Georg Muffat: Complete Works

Sonatas for various instruments (armonico tributo 1682)
Orchestral suites (florilegium primum & secundum 1695)
12 Concerti grossi (auserlesene… instrumental Musik 1701)
12 Toccatas for the organ as well as other pieces: passacaglia, chaconne, air with variations (Apparatus musico-organisticus 1690)
Partitas for the harpsichord
Religious works (notably three masses and Salve Regina) from which “Missa in labore requies” is preserved
3 operas (“Marina Armena,” “Königin Marianne die verleumdete Unschuld,” and “La fatali felicità di Plutone”—Excerpted from Wikipedia

Georg Muffat Books and Music
More on Muffat
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Georg Muffat: Books and Music

Selected Books

Georg Muffat on Performance Practice
Indiana University Press, 2001
David K. Wilson, trans.
$19.76

muffat-4

“A fascinating overall impression of the day-to-day concerns and working environment of a professional musician of the late 17th century.”—American Recorder

Selected Music

muffat-1Concerti Grossi, Nos. 1-6 (2001), 1 CD

muffat-2Concerti Grossi, Nos. 7-12 (2002), 1 CD

muffat-3 Florilegium Secundum (1981), 1 CD

More Georg Muffat music

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Georg Muffat, 1653-1704

Muffat

Selected Recordings

Concerti Grossi Nos. 7-12

Chaconne

Armonico Tributo Sonata No.2 in G minor

Selected Sheet Music

Florilegium Primum

muffat-5

Source: IMSLP.org

Showcase Piece

Armonico Tributo

Background and Commentary

Georg Muffat was a French Baroque composer most well known for the performance directions printed as part of his collections of string pieces Florilegium Primum and Florilegium Secundum (First and Second Bouquets) in 1695 and 1698. The performance directions are notable for their detail. These performance directions were intended to assist German string players with the idiom of the French dance style, and include detailed rules for the tempo and order of bow strokes in various types of movement, as well as more general strategies for good ensemble playing and musicianship. These texts remain extremely valuable for modern historically-interested musicians.

Muffat was, as Johann Jakob Froberger before him, and Handel after him, a cosmopolitan composer who played a role in the exchanges between European musical traditions. He lived from June 1, 1653, to February 23, 1704.—Excerpted from Wikipedia

Books and Music

Selected Books

Georg Muffat on Performance Practice
Indiana University Press, 2001
David K. Wilson, trans.
$19.76

muffat-4

“A fascinating overall impression of the day-to-day concerns and working environment of a professional musician of the late 17th century.”—American Recorder

Selected Music

muffat-1Concerti Grossi, Nos. 1-6 (2001), 1 CD

muffat-2Concerti Grossi, Nos. 7-12 (2002), 1 CD

muffat-3 Florilegium Secundum (1981), 1 CD

More Georg Muffat music

Complete Works

Sonatas for various instruments (armonico tributo 1682)
Orchestral suites (florilegium primum & secundum 1695)
12 Concerti grossi (auserlesene… instrumental Musik 1701)
12 Toccatas for the organ as well as other pieces: passacaglia, chaconne, air with variations (Apparatus musico-organisticus 1690)
Partitas for the harpsichord
Religious works (notably three masses and Salve Regina) from which “Missa in labore requies” is preserved
3 operas (“Marina Armena,” “Königin Marianne die verleumdete Unschuld,” and “La fatali felicità di Plutone”—Excerpted from Wikipedia

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The 55 Greatest Baroque Composers in One Sentence Each

Jacopo Peri

Peri Credited with writing the first opera, “Euridice,” and seen as key in transitioning music from Renaissance to Baroque stylings

Jan Pieterszoon Sweelinck

Jan_Pieterszoon_Sweelinck Established North Germany organ tradition, the harmonically and rhythmically complex improvisatory style that was later mastered by Dieterich Buxtehude

Claudio Monteverdi

220px-claudio_monteverdi First musical dramatist, sometimes considered first Baroque opera composer, who built on Peri’s Renaissance-Baroque transition work

Gregorio Allegri

Gregorio An early instrumentalist who is more well-known for his vocal works, mainly “Miserere mei, Deus,” which is sung annually at the Sistine Chapel during Holy Week

