muffat gottlieb (55 risultati)

Soft cover. Condizione: Fine. ED 2827. Fine unmarked copy of the Organ score in soft covers. 23 pages. Shipping Category: Sheet Music.

Condizione sovraccoperta: Gut. Jahr: 1946. Einband: Heft. Beschreibung: 1946 - VN/Pl. no. h.v. 29. 2 Bl. Sauber erhalten. Sprache: de. o. pag. S.

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

Condizione: Gut. Formateinband: Heft 23 S. (30 cm) Außen randgebräunt; sonst in gutem Zustand. (Text deutsch, französisch und englisch). Sprache: Deutsch Gewicht in Gramm: 200 [Stichwörter: Klaviernoten, Noten für Klavier, Piano].

Condizione: Gut. Jahr: c1980. Einband: Heft. Beschreibung: (= Diletto Musicale, Doblingers Reihe Alter Musik). Herausgegeben von Rudolf Walter. Erstdruck. VN/Pl. no. D. 16.111. Vorwort (Dt./Engl.). Priv. Besitzstempel auf dem Titel. Gut erhalten. Sprache: de. 28 S.

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

Condizione sovraccoperta: Gut. Jahr: [1959]. Einband: Heft. Beschreibung: [1959] - Herausgegeben von Hermann Keller. VN/Pl. no. E. P. 11945. c1959. Mit Vorwort (1959) und Quellennachweis. Umschlag am oberen und unteren Rücken etwas lädiert. Namenseintrag auf dem Titel. Innen sauber erhalten. Sprache: de. 65, [1] S.

Condizione: Gut. Jahr: o. J. Einband: Heft. Beschreibung: Bearbeitet von Walter Niemann. VN/Pl. no. 24718. E.B. 4246. Vorlage: Denkmäler der Tonkunst in Österreich, Jg.III,3. Kl. Händlerstempel auf dem Titel. Gut und sauber erhalten. Sprache: de. 33 S.

Oblong quarto. Full ivory linen with black title label gilt to spine. 1f. (recto series title, verso blank, 1f. (recto printed title, verso printer's note), 1f. (blank), 1f. (recto blank, verso facsimile of original engraved frontispiece), 2ff. (dedication), 88 pp. Binding slightly worn and soiled. Monuments of Music and Music Literature in Facsimile. First Series - Music XVIII. 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 The composer's first published work.

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.

4°; Orig.-Broschur; Condizione: Gut. Partitur, 3 lose Stimmen. Sehr guter Zustand. /h 0011 Sprache: Deutsch Gewicht in Gramm: 600.

Condizione: 1. Editio princeps nach Quelle der Berliner Singakademie. 6 Suiten I Noten. Cembalo (Klavier). Spielbuch 92 S. .

ca. 30 x 21 cm, Broschiert. Condizione: Akzeptabel. Musikalien, Klaviernoten, Muffat Noten, Liederbücher, Gesangbücher 4 S. Musikalien / Musiknoten / Klaviernoten; H. V. 29; kleine Randläsionen sauber nachgeklebt; alterstypisch gut erhalten An staatliche Organisationen und Einrichtungen versenden wir im Inland gern auf Rechnung. Sprache: Deutsch Gewicht in Gramm: 105.

Condizione: New. Wilson, Glen, edEs sind wahre Schaetze, die der renommierte Cembalist und Alte-Musik-Experte Glen Wilson aus dem Archiv der Berliner Singakademie gehoben hat: Sechs von insgesamt 26 bislang unbekannten Suiten, die auf eindrucksvolle Weise eine Synthe.

Softcover/Paperback. 8, 3, 3, 1 S. Mit den 3 Stimmheften, jeweils mit kleinem Handzeichen des Vorbesitzers, sonst sehr gut, sauber und ohne Anstreichungen. Sprache: Deutsch Gewicht in Gramm: 250.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Notenblatt. Condizione: Neu. Neuware - Es sind wahre Schätze, die der renommierte Cembalist und Alte-Musik-Experte Glen Wilson aus dem Archiv der Berliner Singakademie gehoben hat: Sechs von insgesamt 26 bislang unbekannten Suiten, die auf eindrucksvolle Weise eine Synthese zwischen dem französischen und italienischen Clavierstil des frühen 18. Jahrhunderts schaffen.Gottlieb Muffat, Sohn des bedeutenden Komponisten und Musiktheoretikers Georg Muffat, führte als Organist und Musiklehrer am kaiserlichen Hof in Wien den hochbarocken Stil von Johann Jakob Froberger und Johann Joseph Fux fort. Die vorliegende textkritische Erstausgabe der Suiten wird durch wichtige Hinweise zur Interpretation, besonders im Hinblick auf Muffats üppige Verzierungspraxis ergänzt. Eine Fundgrube für Freunde spätbarocker Claviermusik!

Condizione: New. for Violoncello and Piano .

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.

Softcover. Condizione: Wie neu. Denkmäler der Tonkunst in Österreich Jahrg. XXIX/2 - Band 58. .

Ca. 24,5 x 29,5 cm. 5 Blätter, 88 Seiten. Beiger Original-Leinenband mit goldgeprägtem Rückentitel. (= Monuments of Music and Music Literature in Facsimile. First Series-Musiv XVIII). Einband minimal fleckig. Schönes Exemplar.

Condizione: 1. Editio princeps nach Quelle der Berliner Singakademie. 6 Suiten II . Klavier. Urtext.

Condizione: New. Wilson, Glen, ed.

Condizione: New.

Condizione: 1. Noten. Orgel. 28 S. .

23 S. Gut.

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.

Pas de couverture. Condizione: bon. RO50036891: 1909. In-4. En feuillets. Bon état, Livré sans Couverture, Dos satisfaisant, Intérieur frais. 4 pages de partitions. . . . Classification Dewey : 780.26-Partitions.