(Ga-ôrg’ Moo’-fat) 1653–1704 German composer During the 1660s, Muffat worked with Lully in Paris, later visiting Vienna, Prague, Salzburg and Rome. The deep impression that his Italian and French studies made is reflected in four important collections. Armonico tributo (1682) consists of five sonatas modelled on Corelli’s concertos. These were revised and included along with six new concertos ...
(Bâr-när’-do Pas-kwe’-ne) 1637–1710 Italian composer Pasquini was a keyboard virtuoso and teacher working in Rome, who numbered Muffat, Francesco Gasparini (1668–1727) and Domenico Zipoli (1688–1726) among his pupils. He benefited from several of the leading Roman patrons of the time, including the cardinals Pamphili and Ottoboni, as well as from the exiled Queen Christina of Sweden. He served ...
the aria’s success with Charon is equivocal (the boatman falls asleep), its vocal pyrotechnics have never failed to hold Monteverdi’s audiences in thrall. Introduction | Early Baroque | Classical Personalities | Georg Muffat | Early Baroque | Classical ...
Baroque era. With a sharply dotted rhythm in its introductory bars followed by a faster fugal section, the style was widely imitated throughout Europe. Johann Sigismund Kusser (1660–1727) and Muffat, both pupils of Lully, disseminated his overture and dance style in Germany, providing models for composers of the next generation such as J. S. Bach, George ...
treatise on counterpoint that influenced the greatest Viennese choral composers of the late eighteenth century, including Mozart and Joseph Haydn (1732–1809). Fux was a respected teacher who trained Gottlieb Muffat and Jan Dismas Zelenka (1679–1745), and in his frail later years was assisted by Caldara. Introduction | Late Baroque | Opera Personalities | John Gay | Late Baroque | Opera ...
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