Готлиб Муффат (1690 - 1770). Родился в Пассау, умер в Вене. Учился у отца (Георг Муффат) и И. Фукса. Писал, в основном, для клавишных инструментов.
Более подробная биография - в словаре Гроува.
На мой вкус, музыка его отца Георга (особенно органная) более интересна.
австрийский композитор. Сын Георга Муффата. С 1714 г. аккомпаниатор, в 1721-1763 гг. придворный органист в Вене. Сюиты для его клавира следуют французским образцам при специфически австрийских чертах мелодики. Ему принадлежат токкаты для органа и трио-сонаты.
Анекдот, я ничего не знаю о Готлибе Муффате, но у меня лежит на столе книжица его органных версетов 1726 года))) А еще запомнилась одна пикантная ситуация, с ним связанная, - на истории органного искусства читали Георга Муффата..поставили образец - какая-то органная токката...лишь пара студентов, - я и моя подружка - опознали в предложенном отрывке токкату Муффата, но отнюдь не Георга, а Готлиба!! Немудрено, - диск был скопирован вручную, и полное имя композитора отсутствовало, были лишь инициалы...
австрийский композитор. Сын Георга Муффата. С 1714 г. аккомпаниатор, в 1721-1763 гг. придворный органист в Вене. Сюиты для его клавира следуют французским образцам при специфически австрийских чертах мелодики. Ему принадлежат токкаты для органа и трио-сонаты.
А есть ли у кого нибудь ноты его трио-сонат???
Могу заплатить.
Анекдот, я ничего не знаю о Готлибе Муффате, но у меня лежит на столе книжица его органных версетов 1726 года))) А еще запомнилась одна пикантная ситуация, с ним связанная, - на истории органного искусства читали Георга Муффата..поставили образец - какая-то органная токката...лишь пара студентов, - я и моя подружка - опознали в предложенном отрывке токкату Муффата, но отнюдь не Георга, а Готлиба!! Немудрено, - диск был скопирован вручную, и полное имя композитора отсутствовало, были лишь инициалы...
У меня тоже был один интересный случай.
Слушал диск, с одним органистом (не помню имя)
Играл он Букстехуде, Сната-Марию, что-то еще...
Но первым треком была прелюдия и фуга Фж. Фрескобальди, она мне больше всего и понравилась, особенно фуга!
Но каково было моё удивление, когда я узнал, что автор фуги не Фрескобальди, а Готлиб Муффат.
И, вообще, узнал, что некоторые его (Муффата) произведения присваивали другим авторам, например Генделю.
Всё, что слушал, играл, смотрел - здорово.
Пожалуйста, помогите.
Биография, ноты, записи, короче, все, что есть о нем.
Muffat, Gottlieb [Theophil]
(b Passau, bap. 25 April 1690; d Vienna, 9 Dec 1770). German composer and organist, son of Georg Muffat. He was the leading keyboard composer in Vienna in the early 18th century.
SUSAN WOLLENBERG
1. Life.
Muffat led a more stable existence than his father, entering the musical establishment at the Viennese court early in his career and remaining there for over half a century. It may be assumed that as a child he was taught by his father. He probably did not leave Passau before 1704, the year of his father's death. The first report of his presence in Vienna dates from 1711, when he became Hofscholar under the supervision of J.J. Fux (some sources incorrectly give the date as 1706). The education of scholars at the imperial court included performance on the organ and other instruments, continuo playing, singing and counterpoint. Muffat was appointed official court organist in 1717: he was required to play for services in the Hofkapelle and to provide continuo accompaniment for performances of operas. At this time he received a grant for a period of study abroad, but there is no record of the exact date or place of his visit. Subsequently he acquired additional duties at court, including the tuition of various children of the imperial family, among them the future Empress Maria Theresa. On the strength of his devoted service Fux recommended him for a rise in salary in 1723, the year in which he assisted at the famous ceremonial performance of Fux's opera Costanza e fortezza in Prague. Three years later, in the preface to his first publication, the 72 Versetl sammt 12 Toccaten, he acknowledged his great debt to Fux (‘without flattery the best master in the world’). In 1729 he was promoted to second organist. After the death of the Emperor Karl VI in 1740 and with the accession of Maria Theresa, the resources of the Hofkapelle were reorganized, bringing Muffat his final promotion to first organist in 1741. He seems to have written no more music after this. A projected sequel to his second publication, the Componimenti musicali (c1739), never materialized, and all later 18th-century sources of his works are copies of pieces in earlier manuscripts. He was pensioned off in 1763 (some sources have 1764).
