PART I:
A Documentary Biography
PART II:
Catalogue of Works and Sources
Copy-editing: Inge Praxl, HOLLITZER Wissenschaftsverlag (Vienna, Austria)
Layout and Cover: Barbara Ebeling (Vienna, Austria)
Printed and bound in the EU
Alison J. Dunlop: The Life and Works of Gottlieb Muffat (1690—1770)
Part I: A Documentary Biography
Part II: Catalogue of Works and Sources
Vienna: HOLLITZER Wissenschaftsverlag, 2013
Cover image: Gottlieb Muffat’s signature, detail from Testament Heinrich Holzhauser. Wiener Stadt- und Landesarchiv (Alte Ziviljustiz, A1 – Testamente: 3948/1726)
© HOLLITZER Wissenschaftsverlag, Wien 2013
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PART I: A Documentary Biography
Preface
Acknowledgements
Abbreviations
BIOGRAPHY
Muffat family genealogy
Biographical sources
The father: Georg Muffat
Gottlieb Muffat
Gottlieb Muffat’s children
Gottlieb Muffat’s siblings
Posterity
WORKS
Cultivation of keyboard music in Vienna
Compositional output
Reception and transmission of works
Sources
Discussion of individual sources
Conclusion
PART II: Catalogue of Works and Sources
THEMATIC CATALOGUE
Abbreviations
Notes on usage
Works printed during Gottlieb Muffat’s lifetime (A)
Keyboard partitas (B)
Anonymous partitas of uncertain authorship (App B)
Other keyboard works (C)
Chamber works (D)
Works in the archive of the Berlin Sing-Akademie by Georg Muffat
Index of works arranged by genre and key
MUSICAL SOURCES
Notes on usage
Index of sources and works
Source descriptions
Index of copyists
Index of provenance
APPENDIX
Bibliography
Index of musical sources
Index of names
This book originated as a project on copyists of keyboard music active in Vienna during Gottlieb Muffat’s lifetime. Subsequent source finds, however, have taken my research in different directions and this study now explores various aspects of Muffat’s biography and works.1 In December 2007, a number of hitherto unknown music manuscripts by both Gottlieb and Georg Muffat in the archive of the Berlin Sing-Akademie came to my attention. The size of this collection of Muffat manuscripts is unparalleled and it soon became apparent that it would not be possible to evaluate these sources without access to a thematic catalogue. Although Friedrich W. Riedel had catalogued Gottlieb Muffat’s music approximately fifty years prior to the commencement of this study and his system is now well established, his catalogue is only publicly available in outline form (in Die Musik in Geschichte und Gegenwart2 and in The New Grove Dictionary of Music and Musicians3). It was therefore necessary to prepare a new catalogue of works and sources for this study, the product of which can be found in the second part of the Muffat Compendium (The Life and Works of Gottlieb Muffat (1690–1770): Catalogue of Works and Sources). A comparative study soon revealed the significance of the Muffat items in the Sing-Akademie collection: the majority of works are unique and almost all copies are the most reliable extant sources of pieces for which there are concordances. This naturally opens up many possibilities for further research. The collection allows us to reconsider Muffat’s repertoire in terms of his treatment of genre, style, influences, individuality and chronology. It also affirms Muffat’s position as the most eminent composer of keyboard music in the first half of the eighteenth century in Vienna.
As the structure of my catalogue had been determined before Professor Riedel kindly granted me access to consult his handwritten catalogue,4 the two catalogues vary considerably in their approach to classifying Muffat’s music. Muffat’s output is largely confined to keyboard music and very few works can be dated. During his lifetime only two works were published (these were not assigned opus numbers) and the composer does not appear to have catalogued his own work. For these reasons, the catalogue could not be based on a conventional model, i. e. works could not be ordered by chronology, nor could they be easily divided into secular and sacred output or even strictly arranged by genre. Riedel’s catalogue groups works thematically and a continuous numbering sequence is employed. I decided to divide the catalogue into four distinct sections—printed works, keyboard partitas, other keyboard works, and chamber works—in which pieces are grouped as sets (where the sources would imply Muffat intended them to be so) or by tonality. A separate section is dedicated to the two printed works as they are among the very few which can be confidently attributed to Muffat—the authenticity of many other works is a matter of contention as stylistic and source-based evidence is not always sufficient to allow one to establish authorship.
