Friedrich Theodor Fröhlich was born on February 20, 1803, in Brugg (canton Aargau) and died October 16, 1836, in Aarau. Following completion of his education at the school in Brugg Fröhlich began college in Zurich in 1820 where he was taught by Johann Jakob Horner (1772-1831) and Johann Caspar von Orelli (1787-1849). Fröhlich participated regularly in the chorus rehearsals at the 'Singinstitut' in Zurich founded by Hans Georg Nägeli in 1805. Although Fröhlich was matriculated at the University of Basel in the Autumn of 1822 there is no evidence to suggest that he studied law there from 1822 until 1823. Similar endeavours in Berlin (1823-1824) are also deemed unfeasible due to his vigorous compositional activities (three sonatas for violin and piano and works for male choir). It became necessary for Fröhlich to return to Brugg in 1824 in order to recover from an illness. Dedications to Michael Traugott Pfeiffer (1771-1849) in Aarau suggest that he tutored Fröhlich in composition.
Fröhlich was able to pursue his musical training in Berlin towards the end of 1825 due to a scholarship awarded him by the canton of Aargau government, he settled there in April 1826 and remained for the following four years. Little is known about this second residency. For two years Carl Friedrich Zelter (1758-1832) and Bernhard Klein (1793-1832) shared the irregular instruction of Fröhlich in composition, compositional technique and counterpoint. It is probable that the tuition by Zelter was restricted to detailed evaluations of Fröhlich's work. It appears that his relationship with Klein was stronger than his relationship with Zelter. Fröhlich received instruction in piano from Ludwig Berger (1777-1839) however this was less fruitful and he learnt more from the compositions of Berger. Fröhlich was associated with the 'Jüngeren Liedertafel' which was founded by Berger. He also encountered Felix Mendelssohn Bartholdy on the Berlin music scene but criticized his work, especially his motets from 1827 and 1829. It is most likely that Fröhlich did not seek the anticipated support of Zelter and Mendelssohn due to their textural shortcomings. Fröhlich completed his studies in Berlin in 1828. The allegedly composed 'Missa I' published in the 'Schweizerischen Musikdenkmälern' (Volume 12) around this time has been recently exposed as a copy of the Mass from 1794 by Johann Gottlieb Naumann (1741-1801). From then on Fröhlich experienced an up and coming music scene in Berlin, for example with the encounter of old music due to the 'Sing-Akademie' conducted by Zelter. He was present at Mendelssohn's revival of Johann Sebastian Bach's St Mathew's Passion in March, 1829, in Berlin, a revival which seems to have impressed him tremendously. Fröhlich corresponded frequently with the German philologist Wilhelm Wackernagel (1806-1869) whom he befriended in Berlin. Wackernagel taught at the University of Basel from 1933 onwards. Fröhlich also had contact with the solicitor Johann Caspar Bluntschli (1808-1881). Towards the end of his stay in Berlin Fröhlich attempted to lay out a base upon which he could build a livelihood but with unsatisfactory results. He encountered difficulties in having his work published.
It is reputed that Fröhlich was to fill an appointment in the Spring of 1830 at the canton school in Aarau with the prospect of earning a good salary, however, there is no evidence to support this rumour. Fröhlich returned to Aarau on April 13, 1830, only then did Abraham Emanuel (1796-1865), a literature teacher at the canton school in Aarau from 1827-1835, and from 1836 the principal of this institution organise a position for his brother. Fröhlich expressed his pedagogical concept for the teaching of voice and choir in a letter to the executives of the school, a concept orientated on the achievements of Hans Georg Nägeli. On the sixth of October Fröhlich married Ida von Klitzing, a woman from Demerthin (Brandenburg), whom he met during his stay in Berlin. Moreover Fröhlich was hoping for a position at the secondary school in Aarau, a position which was not assigned to him until 1836. As the supervisor of the 'Singinstitut' and other ensembles he contributed substantially to the music scene of Aarau. Following 1835 Fröhlich's popularity as an orchestral conductor augmented, he presided over the 'Aargauer Orchesterverein' and performed Mozart's 'Requiem' and Beethoven's Symphony op. 21. However his situation in Switzerland was far from satisfactory, he was often tortured by financial problems. Family troubles increased due to an illegitimate child compelling Fröhlich to take his own life on October, 16, 1836.
