Roberto Loreggian - Muffat: 12 Suites - COMPACT DISCS [CD]
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Son of the better-known Georg Muffat, Gottlieb was also hawked around the courts of Europe by his father as a boy wonder of music, anticipating the course of Mozart's early years under the self-interested care of Leopold. However, when at home, Gottlieb Muffat grew up in Vienna under the careful tutelage of Johann Joseph Fux, master of music at the Hofkapelle, a relationship which deepened once Georg died in 1704, when Gottlieb was just 14 years old.In due course Fux pulled strings to get his talented pupil an official post, and this album of keyboard partitas offers ample proof that his faith in Gottlieb Muffat was justified. Their date is uncertain during his lifetime, only two collections of his music were published, and after 1739 he seems to have broken off composition, focusing his energies on performing and teaching at the Hofkapelle.Listeners familiar with the keyboard partitas by JS Bach will find a certain degree of common ground in the elegant sequence of French-style dances which are headed by a more exploratory Prelude. Muffat's counterpoint may not be so rigorous, but his ear for a well-turned melody offers satisfying reward in it's own right. The use of French, English and even Spanish titles to individual movements underlines the imaginative and fanciful qualities of the collection see for example Postillon in the Suite in F major; Coquette in the Suite in A major; a Hornpipe in the Suite in D minor and the Intrada to the Suite in F.As well as enthusiastically received albums of Pasquini, Gabrieli, Vivaldi and above all Frescobaldi, Roberto Loreggian has previously recorded the 1739 collection of Componimenti Musicali to which this new recording forms a sequel. Of his collection of Partitas by Telemann, Fanfare commented 'Without seeming driven, his playing is lively and well-articulated, and he is always sensitive to Telemann's stylistic variety, w
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- GenreClassicalDescriptionSon of the better-known Georg Muffat, Gottlieb was also hawked around the courts of Europe by his father as a boy wonder of music, anticipating the course of Mozart's early years under the self-interested care of Leopold. However, when at home, Gottlieb Muffat grew up in Vienna under the careful tutelage of Johann Joseph Fux, master of music at the Hofkapelle, a relationship which deepened once Georg died in 1704, when Gottlieb was just 14 years old.In due course Fux pulled strings to get his talented pupil an official post, and this album of keyboard partitas offers ample proof that his faith in Gottlieb Muffat was justified. Their date is uncertain during his lifetime, only two collections of his music were published, and after 1739 he seems to have broken off composition, focusing his energies on performing and teaching at the Hofkapelle.Listeners familiar with the keyboard partitas by JS Bach will find a certain degree of common ground in the elegant sequence of French-style dances which are headed by a more exploratory Prelude. Muffat's counterpoint may not be so rigorous, but his ear for a well-turned melody offers satisfying reward in it's own right. The use of French, English and even Spanish titles to individual movements underlines the imaginative and fanciful qualities of the collection see for example Postillon in the Suite in F major; Coquette in the Suite in A major; a Hornpipe in the Suite in D minor and the Intrada to the Suite in F.As well as enthusiastically received albums of Pasquini, Gabrieli, Vivaldi and above all Frescobaldi, Roberto Loreggian has previously recorded the 1739 collection of Componimenti Musicali to which this new recording forms a sequel. Of his collection of Partitas by Telemann, Fanfare commented 'Without seeming driven, his playing is lively and well-articulated, and he is always sensitive to Telemann's stylistic variety, wArtistRoberto LoreggianTitleMuffat: 12 SuitesFormatCDLabelBrilliant Classics
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Roberto Loreggian - Secondo Libro Di Toccate 5 [COMPACT DISCS] date 02/09/2010
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Gottlieb Muffat's oeuvre, dedicated almost in it's entirety to keyboard instruments and skilfully straddling the stile antico and stile moderno, deserves more detailed attention than it has ever been afforded. The majority of sources containing music by Muffat are unpublished, with only two collections published at the composer's own behest during his years in the Emperor's service in Vienna. One of these is the Componimenti Musicali per il Cembalo (Augsburg, 1739). This collection contains 6 Suites and a Ciacona with 38 variations for solo harpsichord. The composer describes these seven works as capricci or galanterie to be performed in the stile moderno and to suit modern tastes. Although arranged in the conventional order of Allemande-Courante-Sarabande-Gigue, Muffat also added various optional dances, displaying no shortage of innovation. The first movements are introductory in nature, often fugal in form and varying in style and pace Ouverture (Suites 1 and 5), Prelude (Suite 2) and Fantaisie (Suites 3, 4 and 6). The seventh piece in the collection, the Ciacona con 38 Variazioni, is a special case. As Christopher Hogwood suggests in his introduction to the modern edition (Orpheus, 2009), the Ciacona could be another tribute to the imperial family, as the number of variations matches the age Charles VI's niece, Maria Amalia, would have been on 22 October 1739. Muffat's interest in contemporary harpsichord composition is most clearly evident in his transcription and reinterpretation of works by George Frideric Handel, based on a manuscript copy of the Suites des pièces pour le clavecin he held in his library. Muffat reworked the suites in Handel's collection, suggesting new ornamentation, distributing the notes differently between the hands, changing the clefs and sometimes note values, and adding slurs and cadenzas. He then applied everything he had observed whil
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