Georg Muffat on Performance Practice

Georg Muffat on Performance Practice

The Texts from Florilegium Primum, Florilegium Secundum, and Auserlesene Instrumentalmusik—A New Translation with Commentary
Georg Muffat (1653-1704)
Edited and translated by David K. Wilson from a collation prepared by Ingeborg Harer, Yvonne Luisi-Weichsel, Ernest Hoetzl, and Thomas Binkley
Distribution: World
Publication date: 10/19/2001
Format: paper 152 pages
8.5 x 11
ISBN: 978-0-253-21397-6
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Description

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

This volume presents Muffat’s texts along with variants from his own editions in other languages. Wilson’s highly readable supplementary materials make this a useful work for theorists, historians, and performers. The book is particularly enlightening on differences between French and German practice. Treats pitch, ornamentation, bowing, and more.

Author Bio

David K. Wilson is a Baroque violinist based in the San Francisco area. He has taught baroque violin at Indiana University and has performed extensively with period instrument chamber ensembles and orchestras in the United States and in Germany.

Professor Thomas Binkley was a noted lutenist and director of early music performances. He founded the early Music Institute at the Indiana University School of Music.

Dr. Ingeborg Harer is Assistant Professor at the Universitat fur Musik und darstellende Kunst in Graz, Austria.

Dr. Ernest Hoetzl is Assistant Professor of Pedagogy at the Universitat fur Musik und darstellende Kunst in Graz, Austria.

Dr Yvonne Luisi-Weichsel teaches in the pedagogy department of the Universitat fur Musik und darstellende Kunst in Graz, Austria.

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Table of Contents

Preliminary :

I. Introduction
1. Foreword
2. Biographical Sketch of Georg Muffat
3. Description of the Materials
II. Translations
4. Florilegium Primum, 1695
5. Florilegium Secoundum, 1690
6. Auserlesene Instrumentalmusik, 1701
III. Commentary
7. Muffat's Intentions
8. Instruments
9. Tuning: Pitch, Temperament, Intonation
10. Technique: Bowing Rules, Ornamentation, General Conventions
11. German Performance Practice
12. Performance Settings
13. Conclusion
Bibliography