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Georg Muffat: Florilegium Primum 1695 [Hybrid SACD]


  • Kod: CC72678
  • Producent: Challenge Classics
  • Wykonawca: Ensemble Salzburg Barock
  • Nośnik: SACD
  • Cena: 66,99 zł
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Muzyka Barokowa
premiera polska:
2015-12-18,
Wydawnicto Audiofilskie

kontynent: Europa
opakowanie: plastikowe etui
opis:

multikulti.com:
Georg Muffat urodził się w Megeve, w Księstwie Sabaudii, w roku 1653. O początkach jego muzycznej edukacji dowiadujemy się z przedmowy do "Florilegium Primum" (aydanie: Augsburg, 1695), w którym stwierdza, że "przez sześć lat, obok innych studiów muzycznych, nabył Francuski styl, a przed powrotem do Alzacji z Francji (mieszkał we Francji od 1663 roku aż do 1669 roku) studiował nie tylko instrumenty smyczkowe, ale także organy i kompozycję".

O tym jakie były jego studia i umiejętności najlepiej świadczą wydania jego kompozycji - w jego ""Florilegium secundum" (wydanie: Passau, 1698) zawiera szczegółowe instrukcje dotyczące praktyki wykonawczej w stylu francuskim, na dworze Ludwika XIV pod przewodem Jeana-Baptiste'a Lully.

Po opuszczeniu Paryża, został organistą w Molsheim i Sélestat. Później studiował prawo w Ingolstadt i osiedlił się w Wiedniu, gdzie jednak nie mógł znależć pracy jako kompozytor czy kapelmistrz. W roku 1677 udał się do Pragi, a następnie do Salzburga, gdzie pracował przez u tamtejszego arcybiskupa przez dziesięć lat. Około roku 1680 udał się w podróż do Włoch, gdzie studiował grę na organach z Bernardo Pasquinim, spadkobiercą tradycji Girolamo Frescobaldiego oraz poznaje Arcangelo Corellego, którego prace docenia i podziwia. w roku 1690 roku zostaje kapelmistrzem w Passau na dworze tamtejszego biskupa i funkcję tę sprawuje aż do śmierci w roku 1704.

Niniejszy album prezentuje kompozycje składające się na zbiór "Florilegium Primum" po raz pierwszy wydane w 1695. Piękne, stylowa ale i minimalistyczna, a co za tym idzie doskonała w swojej przejrzystości interpretacja Ensemble Salzburg Barock podkreśla kunsztowną architekturę dzieła Muffat. Świetne nagranie!

Editor's info:
Georg Muffat was born in Megève, Duchy of Savoy, in 1653. We learn about his early training in the preface to his Florilegium primum (Augsburg, 1695), where he states that “for six years, alongside other musical studies” he acquired the French style before “returning to Alsace from France”: he lived in France from 1663 until 1669, studying not only string instruments, but also organ and composition. In his Florilegium secundum (Passau, 1698), he provides detailed instructions regarding performance practice in the French style as it was observed at the court of Louis XIV under Jean-Baptiste Lully. Muffat surmises that he is probably the first composer to have brought the French “ballet compositions and their flowing and natural gait, entirely shunning all other art, intemperate runs as well as frequent and ill-sounding jumps” to Austria and Bohemia, Salzburg and Passau. Transferring from Salzburg to Passau had evidently not been a long-intended aspiration. In the preface to Florilegium primum, a sense of disappointment regarding his Salzburg employer becomes apparent: he expresses his gratitude towards the Passau Prince-Bishop all the more.
Muffat issued the preface to his Florilegium primum in four languages, reflecting his Alsatian origins, the different stages of his life (in Paris, Salzburg, Passau and Rome), as well as his education at the Jesuit Latin schools. The multilingualism, however, also expresses Muffat’s personal avowal to unite the nations with his music: “The weapons of war and their causes are far away from me: notes, strings and lovely musical sounds are my exercise, and since I combine the French manner with the German and Italian styles, I do not incite war, but perhaps help to achieve a desirable concord between with these peoples, playing for dear peace.”
Florilegium primum consists of fifty individual flowers (mostly dance movements), making up seven flower bushes (fascicles, suites), combining into one bouquet (florilegium). Muffat probably composed the suites, possibly even the individual dance movements, independently of each other, combining them only for the printed edition.
The Latin titles of course attract attention. The learnedness of a Jesuit-taught composer provokes thought about their significance. Muffat delivers his music to the listener not only for “amusement” but also for “judgement”: apart from its function as entertainment in the chamber and at the table, as well as providing rhythm for dancing, his music was also intended – on another level – to inspire peace.
The three major key fascicles provide the key to a possible interpretation. With regard to both form and content, Eusebia and Constantia (consistency) constitute a bracket. Emperor Constantius II (337-361) and his second wife, Flavia Eusebia (d.360 AD), were followers of Arianism, a Christian theological teaching which, in contrast to the catholic doctrine of the trinity, only recognised the father as God. Accordingly, Jesus Christ was considered as similar, but not equivalent, to God. Impatientia can be considered a central concept of Greek Stoicism. Thus, alongside the purely secular character of ballet music, theological and philosophical layers are also included. The remaining titles, Sperantis Gaudia [expecting pleasure], Gratitudo, Sollicitudo and Blanditiae [indulgence] broaden the spectrum of a human “frame of mind” and demonstrate that music, of course, is much more than mere diversion. It remains open as to what consequences considering these titles may have for interpreters and listeners. However, ignoring them would be wrong and would not do justice to the universal thinking of the modern era, or to Georg Muffat’s intentions.

