variety inside a single piece. Froberger's canzonas and capriccios are similarly conservative in terms of technique, and they too are essentially the same even though Frescobaldi distinguished between the genres. Froberger follows Frescobaldi's example in constructing these pieces as variation sets in several sections (usually three in canzonas and any number – as many as six – in capriccios). The subjects are always faster, much more lively that those of ricercares and fantasias. A characteristic feature is the economy of themes: the episodes, which are somewhat rare, are almost invariably based on the material from the subject, somewhat like those in JS Bach's work some 60–70 years later. The counterpoint and harmony are very similar to the ricercares and fantasias; however, occasionally scale degrees other than 1 and 5 are used. Other works The only surviving non-keyboard works by Froberger are two motets, Alleluia! Absorpta es mors and Apparuerunt apostolis. They are found in the so-called Düben collection, compiled by Gustaf Düben, a famous Swedish collector and composer. The manuscript is kept in the Uppsala University library. These motets are quite similar in style: both are scored for a three-voice (STB) choir, two violins and organ (which is given a single melodic line, not polyphony, as was common in Italian motets of the time), and cast in the early 17th century Venetian stile concertante, in marked contrast with Froberger's preference for older techniques in his polyphonic keyboard works. Another connection to contemporary practice is that the small ensemble is almost identical to one used by Heinrich Schütz in the second volume of Symphoniae sacrae published in 1647. Posthumous influence Although only two of Froberger's works were published during his lifetime, his music was widely spread in Europe in hand-written copies, and he was one of the most famous composers of the era (although he studied in Italy and obviously had friends and former mentors there, no Italian sources of his music were found). Because of his travels and his ability to absorb various national styles and incorporate them into his music, Froberger, along with other cosmopolitan composers such as Johann Kaspar Kerll and Georg Muffat, contributed greatly to the exchange of musical traditions in Europe. Finally, he was among the first major keyboard composers in history and the first to focus equally on both harpsichord/clavichord and organ. Froberger's compositions were known to and studied by, among many others, Johann Pachelbel,