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The Keyboard Suites of Gottlieb Muffat (1690–1770)
Published online by Cambridge University Press: 01 January 1975
Extract
Among the main reasons for drawing attention to the work of a relatively obscure and neglected composer must be that his music is sufficiently attractive in style and skilful in construction to merit recognition, and that a study of it will add to our understanding of that particular period or form of music. Viennese music from approximately 1660 to 1740 has been relatively neglected outside German-speaking countries, especially when compared with the vast amount of scholarly interest and effort lavished on the adjoining period, 1740 to 1790. Historians of the music of the early 18th century have naturally tended to concentrate on the larger works—oratorios, operas and masses—and on the most impressive figures in the Viennese court establishment, such as Fux and Caldara.
- Type
- Eleventh Annual Conference
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- Copyright © 1979 The Royal Musical Association and the Authors
References
1 For a detailed analysis of Muffat's strict contrapuntal style and its sources, see Wollenborg, Susan, Viennese Keyboard Music in the Reign of Karl VI (unpublished dissertation, University of Oxford, 1975), 1, 67ff.Google Scholar
2 Catalogue in Friedrich W Riedel, Das Musikarchiv im Minoritenkonvent zu Wien, Catalogus musicus, i (Kassel, 1963)Google Scholar
3 Muffat's system is far more detailed and exact than that of his seventeenth-century Viennese predecessors in its use of symbols expressing a range of ornaments and their variants His printed works provide explanatory tables of ornament signs, showing the mingled influences of such composers as Georg Muffat, d'Anglebert and Couperin. The system embodied in these published tables is applied in most of the manuscript sources of Muffat's suites.Google Scholar
4 See Knoll, HeinrichJohann, Die Klavier- und Orgelwerke Theophil Muffats (unpublished dissertation, University of Vienna, 1916); Samuel T Morris, Gottlieb Muffat's Clavier Suites (unpublished dissertation, University of Boston, Massachusetts, 1959).Google Scholar
5 Knoll, op. cit., 31 ff.Google Scholar
6 Friedrich W Riedel, Quellenkundliche Beitrãge zur Geschichte der Musik fur Tasteninstrumente (Kassel, 1959), ‘Muffat’, Die Musik in Geschichte und Gegenwart, ix (Kassel, 1969), cols. 919 24Google Scholar
7 See for example Lothar Hoffmann-Erbrecht, Deutsche und italienische Klaviermusik zur Bachzeit, Jenaer Beitrage zur Musikforschung, i (Leipzig, 1954)Google Scholar
8 Op. cit., 74.Google Scholar
9 I use the abbreviations A = allemande, C = courante, S = sarabande, O = optional dances, G - gigue.Google Scholar
10 Op cit, 50Google Scholar
11 Werke fur Tastemnitrumente, J J. Fux Samtliche Werke, vi/1, ed Friedrich W. Riedel (Kassel, 1964)Google Scholar
12 Johann Adolf Scheibe, Der crιtιche Musicus (2/Leipzig, 1745, reprinted Hildesheim, 1970), 762Google Scholar