Girolamo Frescobaldi

Girolamo Frescobaldi Influential early instrumental Baroque keyboard composer who showed how interesting keyboard music, unaccompanied by voice, could be

Heinrich Schütz

schuetz With “Dafne,” first German opera composer and the most renowned German composer before Bach and Handel

Samuel Scheidt

Scheidt
Student of Sweelinck who helped spread North German organ tradition throughout Europe, and noted for his “patterned variation” keyboard technique in which chorale phrases build to a climax

Denis Gaultier

200px-denis_gaultier
French lutenist known for writing graceful melodic lines with clear phrase structures

William Lawes

Lawes Minor figure but possibly the most notable English composer along with John Blow prior to Henry Purcell. His viol consort suites juxtaposed bizarre, spine-tingling themes with pastoral ones

Francesco Cavalli

Cavalli1 Helped bring opera to the masses with his performances in small public houses that relied on limited orchestras of strings and basso continuo

Giacomo Carissimi

Giacomo1 First master of the oratorio, which set biblical or other forms of sacred text to music in dramatized settings that dispensed with scenery and costumes

Antonio Bretali

Bertali Helped establish the tradition of Italian opera seria

Johann Jakob Froberger

Froberger Developed the keyboard suite and contributed to the exchange of musical traditions through his travels outside Germany

Barbara Strozzi

strozzi Arguably the most notable female composer of the Baroque period with vocal pieces that are firmly rooted in the seconda pratica tradition but that have more lyricism than Monteverdi’s work

Johann Heinrich Schmelzer

SchmelzerVirtuoso violinist who helped bring the sonata form to Germany and whose innovative techniques in playing and tuning greatly influenced Biber.

Jean-Henri d’Anglebert

anglebert Known mainly for his four suites of harpsichord music and the standard he set for the material quality of the music books he published

Jean-Baptiste Lully

250px-jean-baptiste_lully_nicolas_mignard The Italian founder of French opera who, with Moliiere, created comédie-ballet, which combined theater, comedy, incidental music, and ballet. “Psyché” is his most well-known work

Dieterich Buxtehude

Buxtehude Pinnacle of North German organ tradition who is said to have inspired Bach to walk 200 miles to hear him play. His organ works today remain central to the standard organ repertoire

Marc-Antoine Charpentier

MA_Charpentier_I Known for his sacred music, which is considered more varied, expressive, and accessible than that of Lully, his contemporary

Heinrich Ignaz Franz Biber

HIF Biber Widely regarded as one of the most important composers for the violin in the history of the instrument, pioneering many tuning and playing techniques and composing works that use multiple stops in intricate polyphonic passages. His “Mystery Sonatas” are among the earliest known pieces for solo violin

John Blow

Blow English composer whose opera, “Venus and Adonis,” is credited with influencing Henry Purcell’s landmark opera, “Dido and Aeneas,” and who composed hundreds of anthems for Anglican church services

Domenico Gabrielli

Gabrielli Composer of some of the earliest works for solo cello, including a group of seven ricercari for unaccompanied cello

Johann Pachelbel

unknown Known today mostly for his Canon in D, which is loved and dismissed in equal measure by critics. In his time, he was greatly admired for his work, considered the highest achievement of the South German organ tradition, which is simpler, more melodic than that of the North German organ traditon

Arcangelo Corelli

arcangelo_corelli Eminent instrumentalist composer who is widely credited with developing two of the most significant forms of instrumental music there is, the sonata and the concerto. His “Christmas Concerto” remains a favorite today

Marin Marais

Marais1 Master of the basse de viol and the leading French composer for the instrument, which today has largely been replaced by the cello

Johann Caspar Ferdinand Fischer

Fischer-Johann-Caspar-Ferdinand-01 Widely regarded as one of the best keyboardists of his day, but most of his work has been lost, so the German composer’s work is rarely heard today

Giuseppe Torelli

220px-Giuseppe_Torelli Matured Corelli’s idea of the concerto and today his 12 concerti of opus 8 constitute one of the great achievements of the Baroque period

Henry Purcell

250px-henry_purcell_by_john_closterman Combined French and Italian influences into a unique English Baroque style. The opera “Dido and Aeneas” is his most well-known work and today he remains one of England’s most eminent composers

