archbishop of Mainz ; Froberger's mentor and friend Kircher was an important figure in the former, and Froberger had strong ties with the court of the latter.

Froberger apparently knew that he was going to die soon, as he made all necessary preparations a day before he died.

Problems arise with many of the newly discovered copies: either Froberger was constantly reworking his compositions, or the scribes were not attentive enough, but many works exist in several variants, some of which even have whole movements changed.

This was around 1648 / 9 ; Kerll must have met Johann Jakob Froberger and might have studied with him.

Froberger spent the next three years in Italy and, like many other musicians who went to study there, apparently converted to Catholicism.

The development of the prelude in 17th century Germany led to a sectional form similar to keyboard toccatas by Johann Jakob Froberger or Girolamo Frescobaldi.

During a new ( and his last ) stay in Dresden from 1649 to 1655, he met Johann Jakob Froberger during a musical competition which had been organized by the Elector.

The suites represent a fusion of German and French styles, updating the old Froberger model by inserting many additional movements, making use of the latest dance forms of the time and using new ideas such as double minuets and double rigaudons.

Froberger left the city and travelled widely for the next four years, likely entrusted by the Emperor with some extra-musical duties in the fields of diplomacy and possibly espionage ( as for example John Dowland and Peter Paul Rubens were doing during their travels ).

Only two compositions by Froberger were published during his lifetime: the Hexachord Fantasia, published by Kircher in 1650 in Rome, and a piece in François Roberday's Fugues et caprices ( 1660, Paris ).

For more information, see List of compositions by Johann Jakob Froberger.

This irregularity may be employed by Froberger in any dance, whereas in Chambonnières, who used similarly irregular patterns, the sarabande is always composed in the 8 + 16 fashion.

Some suites feature doubles ; in a few, the courante is a derivative of the allemande ( although this is rare ; more often Froberger unites the two dances by giving them somewhat similar beginnings, but keeps the rest of the material different ).

The only surviving non-keyboard works by Froberger are two motets, Alleluia!

Indeed, he established the form almost single-handedly and, through innovative and imaginative treatment of standard dance forms of the time, paved the way for Johann Sebastian Bach's elaborate contributions to the genre ( not to mention almost every major composer in Europe, since the vast majority composed suites and were influenced by the " French style " exemplified by Froberger ).

Also includes several works by other composers that were previously attributed to Froberger.

Chambonnières augmented his income also by teaching, eventually becoming an important influence on the subsequent development of the French harpsichord school, as well as composers abroad, such as Johann Jakob Froberger.

These works frequently feature musical metaphors: in the lamentations on the deaths of the lutenist Blancrocher and Ferdinand IV, Froberger represents Blacrocher's fatal fall down a flight of stairs with a descending scale, and Ferdinand's ascent into heaven with an ascending one ; in the Ferdinand III lamentation he ends the piece with a single voice repeating an F three times.

* Johann Jakob Froberger – Lamentation faite sur la mort très douloureuse de Sa Majesté Imperial Ferdinand III, et se joue lentement avec discrétion.

Since the death of her husband Léopold-Frédéric of Württemberg-Montbéliard in 1662 the Duchess lived in Héricourt ( near Montbéliard, then territory of the house of Württemberg ; now département Doubs ), and Froberger became her music teacher at around the same time ( this indicates that Froberger must have maintained a link with the ducal family of Württemberg since his Stuttgart years ).

He almost certainly met Johann Jakob Froberger in 1651 – 1652 ; Froberger's style becoming a major influence on Couperin's music.

Froberger did, however, dedicate a new volume of his works to Leopold ), and on June 30, 1657 Froberger received his last salary as a member of the imperial chapel.

The profound influence on Louis Couperin made Froberger partially responsible for the change Couperin brought into the French organ tradition ( as well as for the development of the unmeasured prelude, which Couperin cultivated ).

In 1653 Froberger passed through Heidelberg, Nuremberg and Regensburg before returning to Vienna in April.

Apart from the suites, Froberger also wrote titled, descriptive pieces for the harpsichord ( some of the suites incorporate such works as their first movement ).