muzycy:
Ensemble Salzburg Barock

utwory:
Fasciculus I - Eusebia Ouverture
Fasciculus I - Eusebia Air
Fasciculus I - Eusebia Sarabande
Fasciculus I - Eusebia Gigue 1
Fasciculus I - Eusebia Gavotte
Fasciculus I - Eusebia Gigue 2
Fasciculus I - Eusebia Menuet
Fasciculus II - Sperantis Gaudia Ouverture
Fasciculus II - Sperantis Gaudia Balet
Fasciculus II - Sperantis Gaudia Bourée
Fasciculus II - Sperantis Gaudia Rondeau
Fasciculus II - Sperantis Gaudia Gavotte
Fasciculus II - Sperantis Gaudia Menuet 1
Fasciculus II - Sperantis Gaudia Menuet 2 - Menuet 1 da capo
Fasciculus III - Gratitudo Ouverture
Fasciculus III - Gratitudo Balet
Fasciculus III - Gratitudo Air
Fasciculus III - Gratitudo Bourée
Fasciculus III - Gratitudo Gigue
Fasciculus III - Gratitudo Gavotte
Fasciculus III - Gratitudo Menuet
Fasciculus IV - Impatientia Symphonie
Fasciculus IV - Impatientia Balet
Fasciculus IV - Impatientia Canaries
Fasciculus IV - Impatientia Gigue
Fasciculus IV - Impatientia Sarabande
Fasciculus IV - Impatientia Bourée
Fasciculus IV - Impatientia Chaconne
Fasciculus V - Sollicitudo Ouverture
Fasciculus V - Sollicitudo Allemande
Fasciculus V - Sollicitudo Air
Fasciculus V - Sollicitudo Gavotte
Fasciculus V - Sollicitudo Menuet 1
Fasciculus V - Sollicitudo Menuet 2 - Menuet 1 da capo
Fasciculus V - Sollicitudo Bourée
Fasciculus VI - Blanditiae Ouverture
Fasciculus VI - Blanditiae Sarabande
Fasciculus VI - Blanditiae Bourée
Fasciculus VI - Blanditiae Chaconne
Fasciculus VI - Blanditiae Gigue
Fasciculus VI - Blanditiae Menuet
Fasciculus VI - Blanditiae Eccho
Fasciculus VII - Constantia Air
Fasciculus VII - Constantia Entrée des Fraudes
Fasciculus VII - Constantia Entrée des Insultes
Fasciculus VII - Constantia Gavotte
Fasciculus VII - Constantia Bourée
Fasciculus VII - Constantia Menuet 1
Fasciculus VII - Constantia Menuet 2 - Menuet 1 da capo
Fasciculus VII - Constantia Gigue

wydano: 2015-10-09
more info: www.challenge.nl

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