2. Works.
Unlike his versatile father, Muffat chose to restrict himself almost exclusively to one field, that of keyboard music. He came at the end of a long line of Baroque organists and keyboard composers working in Vienna and was the only contemporary of Bach there to make a substantial contribution to the keyboard repertory in both quantity and quality. Much of his music remained unpublished and is still not generally known: it covers a wider range of forms than the two published collections alone would suggest. Although he lived until 1770, he belongs musically to the late Baroque period rather than to the age of Haydn; his keyboard works never desert traditional Baroque structures (toccata, complete fugue, dance suite, ciaccona). Muffat's conservatism is most evident in his fugues. His reputation as a contrapuntist rests primarily on the short liturgical fugues of the 72 Versetl, whose survival was aided by the issue of new editions from c1800 and by the incorporation of extracts into fugal treatises (e.g. Marpurg's of 1753–4). However, the versets are overshadowed by the archaic grandeur of the unpublished ricercares. These form the largest single collection of such pieces composed in the early 18th century. They are unusual for their time in having no introductory toccatas or preludes: in this they resemble Bach's Die Kunst der Fuge and like that work are notated in open score, following earlier Baroque usage for strict contrapuntal keyboard pieces. Fux's pupils owned printed editions and personal manuscript copies of ricercares by 17th-century composers such as Frescobaldi, G.B. Fasolo, Froberger, Battiferri, Fabrizio Fontana and Poglietti. Muffat's own ricercares show that he was familiar with these models: their fluid continuity is quite different from the stiff, artificial rhythmic style of Fux's ‘species’ in the Gradus ad Parnassum (1725) and is much closer to the true spirit of stile antico than to Fux's artefact. Among individual elements showing the influence of the older ricercare are the strong modal flavour, especially in Phrygian pieces such as no.4 (see ); some angular chromatic subjects recalling the Recercar cromaticho in Frescobaldi's Fiori musicali; and the use of sectional structures. The ricercares observe the traditional differentiation in character from the 19 canzonas appended to them in being stylistically related to the 16th-century vocal motet, while the canzonas are in a livelier, more idiomatically instrumental style. Several of the canzonas are sectional in form also, most notably no.11. This is a true variation canzona whose rhythmic transformation of a theme throughout successive sections (including a gigue-like version) follows a favourite 17th-century practice. In his comprehensive approach to the canzona Muffat ‘stands alone in his time’ (Wilson). Muffat's versets, like his ricercares, belong to a well-established tradition. His chief predecessors in this field were Kerll (Modulatio organica, 1686), the anonymous author of the Kurtzer, jedoch gründlicher Wegweiser (Augsburg, 1689) – an organ tutor containing versets for practice – Speth (Ars magna, 1693) and Murschhauser (Octi-tonium, 1696). These publications were all familiar to Viennese organists in the early 18th century. Muffat used the same kind of external structure as they did, arranging his pieces according to the order of the church tones, with a short introductory toccata and a regular number of versets in each tone. He followed their internal structure also in the miniature fugal form of his versets. Like Murschhauser he left the function of the versets open and avoided reference to chant, so they are not restricted to one part of the liturgy. The elimination of chant is one aspect of a general process of secularization of style culminating with Muffat: more than his predecessors, he used strongly secular, even rustic, subjects (often in dance rhythms). He also applied a wide range of ornamentation symbols and provided an explanatory table similar to the one in the Componimenti. Although French composers were using copious ornamentation and secular dance styles in liturgical organ music from at least the mid-17th century, Muffat was the first among Austro-German composers to absorb these trends fully into the traditional verset. Apart from the 72 Versetl his liturgical organ music includes some mass movements and a series of 12 short preludes in various keys, all cadencing on a preparatory E major chord. Muffat's chief contribution to the organ prelude (under various titles) is preserved in a Viennese manuscript notated in so-called Italian organ tablature with two staves respectively of six and eight lines, again in accordance with earlier Baroque notation for such works. Among the pieces are 24 large-scale toccatas in the order of the church tones, each followed by a capriccio in the same tone: Muffat seems to have invented this particular pairing. The system of church tones was apparently ingrained in his musical thinking, for