|
Gottlieb Muffat (April 1690 – 9 December 1770), son of Georg Muffat, served as ''Hofscholar'' under Johann Fux in Vienna from 1711 and was appointed to the position of third court organist at the ''Hofkapelle'' in 1717. He acquired additional duties over time including the instruction of members of the Imperial family, among them the future Empress Maria Theresa. He was promoted to second organist in 1729 and first organist upon the accession of Maria Theresa to the throne in 1741. He retired from official duties at the court in 1763.〔Wollenberg, Susan. "Muffat, Gottlieb Theophil" in ''Grove Music Online'' accessed 11/15/2013〕 ==Compositions== Muffat's compositional output is primarily limited to keyboard music. He shows considerable skill as a contrapuntist in the short liturgical fugues published in his first collection ''72 Versetl sammt 12 Toccaten'' (Vienna, 1726). These pieces reflect a conservative approach to liturgical music in that they are organized in the order of the church tones with an introductory toccata and a regular number of versets for each tone.〔Wollenberg, Susan. "Muffat, Gottlieb Theophil" in ''Grove Music Online'' accessed 11/15/2013〕 His second publication, ''Componimenti musicali per il cembalo'' (Augsburg, ca. 1736), is more progressive in its outlook. This collection of six suites, while maintaining the traditional Allemande, Courante and Saraband format, is more lavishly ornamented than was characteristic of Austro-German music of that era. Some of the movements are even given fanciful French titles like ''La Coquette'' or ''L'aimable Esprit'' as were popular among the ''clavecinistes''. Short, simple phrases and clear motives characterize the pieces in this set. It should be noted that the preface to this work contains an ornamentation table with symbols and performance instructions for 57 ornaments.〔Wollenberg, Susan. "The Keyboard Suites of Gottlieb Muffat." ''Proceedings of the Royal Musical Association'', Volume 102, 1975. 83-91〕 The most recent modern edition was done by the late Christopher Hogwood in (2009 ). Much of Muffat's output remains unpublished, though it nonetheless contains much music of great interest. His manuscript containing 32 ricercare and 19 canzonas is remarkable in that it is the largest body of work from his era based on 17th century models. Like all pupils of Fux, Muffat would have studied the music of Frescobaldi and Froberger during his years of apprenticeship. In the ricercare, Muffat shows himself to be a master of the ''stile antico''. Following the usage of the early Baroque, the contrapuntal ricercare are notated in open score and preserve the sense of modality and sectional structure of the Italian masters. The canzonas are modeled on the 16th century vocal motet and are livelier and more idiomatically instrumental in style.〔Wollenberg, Susan "Muffat, Gottlieb Theophil". ''Grove Music Online''. accessed 11/15/2013.〕 Also still in manuscript are the ''24 Toccatas and Capriccios''. a pairing which seems to be unique to Muffat. Two styles of toccatas appear in this collection: one type features a florid melodic line over a supporting chordal structure and the second type utilizes a sectional form that juxtaposes contrasting tempi, meters and textures. The capriccios represent a variety of styles including prelude, invention, and dance forms. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Gottlieb Muffat」の詳細全文を読む スポンサード リンク
|