Lukas Näf
Work list
Adagio
Instrumentation: for violin and flute
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Neuste Vierhändigkeit für ein liebes Weltkind
Instrumentation: for four-handed piano
1. Marcia
2. Trio
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Streichquartett, G-Dur
Instrumentation: for string quartet
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Schönbeinstrasse 18-20 CH-4056 Basel Schweiz
Triumphmarsch
Instrumentation: for four-handed piano
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Streichquartett, B-Dur
Instrumentation: for string quartet
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Streichquartett, c-Moll
Instrumentation: for string quartet
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Quintett, Es-Dur
Instrumentation: for piano, violin, viola and violoncello
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Du König, dem durch Welten
Sketch?
Instrumentation: for mixed choir and piano?
Manuscript
Heilig ist die Jugendzeit
Instrumentation: for mixed a-cappella choir
Texts: Uhland
Manuscript
Variationen (1819)
Instrumentation: for piano
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Sechs Walzer (1820)
Instrumentation: for piano
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Sonate (1820)
Instrumentation: for piano
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Veränderungen über ein Thema (1820)
Instrumentation: for piano
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Die Blumen schmücken das Feierkleid (1820)
Instrumentation: for mixed choir and piano
Manuscript
Sonate, d-Moll (1823)
Instrumentation: for violin and piano
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Nachtmusik (1823-1824)
Three nocturnes
Instrumentation: for violin and piano
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Sonate, D-Dur (1823)
Instrumentation: for violin and piano
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Sonate, A-Dur (1823)
Instrumentation: for violin and piano
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Vorwärts, an den Rand des Himmels (1823)
Instrumentation: for mixed a-cappella choir
Texts: Sarasin
Manuscript
Sonate, Es-Dur (1824)
Instrumentation: for violin and piano
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Divertimento (1824)
Instrumentation: for oboe and piano
1. Pastorale
2. Rondo
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Blumen und Blüten (1824)
Instrumentation: for mixed a-cappella choir
Texts: Uhland
Manuscript
Fantasie (1824)
Instrumentation: for piano
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Fürchte nicht mehr Sonnequal (1824)
Instrumentation: for soloists and choir
Texts: Shakespeare/Follen
Manuscript
Festkantate (1825)
Instrumentation: for mixed choir and piano?
Texts: A. E. Fröhlich
Manuscript
Hat das Begrabene (1825)
Instrumentation: for male choir and piano
Texts: Johann Wolfgang von Goethe
Manuscript
Wohlklang ist der Welten Tanz (1825)
Instrumentation: for mixed choir and piano
Manuscript
Der Herr wird uns (mich) erlösen (1825)
Motet
Instrumentation: for mixed a-cappella choir
Manuscript
Weihnachtskantate (1825)
Instrumentation: for mixed choir and piano
Manuscript
Mein Gott, ich trau auf dich (1825)
Choral
Instrumentation: for mixed a-cappella choir
Manuscript
Trio, B-Dur (1825)
Instrumentation: for violin, viola and violoncello
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Quartett, Es-Dur (1825)
Instrumentation: for piano, violin, viola and violoncello
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Mit Spezereien hatten wir ihn gepflegt (1825)
Instrumentation: for female choir and piano
Texts: Johann Wolfgang von Goethe
Manuscript
Christ ist erstanden (1825)
Instrumentation: for mixed a-cappella choir
Texts: Johann Wolfgang von Goethe
Manuscript
Fantasie (1825)
Instrumentation: for piano
Öffentliche Bibliothek der Universität Basel
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Christ ist erstanden (1825)
Instrumentation: for mixed choir and piano
Texts: Goethe
Manuscript
Streichquartett, g-Moll (1826-1828)
Instrumentation: for string quartet
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Komm heil'ger Geist (1826)
Instrumentation: for soli, choir and piano
Manuscript
Sonate, B-Dur (1826)
Instrumentation: for violin and piano
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Sonate, As-Dur (1826)
Instrumentation: for violin and piano
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Sonate, d-Moll (1826)
Instrumentation: for violin and piano
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Streichquartett, f-Moll (1826)
Instrumentation: for string quartet
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Der Liebe Nachtgesang (1827)
Instrumentation: for male choir and piano (for soli and choir?)