he used it not only for the versets and toccatas but also for the first eight ricercares. His toccatas are of two main types: the first is a unified form like an extended intonazione, consisting of florid runs above or beneath chords, sometimes with imitation between the hands. The virtuoso element here is confined to the manuals: like most South German composers, Muffat made very little independent use of the pedals. A second type of toccata is modelled more on Georg Muffat's Apparatus (1690), using a sectional design with contrasts in tempo, time signature and texture. The varied styles of individual sections encompass those of the French overture (no.11) and the Italian trio sonata (no.10), further indicating the influence of his father's toccatas. With the capriccios one title is applied to a wider range of works than in the case of the toccatas: improvisatory preludes, invention-like pieces in free contrapuntal style, more directly tuneful ones such as the expressive Capriccio desperato (r165), some in the style of a dance, and others based on special devices (recalling Frescobaldi) such as no.12 (r159), which exploits syncopation. Some of the shorter improvisatory capriccios and toccatinas from the same manuscript reappear in other manuscripts as preludes to suites. A feature they share is the grandiose succession of arpeggiated chords at the opening: Muffat provided a prelude in similar style for Fux's Partita in A minor, and Fux's own ‘harpeggio’ and capriccio preludes are examples of this Viennese speciality. Muffat's suites invariably have some kind of introductory movement: his use of the French overture or prelude-and-fugue form suggests the influence of Fux and of Handel (1720 set of suites). There are manuscript copies in Muffat's hand of suites by both these composers: to Handel's he added ornamentation symbols, sometimes to pieces which were totally unornamented in the original. His own suites similarly use lavish ornamentation, clearly under French influence. In addition to Handel and Fux, François Couperin is an important model for the form and style of his suites. Following both Couperin and Fux he kept vestiges of the traditional order of dances and added extras (usually towards the end) such as the menuet and rigaudon, two favourite dances with Fux, or character-pieces with Couperinesque titles such as La plainte d'une ame abandonnée or La coquette. He also used free pieces entitled ‘Finale’ to replace the gigue at the end of four of his suites: these are modern in style, with short, simple phrases and instant repetition of motifs. Some of his most attractive and up-to-date music is contained in the suites: while his ricercares belong to the traditional Italian side of Viennese keyboard music, his suites belong to the progressive French side. Among features worthy of special mention are Muffat's frequent use of the French petite reprise; the advanced nature of his binary designs, with second halves often at least twice as long as the first and perhaps encompassing a final return to the original material in the tonic; his free treatment of key, allowing excursions into the relative minor or major or into the tonic minor for slow movements (saraband and air) and trios to minuets; and his successful combination of galant traits in melody, rhythm and texture, with a thorough mastery of counterpoint (as one would expect of a pupil of Fux). Although Muffat's keyboard music would seem to be more limited in scope than the total output of his father, there are signs of the same eclectic approach – for example in the fact that he was equally at home in the thoroughly old-fashioned form of the ricercare and in the forward-looking 2/4 or 3/8 galant suite finales; he also inherited his father's concern for precision in both notation and performing practice. The sources and survival of Muffat's works present some special problems and points of interest. The lack of extant autographs and the ambiguous methods of ascription in some of the extant manuscript copies create some insoluble problems of authentication. It is also impossible to establish a precise chronology, as so few of these copies are dated: moreover, Muffat is not a composer whose work seems to reveal any clear chronological development on internal evidence alone. The circulation of some of his pieces in manuscript copies during the 18th century was quite widespread, a notable example being canzona no.7 (r250): in the early 19th century it was ascribed to Frescobaldi (together with two of his other canzonas, r251 and 254) in Clementi's Selection of Practical Harmony, and this false attribution gained general credence among subsequent editors of keyboard anthologies (e.g. AMI, iii). Some of the music of the Componimenti has also become known under the name of Handel, who incorporated direct borrowings from it into various works, including the Ode for St Cecilia's Day, as well as taking material from Muffat's unpublished music for one of his organ concertos.
