Gottlieb Muffat's clavier suites.
Morris, Samuel Tilghman
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Georg Huffat and his son Gottlieb have suffered from undeserved neglect. A pupil of Lully, Corelli, and Pasquini, Georg Huffat was a cosmopolitan musician whose orchestral works brought the influence of Lully and Corelli to greater prominence in Austria. A noted organist, his Apparatus Musico-Organisticus (1690) represents the high point of the liturgical toccata. Born in Upper Savoy in 1653. at 17 he had completed six years under Lulli and other Parisian Masters, was interim organist of the Strasbourg Cathedral Chapter in refuge there. As a refugee from invasion in 1674, he went to Vienna, Here, his connections are not known. His known positions were as organist and chamberlain to the bishop of Salzburg (1678-1690), and as Music Director and Governor of Court Pages to the Bishop of Passau (1690-1704). Siege and occupation of Passau probably contributed to his untimely demise in 1704. Gottlieb Huffat's idiom, technique, and drive toward personal expression, with a foretaste of empfindsankeit and a hint of strum und drang, are exercised within the framework of established baroque forms. Combining both progressive and retrospective features, his work spans the time from the late Baroque to Pre-Classic beginnings, and illustrates elements of the transition in styles. For this reason alone, apart from musical merits that are not inconsiderable, Gottlieb Huffat's clavier suites deserve more attention than they have received in the past. [TRUNCATED]
Thesis (M.A.)--Boston University
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