Alessandro Scarlatti

457px-alessandro_scarlatti Founder of the Neapolitan school of opera, which took Italian opera in a more Classical, less Baroque style, and influenced even non-Italian opera, including the work of Handel

Johann Christoph Pez

Pez2 German composer whose work, heavily influenced by Lully’s French style, is little played today but was highly regarded during his time for the quality of his sonatas

Attilio Ariosti

ariosti Noted for his opera and, maybe more importantly, his work for the viola d’amore, which is a violin-like instrument characterized by non-playing “sympathetic strings” that resonate “in sympathy” with the strings above them when they’re played. Biber is another composer who made memorable use of sympathetic strings

Jean-Féry Rebel

Rebel French violin prodigy who studied under Lully and whose work often had a surprisingly modern, and often under-appreciated, sound to it, with striking counter-rhythms and complex harmonies

François Couperin

250px-francois_couperin_2 French keyboard master who innovated fingering techniques, established new heights of ornamentation, and brought Corelli’s sonata form to France

Tomaso Albinoni

220px-Albinoni Italian composer whose instrumental music greatly influenced Bach but who is almost entirely known today for a piece of music he didn’t actually write, the “Adagio in D Minor.” The piece was mainly written by Italian musicologist Remo Giazotto, who, after Albinoni’s death, took the small bit that Albinoni had written and turned it into the piece that’s so familiar today

Antonio Vivaldi

170px-antonio_vivaldi The greatest and most prolific writer of concertos, including the set of four violin concertos so popular today, the “Four Seasons”

Jan Dismas Zelenka

zelenka1 Czech Baroque composer whose music is admired for its daring compositional structure, harmonic invention, and counterpoint

Pietro Castrucci

Castrucci Virtuoso violinist who studied under Corelli and eventually settled in London. HIs work is little known today, but he is credited with inventing the violetta marina, an instrument no one today has seen but is believed to be a smaller version of the viola d’amore

Georg Philipp Telemann

220px-telemann_4 Hyper-prolific composer of some 3,000 works who was greatly admired by Bach, a friend of his, and whose music is said to serve as a bridge between German Baroque and Classical styles

Jean-Philippe Rameau

200px-attribuc3a9_c3a0_joseph_aved_portrait_de_jean-philippe_rameau_vers_1728_-_001 French harpsichord genius whose music built on the work of Lully and became the pinnacle of the French opera tradition

Johann Gottfried Walther

walther

German music theorist, organist, composer, and lexicographer of the Baroque era. He was most well known as the compiler of the Musicalisches Lexicon. 

Johann Sebastian Bach

220px-johann_sebastian_bach The titan of western art whose music is revered for its intellectual depth, technical command, and artistic beauty

Domenico Scarlatti

220px-retrato_de_domenico_scarlatti Master harpsichord composer whose work, starting with his 555 keyboard sonatas, helped transition music from a Baroque to a Classical sound

George Frideric Handel

220px-georg_friedrich_hc3a4ndel German-born British composer who made his fame and established his imminence as a writer of operas and oratorios, but who is as well-known today for his concerti grossi, including “The Water Music,” and his sonatas

Benedetto Marcello

Marcello1 Much admired in his time for his Vivaldi-like work, he’s largely known today for his Estro poetico-armonico, a musical setting for voices, figured bass, and occasional solo instruments

Sylvius Leopold Weiss

weiss German lutenist who was perhaps the most prolific composer for the instrument with his approximately 600 pieces for it

Francesca Geminiani

Geminiani Instrumentalist composer in the manner of Corelli but with his concerti grossi and sonatas, enlarged the canvas by varying the material more than Corelli and enriching the orchestral colorations

Johann Friedrich Fasch

Fasch image German violinist held in high regard by Bach for his work, including his cantatas, concertos, and symphonies, but his vocal works have largely been lost

Giuseppe Antonio Brescianello

Brescianello Violinist and lutenist known mainly for his 12 concerti e sinphonie op. 1 and 18 pieces for gallichone, a type of lute

Francesco Maria Veracini

Veracini Violinist best known for his suites of violin sonatas. His bowing technique so impressed Tartini that it led this latter composer to withdraw from public while he studied how to apply it to his own work

