Giovanni Maria Trabacci, royal organist at Naples, issued two books of ricercari
(1603, '15), besides vocal works; and Giovanni Battista Fasolo, a Franciscan
of Palermo, published a collection of pieces (1645) for every part of the
Church year, displaying ability within the old modes.
Bernardo Pasquini (d. 1710), a Tuscan, born in 1637 and a pupil of L. Vittori and Cesti and a student of Palestrina, besides writing dramatic works, became famous as organist of Sta. Maria Maggiore at Rome (works from 1702). He taught Durante and Gasparini.
Giulio Cesare Arresti (d.c. 1695), pupil and successor of Vernizzi at Bologna, collected a notable series of organ-pieces by various l7th-century composers, with some of his own.
105. The South German School.—In Germany the century opened with two lines of succession already established, the southern, stimulated by Italian influence at the outset, and the northern, chiefly shaped by the genius of Sweelinck. Between these developed later the Saxon or Thuringian school, influenced by both and ultimately the greatest of all. In Austria Italian models were naturally followed, as in other regions where the organ was connected with Catholicism, but elsewhere the Protestant chorales and their polyphonic elaboration, with the study of the fugue, absorbed attention. In general, organ music avoided secular themes and forms.
In the south the most brilliant masters were Froberger of Vienna and Pachelbel of Erfurt and Nuremberg.
Johann Jakob Froberger (d. 1667) was sent in 1637 by the Emperor to
Rome to study with Frescobaldi, served in 1641-57 as imperial organist and
clavecinist at Vienna with immense success, but with long intermissions,
probably for travel, and later settled at Héricourt (E. France). As a player
he was quite as important on the harpsichord as on the organ, delighting in
such forms as brilliant toccatas, capriccios and suites of a secular character.
His many works were published posthumously (from 1693).
Johann Kaspar Kerll (d. 1693), born in Saxony in 1627, was court-choirmaster at Munich in 1656-73, and then, displaced by the jealousy of the Italian singers, removed to Vienna, becoming court-organist in 1677 and returning to Munich in 1684. Like Froberger, he divided his attention between the harpsichord and the organ, besides producing much vocal music. His organ style was solid and strong, foreshadowing that of the Bachs. Of his many instrumental works little was published during his life (one collection, 1686).
Georg Muffat (d. 1704), of Scottish descent, but German by birth (c. 1645), was trained at Paris under Lully's influence, was organist at Strassburg till 1675, then at Vienna and Salzburg, whence he went to Rome to study with Pasquini, and from about 1687 at Passau. His interesting instrumental works (from 1682) were largely for the organ, and show a mixture of French and Italian manners.