WORKS
for keyboard unless otherwise stated Editions: G. Muffat, ed. F.W. Riedel, Die Orgel, ii/8, 10, 13, 16, 17 (Lippstadt, 1957–61) [R]G. Muffat: Componimenti musicali, ed. G. Adler, DTÖ, vii, Jg.iii/3 (1896/R) [A]G. Muffat: 72 Versetl und 12 Toccaten für Orgel und Klavier, ed. G. Adler, DTÖ, lviii, Jg.xxix/2 (1922/R) [V]J.J. Fux: Werke für Tasteninstrumente, ed. F.W. Riedel, Sämtliche Werke, vi/1 (Graz, 1964) [F] Riedel nos. 1–84 72 Versetl sammt 12 Toccaten (besonders zum Kirchen-Dienst bey Choral-Aemtern und Vesperen dienlich) (Vienna, 1726/R in Monuments of Music and Music Literature in Facsimile, i/18 (New York, 1967)), V 85–135 Componimenti musicali per il cembalo, 6 suites, 1 ciaccona (Augsburg, c1739/R in Monuments of Music and Music Literature in Facsimile, i/8 (New York, 1967)), A 136–211 24 toccatas with 24 capriccios; 12 capriccios; 3 toccatinas; 4 preludes; 9 capriccios, A-Wm, Wn, D-Bsb, H-Bn; selections in R ii/8, 10, 13 212–62 32 ricercares, 19 canzonas, 1733 at latest, A-GÖ, Wm, D-Bsb, H-Bn, US-NYp; 2 in R ii/8, 17 263–74 12 preludes, R ii/16 275–8 4 fugues, R ii/17 279 Fugue on Easter alleluia, R ii/17 280–322 2 organ masses, D-BEU 323–7 Partita, A-Wn, holograph 328–35 Partita, D-Bsb, holograph 197, 336–41 Partita, A-Wm 342–8 Partita, D-Bsb 349 Prelude to Fux's partita, F appx 62 350 Ciaccona, 1733 at latest, A-Wn doubtful works
351–495 ; Anh. 1–11: Preludes, dances, etc., Wm, Wn, D-BEU, Mbs, H-Bn other works
Sonata pastorale, 2 vn, bc, 1727 at latest, A-Wn Salve regina, 2vv, 2 vn, va, vc, org, Gd
Full thematic catalogues in Riedel (MS, n.d.), and in Wollenberg (MS)
BIBLIOGRAPHY
L.von Köchel: Die kaiserliche Hof-Musikkapelle in Wien von 1543 bis 1867 (Vienna, 1869/R) L.Stollbrock: Die Komponisten Georg und Gottlieb Muffat (Rostock, 188 E.von Werra: ‘Georg Muffat (1635(?)–1704) und Gottlieb Muffat (1690–1770): biobibliographische Studie’, KJb, viii (1893), 42–52 S.Taylor: The Indebtedness of Handel to Works by Other Composers (Cambridge, 1906/R) ‘Muffat's Componimenti’, ZIMG, ix (1907–8), 123–4 [see also W. Wolffheim, ibid., 188–9] J.H.Knöll: Die Klavier- und Orgelwerke Theophile Muffats (diss., U. of Vienna, 1916) S.T.Morris: Gottlieb Muffat's Clavier Suites (diss., Boston U., 1959) F.W.Riedel: Quellenkundliche Beiträge zur Geschichte der Musik für Tasteninstrumente in der zweiten Hälfte des 17. Jahrhunderts (vornehmlich in Deutschland) (Kassel, 1960, 2/1990) F.W.Riedel: Thematischer Katalog der von den Organisten der kaiserlichen Hofkapelle in Wien, unter Ferdinand III bis Karl VI, komponierte Musik für Tasteninstrumente (MS, n.d., in author's possession) F.W.Riedel: Das Musikarchiv im Minoritenkonvent zu Wien, CaM, i (1963) F.W.Riedel: ‘Der Einfluss der italienischen Klaviermusik des 17. Jahrhunderts auf die Entwicklung der Musik für Tasteninstrumente in Deutschland während der ersten Hälfte des 18. Jahrhunderts’, AnMc, no.5 (196, 18–33 S.Wollenberg: ‘Handel and Gottlieb Muffat: a Newly Discovered Borrowing’, MT, cxiii (1972), 448–9 S.Wollenberg: Thematic Catalogue of the Keyboard Works of Gottlieb Muffat (MS in author's possession) S.Wollenberg: Viennese Keyboard Music in the Reign of Karl VI (1712–40) (diss., U. of Oxford, 1975) S.Wollenberg: ‘The Keyboard Suites of Gottlieb Muffat (1690–1770)’, PRMA, cii (1975–6), 83–91 B.Baselt: ‘Miscellanea Haendeliana’, Der Komponist und sein Adressat: Halle 1976, 60–88 B.Baselt: ‘Händels Suites de pièces (1720) und Six Fugues or Voluntarys (1735) in der Bearbeitung und Interpretation von Gottlieb Muffat (1736)’, Vom Notenbild zur Interpretation: Blankenburg/Harz 1977, 31–8 B.Baselt: ‘Muffat and Handel: a Two-Way Exchange’, MT, cxx (1979), 904–7 M.-D.Audbourg-Popin: ‘Bach et le “goût français”’, RdM, lxxii (1986), 271–7 R.Jackson: ‘Aesthetic considerations in Regard to Handel's Borrowings’, Alte Musik als ästhetische Gegenwart, ed. D. Berke and D. Hanemann (Kassel, 1987), ii, 1–11 R.T.Wilson: The Development of the German Keyboard Canzona and its Reflection in the Work of Gottlieb Muffat (diss., Eastman School, U. of Rochester, NY, 1992)
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