Giuseppe Tartini

Tartini Corelli’s most significant successor in writing music for the violin. He wrote 150 or so violin concertos and a hundred violin sonatas, including his “Devil’s Trill Sonata,” which Tartini said came to him in a dream

Pietro Locatelli

Locatelli Violin virtuoso whose “L’arte del violino, opus 3,” a collection of 12 concertos for solo violin, strings, and basso continuo, was one of the most influential musical publications of the early eighteenth century. Locatelli’s style is considered a bridge between Corelli and Vivaldi

Jean-Marie Leclair

jmleclair Renowned violinist who is considered to have founded the French violin school.

Johann Joachim Quantz

Quantz Widely regarded as the greatest player and teacher of the flute, and composer for the instrument. He was also an innovative designer of the instrument, adding keys to enhance intonation

Johann Adolph Hasse

Hasse A popular composer in his day, best known for his prolific operatic output and for his role in developing opera seria, the noble, serious form of opera that contrasts with opera buffa, or comic opera

Carlos Seixas

Seixas1 Portuguese composer influenced by the German Empfindsamer Stil (“sensitive style”) for keyboard works. Only three orchestral pieces and around 100 keyboard sonatas, plus a handful of choral works for liturgical use, are available today

Baldassare Galuppi

Galuppi_Baldassare Known as “the father of the comic opera,” he enjoyed considerable fame for the dramma giocoso (“merry”) style of opera that he helped usher in

Giovanni Battista Pergolesi

220px-Pergolesi Along with Galuppi, an innovator of opera buffa, or comic opera, whose work helped establish the traditions that would govern the writing of opera buffa for more than a century

William Boyce

Boyce English “Galante” composer best known for his set of eight symphonies, anthems, and odes. “Galante” refers to a simplified, modern style of music that, in some accounts, is seen as a kind of transition between the Baroque and Classical periods of music

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Jean-Henri d’Anglebert: Notes and Commentary

Jean-Henri d’Anglebert was a French composer, harpsichordist and organist. He was one of the foremost keyboard composers of his day. His s principal work is a collection of four harpsichord suites published in 1689 in Paris under the title Pièces de clavecin. The volume is dedicated to Marie Anne de Bourbon, a talented amateur harpsichordist who later studied under François Couperin. Apart from its contents, which represents some of the finest achievements of the French harpsichord school (and shows, among other things, D’Anglebert’s thorough mastery of counterpoint and his substantial contribution to the genre of unmeasured prelude), Pièces de clavecin is historically important on several other counts. The collection was beautifully engraved with utmost care, which set a new standard for music engraving. Furthermore, D’Anglebert’s table of ornaments is the most sophisticated before Couperin’s (which only appeared a quarter of a century later, in 1713). It formed the basis of J.S. Bach’s own table of ornaments (Bach copied D’Anglebert’s table ca. 1710), and provided a model for other composers, including Rameau. Finally, D’Anglebert’s original pieces are presented together with his arrangements of Lully’s orchestral works. He lived from April 1629 to April 23, 1691.—Excerpted from Wikipedia

Jean-Henri d’Anglebert Books and Music
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Jean-Henri d’Anglebert: Complete Works

Harpsichord Music

Suite 1 in G major from Pieces de clavecin
1. Prélude image
2. Allemande
3. Courante image
4. Double de la Courante
5. Seconde Courante
6. Troisième Courante
7. Sarabande
8. Gigue
9. Gaillarde
10. Chaconne en Rondeau
11. Gavotte
12. Menuet
13. Overture de Cadmus de Mr. De Lully
14. Rittournelle des Fées de Roland de Mr. De Lully
15. Menuet Dans nos bois
16. Chaconne de Phaeton de Mr. De Lully
17. 2e Gigue On la joue avant la Gaillarde aprèz la 1e Gigue

