Georg Muffat on Performance Practice: the texts from Florilegium Primum, Florilegium Secundum, and Auserlesene Instrumentalmusik. A new translation with commentary. Edited and translated by David K. Wilson, Bloomington: Indiana University Press, 2001
2002; University of Bern; Volume: 5; Linguagem: Inglês
10.5450/ejm.2002.5.6132
ISSN2504-1916
Autores Tópico(s)Musicology and Musical Analysis
ResumoThe complex diversity of Georg Muffat's musical inheritance causes many problems for the modern performer.The significance of his studies in France (with Lully) may be weighed up against that of his later affinity to Austria and Italy.This book provides an extremely useful translation of Muffat's own instructions on the correct approach to his works.David K. Wilson (who was handed the project by the late Thomas Binkley) sets out to provide a complete, self-contained guide to Muffat's writings on performance practice, prefacing the translations with a biographical sketch of Georg Muffat, and following them with a commentary which discusses the implications of these writings on Muffat's Intentions, Instruments, Pitch and Temperament, Techniques, German Performance Practice, and Performance Settings.-2 -The thoroughness of the study does help to clarify the confusion that all too easily results from Muffat's own cosmopolitan style (Wilson admits that "questions can be asked about how representative of French music of the seventeenth century Muffat's writings actually are" (page 119)).The biographical sketch that opens the volume stresses the importance of the political circumstances that framed Muffat's life, from his beginnings in Savoy, his presumed studies with Lully in Paris, and his further travels to Vienna, Salzburg and Rome and his eventual settling in Passau.This emphasis on Muffat's travels brings a welcome sense of clarity to the problem of the composer's stylistic diversity and enlightens many of his comments in the texts in a most direct way.-3 -
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