Texts: Müller
Manuscript
Streichquartett, E-Dur (1827-1828)
Instrumentation: for string quartet
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Incarnatus und Cricifixus (1827)
Instrumentation: for mixed a-cappella choir
Manuscript
Der 137. Psalm (1827)
"An Babels Strömen sassen wir"
Instrumentation: for soprano, mixed choir (SATB) and orchestra
Three movements without a finale, but with sketches of a finale.
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Incarnatus est und Crucifixus (1829)
Instrumentation: for mixed choir and organ
Manuscript
Agnus Dei (1829)
Instrumentation: for mixed a-cappella choir
Manuscript
Die schmerzensreiche Mutter (1829)
Stabat mater
Instrumentation: for mixed choir and organ
Manuscript
Herr, kehre dich doch wieder zu uns (1829)
Instrumentation: for mixed a-cappella choir
Manuscript
Wenn ich ihn nur habe (1829)
Instrumentation: for mixed a-cappella choir
Manuscript
Wohl dem Volk, das jauchzen kann (1829)
Instrumentation: for mixed a-cappella choir
Manuscript
Herr Gott, du bist unsere Zuflucht (1829)
Instrumentation: for mixed choir and piano
Manuscript
Die ewige Liebe, die gebar das Wort (1829)
Instrumentation: for mixed choir and piano
Manuscript
Alles Fleisch ist wie Gras (1829)
Instrumentation: for mixed choir and piano
Manuscript
Die Totenfeier (1829)
Kantata
Instrumentation: for soli, choir and orchestra
Manuscript
Missa Fintlateriana (1829)
Instrumentation: for choir and orchestra
Only the kyrie is set to music.
Manuscript
Sonate, F-Dur (1830)
Instrumentation: for violoncello and piano
Finale in f minor.
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Gnade sei mit euch (1830)
Instrumentation: for mixed a-cappella choir
Manuscript
Herr, erbarme dich meiner Trübsal (1830)
Instrumentation: for mixed a-cappella choir
Manuscript
Herr, wohin wollen wir gehen (1830)
Instrumentation: for mixed a-cappella choir
Manuscript
Wache auf, der du schläfst (1830)
Instrumentation: for mixed a-cappella choir
Manuscript
Miserere nobis (1830)
Instrumentation: for soli and twelve-part choir
Manuscript
Wer will die Auserwählte Gottes beschuldigen (1830)
Instrumentation: for mixed a-cappella choir
With piano accompaniment in parts.
Manuscript
Weihnachtskantate (1830)
Instrumentation: for soli and choir
Texts: A.E. Fröhlich
Manuscript
Wir alle, die wir mit aufgedecktem Angesicht (1830)
Instrumentation: for mixed a-cappella choir
Manuscript
Incarnatus und Crucifixus (1830)
Instrumentation: for choir, flute and strings
Manuscript
Wir woll'n unsdeiner trösten (1830)
Instrumentation: for mixed a-cappella choir
Texts: Abraham Emanuel Fröhlich
Manuscript
Choräle (1830)
Instrumentation: for mixed a-cappella choir
1. Alle Menschen müssen sterben
2. Auferstehn wirst du
3. Grosser Gott, der alles
4. In Christus ist mein Leben
5. Morgenglanz der Ewigkeit
6. Wer ist wohl wie du
7. Wie soll ich dich empfangen
Without text.