Suite 2 in g minor from Pieces de clavecin
1. Prélude image
2. Allemande
3. Courante
4. Seconde Courante
5. Courante de Mr. De Lully
6. Sarabande
7. Sarabande Dieu des enfers de Mr. De Lully
8. Gigue
9. Gigue de Mr. De Lully
10. Gaillarde
11. Passacaille
12. Menuet La jeune Iris de Mr. De Lully
13. Gavotte Où estes vous allés Air ancien
14. Gavotte Le beau Berger Tirsis. Air ancien
15. Air La Bergere Annette. Vaudeville
16. Ouverture de la Mascarade de Mr. De Lully
17. Les Sourdines d’Armide de Mr. De Lully
18. Les Songes agréables d’Atis de Mr. De Lully
19. Air d’Apollon du Triomphe de l’Amour de Mr. De Lully
20. Menuet de Poitou. Vaudeville
21. Passacaille d’Armide de Mr. De Lully

Suite 3 in d minor from Pieces de clavecin
1. Prélude image
2. Allemande
3. Courante
4. Double de la Courante
5. Seconde Courante
6. Sarabande Grave
7. Sarabande
8. Gigue
9. Gaillarde
10. Gavotte
11. Menuet
12. Ouverture de Proserpine de Mr. De Lully
13. Variations sur les Folies d’Espagne

Suite 4 in D major from Pieces de clavecin
1. Allemande
2. Courante
3. Seconde Courante
4. Sarabande
5. Gigue
6. Chaconne de Galatée de Mr. De Lully
7. Chaconne en Rondeau
8. Tombeau de Mr. de Chambonnieres

Organ Music

5 Fugues on the Same Theme, and Quatuor on the Kyrie
Fugue 1 (Jeu de Tierce)
Fugue 2 (Trompette)
Fugue 3 (Cromorne)
Fugue 4 (Clairon, Trompettes)
Fugue 5 (Grand Jeu)
Quatuor sur le Kyrie (Cornet, Trompette, Jeu de Tierce, Flûte)

Other

Suite for harpsichord in D
1. Allemande
2. Courante I
3. Courante II
4. Sarabande*
5. Giga
Quator sur le Kyrie
Source: Kunstderfuge

Jean-Henri d’Anglebert Books and Music
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Jean-Henri d’Anglebert, 1629-1691

anglebert

Selected Recordings

Suite 3 in d3 Courante

Prelude and Allemande

Folies d’Espagne

Selected Sheet Music

Chaconne

anglebert-ch

Source: IMSLP.org

Showcase Piece

Suite Troisième in ré – Allemande

Notes and Commentary

Jean-Henri d’Anglebert was a French composer, harpsichordist and organist. He was one of the foremost keyboard composers of his day. His s principal work is a collection of four harpsichord suites published in 1689 in Paris under the title Pièces de clavecin. The volume is dedicated to Marie Anne de Bourbon, a talented amateur harpsichordist who later studied under François Couperin. Apart from its contents, which represents some of the finest achievements of the French harpsichord school (and shows, among other things, D’Anglebert’s thorough mastery of counterpoint and his substantial contribution to the genre of unmeasured prelude), Pièces de clavecin is historically important on several other counts. The collection was beautifully engraved with utmost care, which set a new standard for music engraving. Furthermore, D’Anglebert’s table of ornaments is the most sophisticated before Couperin’s (which only appeared a quarter of a century later, in 1713). It formed the basis of J.S. Bach’s own table of ornaments (Bach copied D’Anglebert’s table ca. 1710), and provided a model for other composers, including Rameau. Finally, D’Anglebert’s original pieces are presented together with his arrangements of Lully’s orchestral works. He lived from April 1629 to April 23, 1691.—Excerpted from Wikipedia

Books and Music

Selected Books

Pièces de Clavessin (Loose Leaf Facsimile)
REprints, 2013
Jean-Henri d’Anglebert (sheet music)
$14.04 on Amazon

leaf

Selected Music

suites Harpsichord Suites (1995), 1 CD

Rousset Christophe Rousset: Complete Harpsichord Works (2000), 2-CD set

haas Pieces de Clavecin: Arthur Haas (1993), 1 CD

More Jean-Henri d’Anglebert music

Complete Works

Harpsichord Music

Suite 1 in G major from Pieces de clavecin
1. Prélude image
2. Allemande
3. Courante image
4. Double de la Courante
5. Seconde Courante
6. Troisième Courante
7. Sarabande
8. Gigue
9. Gaillarde
10. Chaconne en Rondeau
11. Gavotte
12. Menuet
13. Overture de Cadmus de Mr. De Lully
14. Rittournelle des Fées de Roland de Mr. De Lully
15. Menuet Dans nos bois
16. Chaconne de Phaeton de Mr. De Lully
17. 2e Gigue On la joue avant la Gaillarde aprèz la 1e Gigue