All manuscript sources of Muffat’s music were personally consulted for this study with the exception of those which could not be located when I was conducting archival research (in these three instances microfilm copies were used). In addition to providing a synthesis of literature on Muffat source studies, a number of secondary sources, such as auction, library and collectors’ catalogues and letters, have been used in order to help unravel the transmission history of Muffat’s music in the eighteenth and nineteenth centuries. A detailed description of sources is found in the second volume of the Muffat Compendium and hypotheses about the provenance and dissemination of manuscripts are discussed in the main text.
The focus of my research shifted once again when I began to pursue Gottlieb Muffat’s biography. Curiosity about how a composer and musician of Muffat’s stature could have been almost erased from history was the motivation for research in this area. The starting point was to establish an accurate chronology of Muffat’s life but it soon became clear that all traces of the composer had not disappeared: Not dozens, but hundreds, of documents pertaining to Gottlieb Muffat and his family have survived within various institutions—a striking contrast to the relatively few extant music manuscripts. Yet in spite of the large number of biographical sources, very little has been discovered about his private life. As is the case with his teacher Johann Joseph Fux, no personal correspondence, diaries, or contemporary biographies are known; all that survives are a few untrustworthy anecdotes and so in this respect Muffat ‘counts among the lost’.5
My research into Gottlieb Muffat’s biography can be divided into two separate strands. The first is an investigation of Muffat family biography within social and historical contexts. For this aspect of my research, church records and legal documents were the primary sources. From these it was possible to glean information about hitherto unknown members of the Muffat family and provide new insights Gottlieb Muffat’s familial circles, social status, and quotidian existence. In spite of numerous articles and several theses dedicated to Muffat, what is commonly known about him is restricted to the very brief entries found in reference works such as The New Grove Dictionary of Music and Musicians and Die Musik in Geschichte und Gegenwart. This book provides documentary evidence which clarifies the ambiguities and discrepancies found in these articles as well as providing new information about Muffat’s career, salary and travels.
The second strand of biographical research concerns Gottlieb Muffat’s long service at the Viennese imperial court. Musical life at the Viennese imperial court in the eighteenth century has to date been investigated only sporadically. In spite of source-based studies by scholars such as Ludwig von Köchel, Herwig Knaus, Friedrich W. Riedel and Andrea Sommer-Mathis,6 many aspects of musical practice at the Viennese court remain unstudied. It was my aim to document systematically all references to members of the immediate family found in Viennese imperial court records. This resulted in obtaining a more accurate and detailed picture of (primarily musical) life at court during Muffat’s years of service than depicted by Köchel. These documents provide information such as the hierarchical structure of musicians at court, salaries, aspects of ceremony and musicians’ abilities.
1The doctoral dissertation entitled ‘Gottlieb Muffat (1690–1770): A Companion to the Sources’ (Queen’s University Belfast, 2010) serves as the basis for the Muffat Compendium.
2Riedel, Friedrich W., ‘Muffat, Gottlieb’, MGG (i), vol. 9, cols. 919–24.
3Wollenberg, Susan, ‘Muffat, Gottlieb’, Grove Music Online (accessed 1 October 2007).
4Card catalogue in the possession of Professor Friedrich W. Riedel (Sonthofen).
5cf. Köchel, Fux, p. vi.