Manuscript
Raste nun im Totenschlummer (1830)
Instrumentation: for female choir and piano with solo soprano
Texts: Follen
Manuscript
Auf der Erde ist es schwül (1830)
Instrumentation: for female choir and piano
Texts: Arnim
Manuscript
Es ist in keinem andern Heil (1831)
Instrumentation: for mixed a-cappella choir
Manuscript
Das frisch erlaubende Grün (1831)
Instrumentation: for mixed a-cappella choir
Texts: ?
Manuscript
Aufforderung zum Tanz (1831-1832)
Instrumentation: for piano
Öffentliche Bibliothek der Universität Basel
Schönbeinstrasse 18-20 CH-4056 Basel Schweiz
Freuet euch (1831)
Instrumentation: for mixed a-cappella choir
Manuscript
Der Mond ist aufgegangen (1831)
Instrumentation: for mixed a-cappella choir
Texts: Claudius
Manuscript
Trois fugues, op. 12 (1831-1832)
Instrumentation: for four-handed piano
Öffentliche Bibliothek der Universität Basel
Schönbeinstrasse 18-20 CH-4056 Basel Schweiz
Des Menschen Seele gleicht dem Wasser (1831)
Instrumentation: for mixed choir and piano
Texts: Goethe
Manuscript
Fürchte dich nicht (1831)
Instrumentation: for mixed a-cappella choir
Manuscript
Der Sommer hat verstürmet (1831)
Instrumentation: for mixed a-cappella choir
Texts: Abraham Emanuel Fröhlich
Manuscript
Tiefe Stille herrscht im Wasser (1831)
Instrumentation: for mixed choir and piano
Texts: Goethe
Manuscript
Gott ist die Liebe (1831)
Instrumentation: for mixed a-cappella choir
Manuscript
Die Erde glänzt (1831)
Instrumentation: for mixed a-cappella choir
Texts: Abraham Emanuel Fröhlich
Manuscript
Niemand ist gut als der alleinige Gott (1831)
Instrumentation: for mixed a-cappella choir
Manuscript
Die linden Lüfte (1831)
Instrumentation: for mixed a-cappella choir
Texts: Uhland
Manuscript
Siehe, das ist Gottes Lamm (1831)
Instrumentation: for mixed a-cappella choir
Manuscript
Einen Zug, einen Flug (1831)
Instrumentation: for mixed a-cappella choir
Texts: Abraham Emanuel Fröhlich
Manuscript
Im stillen, heitren Glanz (1831)
Instrumentation: for mixed a-cappella choir
Texts: Rudolphi
Manuscript
In einem Rosengarten steht der Leichenstein (1831)
Instrumentation: for mixed a-cappella choir
Texts: Abraham Emanuel Fröhlich
Manuscript
Mitten im Schimmer der spiegelnden Wellen (1831)
Instrumentation: for mixed a-cappella choir bass solo
Texts: Stolberg
Manuscript
O weh dir, Blumenheide (1831)
Instrumentation: for mixed a-cappella choir
Texts: Abraham Emanuel Fröhlich
Manuscript
Einiger und Drei in Einigkeit (1831)
Instrumentation: for soli and choir
Texts: Herder
Manuscript
Passionskantate (1831)
Instrumentation: for soli, choir and orchestra
Manuscript
O sanctissima (1831)
Instrumentation: for mixed a-cappella choir
Manuscript
Wie mächtig Sterngeflimmer (1831)
Instrumentation: for mixed a-cappella choir
Manuscript
Aus seinem Wirtshaus (1831)
Instrumentation: for mixed a-cappella choir
Texts: Abraham Emanuel Fröhlich
Manuscript
Notturno (1831)
Canon
Instrumentation: for three violins
Öffentliche Bibliothek der Universität Basel
Schönbeinstrasse 18-20 CH-4056 Basel Schweiz
Einen Zug, einen Flug (1831)
Instrumentation: for mixed a-cappella choir
Texts: Abraham Emanuel Fröhlich
Manuscript
Blauender Himmel (1831)
Instrumentation: for mixed a-cappella choir
Texts: Abraham Emanuel Fröhlich
Manuscript
Sonate, A-Dur (1831)
Instrumentation: for piano
Dedicated to Franz Xaver Schnyder von Wartensee.
