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Johann Anton Kobrich, Keyboard Partitas, Part I Johann Anton Kobrich (1714 - 1791) Woudenberg 2018 Partitura Organum

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Page 1: Johann Anton Kobrich, Keyboard Partitas, Part Ipartitura.org/wp-content/uploads/2018/01/Kobrich-Partitas-Part-I.pdfThe old contrapuntal style gave way to the new galant style with

Johann Anton Kobrich,Keyboard Partitas, Part I

Johann Anton Kobrich(1714 - 1791)

Woudenberg 2018Partitura Organum

Page 2: Johann Anton Kobrich, Keyboard Partitas, Part Ipartitura.org/wp-content/uploads/2018/01/Kobrich-Partitas-Part-I.pdfThe old contrapuntal style gave way to the new galant style with
Page 3: Johann Anton Kobrich, Keyboard Partitas, Part Ipartitura.org/wp-content/uploads/2018/01/Kobrich-Partitas-Part-I.pdfThe old contrapuntal style gave way to the new galant style with

Johann Anton Kobrich,Keyboard Partitas, Part I

Page 4: Johann Anton Kobrich, Keyboard Partitas, Part Ipartitura.org/wp-content/uploads/2018/01/Kobrich-Partitas-Part-I.pdfThe old contrapuntal style gave way to the new galant style with

This work may be distributed and/or modified under the terms of theCreative Commons Attribution Non-commercial ShareAlike License, CCBY-NC-SA 4.0 International, which can be found at creativecommons.org.The license applies to the entire Edition.

It is build upon material freely provided by the Bayerische Staatsbibliothekand the Staatsbibliothek Berlin. When using or distributing this Editionyou must give proper credit the Bayerische Staatsbibliothek and providea link to Partitura Organum (http://partitura.org)

2018, Partitura Organum

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Introduction

Johann Anton Kobrich (1714 - 1791) was born in Landsberg am Lech as sonof the town’s organist. When his father died in 1730 Johann Anton becamehis successor as organist, a post he held for 61 years until his death. Shortlyafter his wife died in 1782, Johann Anton Kobriech received the ordinationto the priesthood. During the last years of his life he combines both theposts of organist and priest. Kobrich was a prolific composer and organist,well known to his contemporaries, but now largely forgotten. His musicaloutput ranged from masses to string methods, and from litanies to organpreludes. Most of these were published by either Johann Jakob Lotterin Augsburg or Johann Ulrich Haffner in Nurnberg. Kobrich publishedseveral pedagogical works as well. Much of his work was distributed widelyin Middle and Eastern Europe.

Kobrich was a typical figure of the transition from the Baroque to theGalant period. The old contrapuntal style gave way to the new galantstyle with its melodic expressiveness, variety of motivic ideas, and freetreatment of texture. Generally that led to a decline in the quality oforgan composition during the eighteenth century. Kobrich is no exceptionto this tendency. In his organ music pedals are rarely used, and then onlyfor long sustained notes. In his writing Kobrich shows lack of contrapuntaldevelopment, long sequences, and a variaty of motivic ideas. That doesnot mean that his music is unattractive or without merit. It is good music,it is just not the best music.

Kobrich’s keyboard partitas were not written with a particular instru-ment in mind. They can be equally well performed on organ as on harp-sichord. On the title page of the original edition Kobrich writes that theywere written for the pleasure of music lovers and for use of beginners inmusic. Since they are not really difficult and have an immediacy of appeal,they have great pedagogical value.

The source for this Edition is the original edition from 1749. A digitalcopy of this edition is available at the Bayerische Staatsbibliothek1.

1http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb11140877 00001.html

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Contents

Partita I 1

Partita II 5

Partita III 9

Partita IV 13

Partita V 17

Partita VI 21

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Partita I

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