6Köchel, Fux; Köchel, Hofmusikkapelle; Knaus, Herwig, Die Musiker im Archivbestand des kaiserlichen Obersthofmeisteramts (1637–1705) (Vienna: Böhlau, 1967–69); Knaus, Herwig, Wiener Hofquartierbücher als biographische Quelle für Musiker des 17. Jahrhunderts (Vienna: Böhlau 1965), pp. 178–206; Riedel, Friedrich W., Kirchenmusik am Hofe Karls VI. (1711–1740): Untersuchungen zum Verhältnis von zeremoniell und musikalischem Stil im Barockzeitalter (Munich: Musikverlag Emil Katzbichler, 1977); Sommer-Mathis, Andrea, Die Tänzer am Wiener Hofe im Spiegel der Obersthofmeisteramtsakten und Hofparteienprotokolle bis 1740 (Vienna: Generaldirektion des Österreichischen Staatsarchivs, 1992).
I am grateful to many people for contributing to the completion of this monograph. The Department of Employment and Learning in Northern Ireland, the Society for Musicology in Ireland, and Queen’s University Belfast provided the necessary funding for this research.
In Vienna, there are numerous institutions and individuals to whom I am very grateful. The staff at the Österreichisches Staatsarchiv, in particular those at the Haus-, Hof- und Staatsarchiv, who dealt with my very many diverse enquiries with expertise and courtesy and made it a pleasure to spend so much time there; Reinhard H. Gruber at the Archiv der Metropolitan- und Domkirche zu St. Stephan in Wien for his kindness and granting ‘one last appointment’ on many occasions; the staff at the Archiv der Gesellschaft der Musikfreunde, especially Professor Otto Biba who kindly gave of his time during my visits; Father Christian Fichtinger for enabling my research at the Archiv im Minoritenkonvent zu Wien; the staff of the Wiener Stadt- und Landesarchiv and the Wienbibliothek im Rathaus and Österreichische Nationalbibliothek for their help during my time spent there; and the secretaries at the archives of the Michaelerkirche, Augustinerkirche and Schottenkirche, who were prompt to respond to my enquiries. I am also indebted to my colleagues at the Don Juan Archiv and Hollitzer Wissenschaftsverlag for making the publication of this research possible.
In other parts of Austria, Dr. Norbert Allmer provided me with much information and assistance at the Diözesanarchiv in Graz; Dr. Elka Hammer-Luza of the Steiermärkisches Landesarchiv could not have been more accommodating in dealing with my requests and helped me trace the Muffat family into the nineteenth century; Professor Friedrich W. Riedel and Brother Karlmann Tanzer made my visit to the Benediktinerstift Göttweig one of the most memorable of all during the course of my studies; Dr. Ulrike Engelsberger kindly conducted research for me at the Landesarchiv in Salzburg; and the staff of the Archiv der Erzdiözese Salzburg were very helpful during my visit.
In Germany, there are also many people to whom I wish to express my gratitude. Many months were spent at Staatsbibliothek zu Berlin, where the researchers and librarians dealt with my many requests with promptness and courtesy; I am particularly grateful to Dr. Marina Schieke-Gordienko who showed much interest in my work and shared her expertise with me; the Sing-Akademie zu Berlin kindly provided me with copies for my research and Dr. Axel Fischer was always willing to deal with my enquiries; Dr. Jürgen Neubacher of the Staats- und Universitätsbibliothek Hamburg gave me useful information about sources in Hamburg; Brother Petrus Dischler of the Erzabtei Beuron enabled my visit to the most idyllically situated of archives; Dr. Herbert W. Wurster of the Bischöfliches Ordinariat Passau, Archiv des Bistums dealt very speedily with my enquiries and very kindly provided copies; and the staff at the Bayerische Staatsbibliothek were very attentive during my time spent there.
Elsewhere, Dr. Balázs Mikusi could not have been more accommodating both during my visit to the National Széchényi Library in Budapest and in later correspondence. In the Czech Republic, the staff at the Kromeříž, Arcibiskupský zamek, hudební sbírka were very helpful during my short visit; I am also grateful to the staff of the Moravské zemské museum and the Moravský zemský archive v Brně; Dr. Jana Perutková must also be thanked for sharing her expertise about Questenberg family documents; I also thank the New York Public Library for providing copies for my research.