Öffentliche Bibliothek der Universität Basel
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Fantasia (1832)
Instrumentation: for violin and piano
1. Andante
2. Menuett
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Streichquartett, c-Moll (1832)
Instrumentation: for string quartet
Öffentliche Bibliothek der Universität Basel
Schönbeinstrasse 18-20 CH-4056 Basel Schweiz
Unser Vater (1832)
Cantata
Instrumentation: for mixed a-cappella choir and soloists [?]
Manuscript
Ouvertüre, B-Dur (1832)
Instrumentation: for large orchestra
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Drei Stücke (1833)
Instrumentation: for piano
1. Barcarole
2. Elegie
3. Scherzo
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Ouvertüre, Es-Dur (1833)
Instrumentation: for four-handed piano
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Bliebe doch dies Frühlingswetter (1833)
Instrumentation: for mixed choir and piano
Texts: A. E. Fröhlich
Manuscript
Sechs Elegien, op. 15 (1833)
Instrumentation: for piano
Öffentliche Bibliothek der Universität Basel
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Schlaget nun die Bücher zu (1833)
Instrumentation: for mixed choir and piano
Texts: A.E. Fröhlich
Manuscript
Was hat euch gesellet (1833)
Instrumentation: for mixed a-cappella choir
Texts: Abraham Emanuel Fröhlich
Manuscript
Was ist's, das dir in Welt und Zeit (1833)
Instrumentation: for mixed a-cappella choir and piano
Texts: Mayer
Manuscript
Quintett, Es-Dur (1833)
Instrumentation: for piano, two violoncelli and two horns
1. Adagio
2. Rondo
Öffentliche Bibliothek der Universität Basel
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Ouvertüre, Es-Dur (1833)
Instrumentation: for large orchestra (2.2.2.2/1.2.0.0/timp/str)
Öffentliche Bibliothek der Universität Basel
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Gott gebe mir eine gute Nacht (1834)
Instrumentation: for mixed choir and piano
Texts: Friedrich Rückert
Manuscript
Leute gibt es, welche klagen (1834)
Instrumentation: for mixed choir and piano
Texts: Friedrich Rückert
Manuscript
Sei hochbeseligt oder leide (1834)
Cantata
Instrumentation: for soli and choir
Texts: Friedrich Rückert
Manuscript
Sie dreh'n sich und drängen (1834)
Instrumentation: for mixed choir and piano
Manuscript
Jesus der Kinderfreund (1834)
Cantata
Instrumentation: for soli, choir and orchestra
Manuscript
Quartett, d-Moll (1835)
Instrumentation: for piano, violin, viola and violoncello
Öffentliche Bibliothek der Universität Basel
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Gross und wunderbar sind deine Werke (1835)
Instrumentation: for mixed a-cappella choir
Manuscript
Wir sind getrost (1835)
Instrumentation: for mixed a-cappella choir
Manuscript
Missa brevis (1835)
Instrumentation: for soli, choir and orchestra
Manuscript
Ouvertüre zu Passionsmusiken, f-Moll (1835)
Instrumentation: for orchestra
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Der erste Psalm (1836)
Instrumentation: for soli, choir and orchestra
Manuscript
Domine Jesu Christe (1836)
Instrumentation: for eight-part choir and intrumentalensemble (2ob, 2bn, 2tpt, 3tbn)
Manuscript
Walzer, A-Dur (1836)
Instrumentation: for fl, ob, 2cl, 2bn, 2hn, 2tbn
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Choräle im Aargauer Gesangbuch (1844)
Instrumentation: for mixed a-cappella choir
1. Alle Menschen müssen sterben
2. Einem Herrn nur sollt ihr dienen
3. Meinen Jesum lass ich nicht
4. Wach auf, du Geist der ersten Zeugen
5. Warum sollt ich mich denn grämen
6. Wenn ich ihn nur habe
7. Wir schwören heute auf's neue
Manuscript
Discography
Friedrich Theodor Fröhlich: Meserere, Motetten (Musiques Suisses Nr. 6248, 2006)