Georg Muffat

Georg Muffat ( born June 1, 1653 Megève ( Savoy), † February 23, 1704 in Passau) was a composer and organist of the Baroque.

Life

Georg Muffat was born as the son of Andreas Muffat and Margarita Orsy. The paternal ancestors came from the Scottish place Moffat, maternal probably from France. Muffat referred to himself as German. Muffat received his groundbreaking musical education from 1663 to 1669 in Paris; However, a student body with Jean -Baptiste Lully is not assignable. He lived for several years in Alsace, first as a student at the Jesuit College in Schlettstadt (now Sélestat ) and from 1671 in Molsheim, where he was appointed organist of the acting here in exile in Strasbourg cathedral chapter. From 1674, he studied law in Ingolstadt and was then down in Vienna.

Since he could not find a permanent job, he went in 1677 to Prague and from there in 1678 to Salzburg, where he finally beside Heinrich Ignaz Franz Biber was hired as organist and valet at Archbishop Max Gandolph Count of Kuenburg. The latter gave him in 1680 a longer stay in Italy to study organ with Bernardo Pasquini, who stood in the tradition of Girolamo Frescobaldi. He arrived in Rome together with Arcangelo Corelli, whose work he greatly admired. Under this impression he composed his first Concerti Grossi, who came in the " House of the Lord Corelli " to the performance. Shortly after his return he published the " Armonico Tributo " that could be listed according to the preface both as a concerto grosso or without middle voices, as a trio sonatas.

After the death of his employer Muffat joined in 1690 at the court of the Bishop Johann Philipp von Lamberg to Passau Kapellmeister and steward the precious boy. Muffat's nine sons were musicians, the most famous among them is Gottlieb Muffat.

Muffat was a musical cosmopolitan who played an important role in the exchange of European music traditions such as Johann Jakob Froberger before him and after him, George Frideric Handel. He was the only composer who was personally closely connected with both Lully and Corelli with both symbolic figures of French opera or the Italian instrumental music.

Muffat wrote music in either Italian or French style. Since the few musicians of his time were familiar with both styles, he added his works explanation of each performance practice with. These are still useful in the interpretation of works from this period.

Work

Instrumental

  • Sonata Violino Solo for Violin and B.C. (Prague, 1677);
  • Sonatas for Strings and B. C. Armonico Tributo (Salzburg 1682);
  • 7 suites for several instruments Florilegium Primum ( 1695 Augsburg);
  • 8 Suites for several instruments Florilegium Secundum ( 1698 Passau) Fasciculus I: Nobilis juventus: I Overture II Entrée d' Espagnols, III Air pour the Hollandois, IV Gigue pour the Anglois, V Gavotte pour des Italiens, VI Menuet I pour des Francois, VII Minuet II
  • Fasciculus II: Laeta poesis: Overture, Les Poetes II, III Jeunes Espagnols, IV Autre pour les mêmes, V Les Cuisiniers, VI Les Hachi, VII Les Marmitons
  • Fasciculus III: Illustres primitiae: I Ouverture; Gaillarde II, III Courante, Sarabande IV, V Gavotte, VI Passacaille, Bourée VII, VIII Menuet, IX Gique
  • Fasciculus IV: Splendidae nuptiae: I Overture II Les Paisans, Canaries III, IV Les Cavalliers, V Menuet I, VI rigaudon pour des Jeunes Paisannes Poitevines, VII Menuet II

Operas

  • Marina Armena ( 1679 Salzburg, Academy Theatre )
  • Queen Marianne or slandered innocence ( September 1680 ibid.)
  • Le fatali felicità di plutons ( 1687 Salzburg, to the inauguration of JE Graf von Thun as Prince Archbishop )

Writings

  • The basso continuo treatise Regulae Concentuum Partiturae 1699th
  • " Necessaries comments bey of music" (Leipzig, 1763 lost)

Notes and References

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