There are a great number of other individuals to whom I am indebted and cannot adequately express my sincere gratitude. This project would not have been possible without the help of Professor Friedrich W. Riedel, who was always most generous with his time and expertise; Dr. Susan Wollenberg was a great source of encouragement, particularly during the early stages of this project; it was such a pleasure to have made the acquaintance of Professor Thomas Hochradner, I am very grateful to him for his advice and stimulating conversations; I am lucky to enjoy the friendship of Professor Szymon Paczkowski, who has advised me on many matters; I also thank Dr. Michael Maul for his help, friendship and inspiration; Dr. Michael Lorenz was exceedingly generous in sharing his archival finds with me, offered advice on the most diverse aspects of biographical research and gave of his time to proofread the manuscript of this book; Dr. Ladislav Kačic kindly shared his research and expertise with me; I treasure the support, collaboration and sharp wit of Professor Glen Wilson.
I would also like to thank all the staff at the School of Music and Sonic Arts, Queen’s University Belfast; I could not have asked for a better Doktorvater, Professor Yo Tomita, and am equally grateful to my second supervisor Professor Ian Woodfield for his advice, encouragement and calming reassurance. I could also not forget the help of visiting Professor Robin Leaver.
I hope that my family and friends know how much I have appreciated their love and patience. Lastly, I thank all the people I have been fortunate to have met to date on my quest to discover Muffatiana. They have made this journey an unforgettable one.
A-Gd |
Bibliothek des Bischöflichen Seckauer Ordinariats, Graz |
A-Gla |
Steiermärkisches Landesarchiv, Graz |
A-GÖ |
Benediktinerstift Göttweig, Musikarchiv, Furth bei Göttweig |
A-Sae |
Archiv der Erzdiözese Salzburg, Salzburg |
A-SE |
Benediktiner-Abtei, Bibliothek, Seckau |
A-Sl |
Landesarchiv, Salzburg |
AT-OeStA |
Österreichisches Staatsarchiv, Vienna |
A-Wa |
St. Augustin, Pfarrarchiv, Vienna |
A-Wd |
St. Stephan, Dompfarre, Vienna |
A-Wgm |
Archiv der Gesellschaft der Musikfreunde in Wien, Vienna |
A-Wm |
Minoritenkonvent, Klosterbibliothek und Archiv, Vienna |
A-Wn |
Österreichische Nationalbibliothek, Musiksammlung, Vienna |
A-Wsa |
Wiener Stadt- und Landesarchiv, Vienna |
A-Wst |
Wienbibliothek im Rathaus, Vienna |
A-Wstm |
St. Michael, Pfarrarchiv, Vienna |
ÄZA |
Ältere Zeremonialakten (in HHStA OMeA) |
BayHstA |
Bayerisches Hauptstaatsarchiv, Munich |
B-Bc |
Conservatoire Royal de Musique, Bibliothèque, Brussels |
B-Br |
Bibliothèque Royale Albert 1.er, Brussels |
CH-Bu |
Öffentliche Bibliothek der Universität Basel, Musiksammlung, Basel |
CZ-Bm |
Moravské zemské museum, Brno |
CZ-KR |
Knihovna arcibiskupského zamku, Kromeříž |
CZ-Pnm |
Narodní muzeum – Muzeum České hudby, hudební archiv, Prague |
D-As |
Staats- und Stadtbibliothek, Augsburg |
D-B |
Staatsbibliothek zu Berlin Preußischer Kulturbesitz, Musikabteilung |
D-BEU |
Bibliothek der Benediktiner-Erzabtei, Beuron |
D-Bhm |
Universität der Künste, Universitätsbibliothek, Berlin |