Suite 2 in g minor from Pieces de clavecin
1. Prélude image
2. Allemande
3. Courante
4. Seconde Courante
5. Courante de Mr. De Lully
6. Sarabande
7. Sarabande Dieu des enfers de Mr. De Lully
8. Gigue
9. Gigue de Mr. De Lully
10. Gaillarde
11. Passacaille
12. Menuet La jeune Iris de Mr. De Lully
13. Gavotte Où estes vous allés Air ancien
14. Gavotte Le beau Berger Tirsis. Air ancien
15. Air La Bergere Annette. Vaudeville
16. Ouverture de la Mascarade de Mr. De Lully
17. Les Sourdines d’Armide de Mr. De Lully
18. Les Songes agréables d’Atis de Mr. De Lully
19. Air d’Apollon du Triomphe de l’Amour de Mr. De Lully
20. Menuet de Poitou. Vaudeville
21. Passacaille d’Armide de Mr. De Lully

Suite 3 in d minor from Pieces de clavecin
1. Prélude image
2. Allemande
3. Courante
4. Double de la Courante
5. Seconde Courante
6. Sarabande Grave
7. Sarabande
8. Gigue
9. Gaillarde
10. Gavotte
11. Menuet
12. Ouverture de Proserpine de Mr. De Lully
13. Variations sur les Folies d’Espagne

Suite 4 in D major from Pieces de clavecin
1. Allemande
2. Courante
3. Seconde Courante
4. Sarabande
5. Gigue
6. Chaconne de Galatée de Mr. De Lully
7. Chaconne en Rondeau
8. Tombeau de Mr. de Chambonnieres

Organ Music

5 Fugues on the Same Theme, and Quatuor on the Kyrie
Fugue 1 (Jeu de Tierce)
Fugue 2 (Trompette)
Fugue 3 (Cromorne)
Fugue 4 (Clairon, Trompettes)
Fugue 5 (Grand Jeu)
Quatuor sur le Kyrie (Cornet, Trompette, Jeu de Tierce, Flûte)

Other

Suite for harpsichord in D
1. Allemande
2. Courante I
3. Courante II
4. Sarabande*
5. Giga
Quator sur le Kyrie
Source: Kunstderfuge

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Marc-Antoine Charpentier: Complete Works

Actéon
Antiennes O de l’Avent
Ave Regina

Beatus vir

Circé
Conceptio tuo Dei genitrix virgo
Concert pour 4 parties de violes
Cur mundus militat

David et Jonathas
Dialogus inter Magdalenam et Jesum
Domine salvum fac regem
Domine salvum
Domine salvum
Domine salvum

Egredimini filiæ Sion
Élévation au St Sacrement
Euge serve bone
Exaudiat
Extremum Dei judicium

Filius prodigus

3 Hymnes à saint Nicaise

In honorem Sancti Xaverij canticum
In nativitatem Domini canticum

Laetatus sum
Lauda Jerusalem
Lauda Sion

Magnificat
Le malade imaginaire
Médée
Méditations pour le Carême
Messe à 8 voix et 8 violons et flûtes
Messe à quatre choeurs
Messe de minuit pour noël
Miserere

Nisi Dominus
Noël pour les instruments
Noël sur les instruments

O amor, o bonitas
O coelestis Jerusalem
O filii
O Salutaris
O vos amici mei
Offerte
Ouverture et intermèdes

Panis angelicus voce sola
Peccavi Domine
Peccavi Domine, peccavi multum
Les plaisirs de Versailles
Pour Saint Augustin mourant
Pour Ste. Anne

Sur la naissance de notre Seigneur Jésus Christ
Symphonies pour un reposoir

Te Deum
Tristis est anima mea

Veni creator Spiritus
Veni creator Spiritus
Victimae paschali laudes

Source: IMSLP.org

Marc Antoine Charpentier Books and Music
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