Muffat gottlieb 1690 (11 risultati)

Diletto Musicale, Nr.474. Size: Folio. 16, 7, 5pp. Stapled as issued in publisher's printed wrappers.

Publisher's printed wrappers. Bärenreiter-Ausgabe, 1922. Size: Oblong 8vo. 88pp.

Schott's Söhne, Mainz, (um 1970). 23 S. mit Noten, kartoniert, quart, (Einband leicht randgebräunt)---- Edition Schott 2827 / Werk-Reihe für Klavier / dreisprachig: deutsch, französisch und englisch / Herausgegeben von Walter Georgii - 100 Gramm.

Quart, 28 Seiten,(= Diletto Musicale, 830) 1980,Original-Karton . , (VNr. D. 16.111), 150 Gramm1690-1770. - Erstausgabe. - Mit ausführlichem Vorwort. - Druckfrisch; beim Verlag nicht mehr lieferbar (vergriffen).

Oblong folio. Full ivory linen with black title label gilt to spine, dark red endpapers. 1f. (recto series title, verso blank), 1f. (blank), 1f. (facsimile of original engraved title, verso blank), 2ff. (dedications), 1f. ("Al Benigno Lettore!" and "An den geneigsen Leser"), 105, [i] (blank) pp. Monuments of Music and Music Literature in Facsimile. First Series - Music VIII. Muffat, a German composer and organist, "was the leading keyboard composer in Vienna in the early 18th century. . Unlike his versatile father [Georg Muffat], 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 Much of his music remained unpublished and is still not generally known: it covers a wider range of forms than the two published collections alone would suggest.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)." Susan Wollenberg in Grove Music Online "Of Handel's German contemporaries, besides Bach, both Johann Mattheson (1681-1764) and Gottlieb Muffat (1690-1770) . wrote suites for the harpsichord. . Muffat's Componimenti . have considerably more character [than Mattheson's suites]. Handel thought sufficiently well of them to borrow extensively from them. . Muffat's suites combine a German richness and solidity of texture with a melodiousness that sometimes suggests Italian influence. They all include a substantial number of movements, some of which have fanciful titles such as "'La Hardiesse' and 'La Coquette'. . There is a considerable variety of style in Muffat's work. Sometimes we seem almost to be in the world of Haydn. . At other times, particularly in the sarabandes, there is a wealth of intimate detail which recalls the keyboard music of Bach. . The courantes are mostly of the Italian type, with many rapid passages. On the other hand several of the opening movements of the first suite have stately introductions in the style of the French overture. The six suites are followed by a chaconne in G major with variations, similar to Handel's two and certainly superior to his second and longer example. Muffat wa, like Handel, thoroughly cosmopolitan. His fugues are not as compelling as those in Handel's suites, but in general the texture is more substantial and more varied." Abraham, ed.: New Oxford History of Music Volume VI, pp. 620-623. The highly attractive original engraved title is a fine example of the influence of the French Rococo on graphic artists of Augsburg, an important center for graphic art at the time. The original edition is one of the most significant and beautifully engraved harpsichord publications of the 18th century. …

19 S. Umschlag. Umschlag lichtrandig. Mit Besitzvermerk. Werk-Reihe für Klavier.

qu-4°. 15 S. Umschlag. Die Orgel. Reihe II: Werke alter Meister, 8.

qu-4°. 19 S. Umschlag. Mit Besitzvermerk. Die Orgel. Reihe II: Werke alter Meister, 16.

Oblong quarto. Dark brown leather-backed black textured paper boards with octagonal label to upper titled in manuscript. 2ff. (dedication to Abbot Blasius of Schwarzwaiden and composer's preface), 87, [i] (table of ornaments) pp. Engraved. With attractive calligraphic flourishes to many titles. Title identification in ink to front free endpaper. Provenance Celebrated pianist and collector Alfred Cortot (1877-1962), with his distinctive bookplate and brief annotations in pencil to front pastedown. Later acquired by André Meyer (1884-1974) and sold at the auction of his important music collection in Paris in 2012. Binding worn, rubbed, and bumped. Some wear, soiling, and staining; minor worming to some blank upper margins; several leaves slightly trimmed at upper margin, just touching page numbers; remnants of early paper to blank inner margin of dedication; portions of margins of two following pages reinforced with narrow strip of early paper; occasional additional minor paper repairs; small hole to final leaf affecting one note. Lacking title (as in many copies). BUC p. 716. RISM M8133 and MM8133 (1 copy only in the U.S., at the University of Pennsylvania). Muffat is considered "the leading keyboard composer in Vienna in the early 18th century. . [He] 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. . Subsequently, he acquired additional duties at court, including the tuition of various children of the imperial family, among them the future Empress Maria Theresa. . 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 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. . [His] 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." Susan Wollenberg in Grove Music Online None of Muffat's autographs appear to be extant. Only the second copy to have come to auction in over 70 years. The Meyer collection, formed over a period of some 75 years, was one of the most important 20th century collections of printed music, books on music, and musical autographs. A rare and elegantly-printed collection of 72 versets and 12 toccatas intended as liturgical accompaniment during choral offices and vespers. The composer's first published work. …

39 S. Umschlag. Rücken ausgebessert. Papier etwas vergilbt. Sammeltitel: Meisterwerke Deutscher Tonkunst. Erlesene Meisterwerke zum praktischen Gebrauch für Kirche u. Schule, Konzert u. Haus bezeichnet auf Grund der Denkmäler deutscher Tonkunst, der in Bayern und in Österreich, kritischer Gesamtausgaben, sowie älterer Druckwerke u. Handschschriften.…

LeatheBound. Condizione: New. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1896 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 126 Language: zxx Pages: 126.…