Johann jakob froberger biography of abraham
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Froberger 2 Suites (Guitar S. Grondona)
Froberger 2 Suites (Guitar S. Grondona)
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Abraham van den Kerckhoven
Flemish composer and organist
Abraham van den Kerckhoven (c. 1618 – c. 1701) was a Flemishorganist and composer. He was active in Brussels, working as organist at the local Saint Catherine's Church and as court organist. He was held in high regard by his contemporaries. A single collection of his works survives, containing numerous short versets and several longer works for organ, displaying his mastery of counterpoint and revealing the influence of various other composers, particularly Peeter Cornet.
Biography
[edit]The exact date and place of van den Kerckhoven's birth is unknown. It is likely that he was born around 1618. The van den Kerckhoven family, which was active in Brussels as early as the late 16th century, included many distinguished artists, singers, and organists. Several van den Kerckhovens served at the royal chapel, and many were organists at local churches.
From about 1632 Abraham was working in Brussels as second organist at the Saint Catherine's Church (Sint-Katharinakerk or Sint-Katerijnekerk), and in 1634 he became first organist of the same church, succeeding one François Cornet. Van den Kerckhoven held the position for almost 70 years, until his death in late 1701. He was apparently able to combine it with w
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Charles Davidson's Baroque Suite (published with the Hebrew subtitle as well: Naḥalat Adonai Banim) might be viewed as a stylized Hebraic echo of WesternBaroque musical idioms. Like A Singing of Angels, it was commissioned by the Beth Abraham Youth Chorale, which gave its premiere in Dayton, Ohio, in 1976. To this observer, who has conducted the work many times with various youth choruses for general as well as Jewish audiences, it has always seemed as if Davidson’s original conception might have been inspired not only by the magnificence and soaring lyricism of Yehuda Halevi’s poetry, but equally so—whether consciously or subliminally—by a sort of cultural-historical fantasy that could follow from a series of hypothetical questions: What if more than a small handful (at most) of self-proclaimed Jews had been able to participate as composers in the mainstream of western music during the Baroque era? What if, as in 20th-century America, some of those imagined composers had devoted a part of their gifts to Judaic expression as high art or on a universal plane? What if a body of Judaically related but nonliturgical choral music from that period, interpreting some of the great traditions of Hebrew poetry up to that time, had