Gottlieb Muffat was a son of Georg Muffat, whose organ and orchestral works played an important role in introducing international styles into the German tradition. The younger Muffat's works have just begun to emerge from archives; the present collection of suites was discovered in a manuscript by the American-German harpsichordist Mitzi Meyerson, who makes a superb case for them here. The booklet notes are in the form of an interview with the performer, which is commended to all who want to sharpen their ears for the ...
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Gottlieb Muffat was a son of Georg Muffat, whose organ and orchestral works played an important role in introducing international styles into the German tradition. The younger Muffat's works have just begun to emerge from archives; the present collection of suites was discovered in a manuscript by the American-German harpsichordist Mitzi Meyerson, who makes a superb case for them here. The booklet notes are in the form of an interview with the performer, which is commended to all who want to sharpen their ears for the abundant genre of the Baroque keyboard suite. Meyerson's enthusiasm is contagious, both verbally and at the keyboard. Her main point is that Muffat, who went east from his father's Salzburg home base and became court organist in Vienna in the middle of the eighteenth century, was, like his father, a sort of sampler-of-all-styles who tried to take listeners on a kind of musical adventure. The two discs here contain six suites for keyboard, plus a seventh work designated as a suite but...
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