D-Bim |
Staatlisches Institut für Musikforschung, Berlin |
D-Bsa |
Sing-Akademie zu Berlin (in D-B) |
D-Dl |
Sächsische Landesbibliothek – Staats- und Universitätsbibliothek, Dresden |
D-Dla |
Sächsisches Hauptstaatsarchiv, Dresden |
D-Hs |
Staats- und Universitätsbibliothek Carl von Ossietzky, Musikabteilung, Hamburg |
D-LEb |
Bach-Archiv, Leipzig |
D-LEm |
Städtische Bibliotheken, Musikbibliothek, Leipzig |
D-Mbs |
Bayerische Staatsbibliothek, Musikabteilung, Munich |
D-Po |
Archiv des Bistums, Passau |
D-Rp |
Bischöfliche Zentralbibliothek, Proske-Musikbibliothek, Regensburg |
DK-Kk |
Det kongelige Bibliotek Slotsholmen, Copenhagen |
F-Pmeyer |
Collection André Meyer (in the Bibliothèque nationale de France, Département de la Musique), Paris |
FHKA AHK |
Finanz- und Hofkammerarchiv, Alte Hofkammer, Hoffinanz (in AT-OeStA) |
FHKA SUS |
Finanz- und Hofkammerarchiv, Sonderbestände, Sammlungen und Selekte (in AT-OeStA) |
FIN-A |
Åbo (Turku), Sibeliusmuseum Musikvetenskapliga Institutionen vid Åbo Akademi, Bibliotek & Arkiv, Åbo |
GB-Cfm |
Fitzwilliam Museum, Cambridge |
GB-Lbm |
Royal College of Music, London |
GehKZ |
Akten des Geheimen Kammerzahlamts (in HHStA HA) |
H-Bami |
Magyar Tudomanyos Akadémia Zenetudomanyi Intézet Könyvtara, Budapest |
H-Bn |
Orszagos Széchényi Könyvtar, Budapest |
H-SG |
Somogyi Könyvtar, Szeged |
HHStA |
Haus-, Hof- und Staatsarchiv, Vienna |
HMK |
Hofmusikkapelle Akten (in HHStA HA) |
HZAB |
Hof- und Kameralzahlamtsbücher (in AT-OeStA FHKA SUS) |
HWA SR |
Hofwirtschaftsamt (Hofkontrolloramt), Sonderreihe (Hofkontrolloramts-Ordonanzbücher) (in HHStA HA) |
I-Gremondini |
Biblioteca privata P. C. Remondini, Genova |
NL-DHgm |
Gemeentemuseum, Den Haag |
NL-Uim |
Instituut vor Muziekwetenschap der Rijksuniversiteit, Utrecht |
ÖNB |
Österreichische Nationalbibliothek (excluding the Musiksammlung) |
OMaA |
Akten des Obersthofmarschallamts (in HHStA) |
OMeA |
Obersthofmeisteramt (in HHStA) |
OMeA ÄR |
Obersthofmeisteramtsakten (in HHStA HA) |
OMeA Prot. |
Obersthofmeisteramt Hofparteienprotokolle und Geschäftsbücher (Protokoll in Hofparteiensachen) (in HHStA HA) |
PM |
Protocollum mortuorum (in A-Wd) |
SK-BRm |
Archív mesta Bratislavy, Bratislava |
SK-BRu |
Univerzitna knižica, Bratislava |
TBP |
Totenbeschauprotokolle (in A-Wsa 1.1.10 Totenbeschreibamt) |
US-CA |
Harvard University, Harvard College Library, Cambridge, MA |
US-NYp |
New York Public Library at Lincoln Center, Music Division, New York |
US-PHu |
University of Pennsylvania Libraries, Philadelphia Sibley |
US-R |
Music Library, Eastman School of Music, University of Rochester, Rochester, New York |
US-Wc |
Library of Congress, Music Division, Washington |
ZA |
Hofzeremonielldepartement (in HHStA OMeA) |
ZA-Prot. |
Zeremonialprotokolle (in HHStA OMeA) |
Adelung |
Adelung, Johann Christoph, Grammatisch-kritisches Wörterbuch der Hochdeutschen |
Altmann, Berlin Staatsbibliothek |
Altmann, Wilhelm, ‘Die Musikabteilung der Preußischen Staatsbibliothek in Berlin’, Zeitschrift für Musikwissenschaft’ 3/7 (1920–21), pp. 426–37. |
Biba, Bach-Pflege |
Biba, Otto, ‘Bach-Pflege in Wien von Gottlieb Muffat bis Johann Georg Albrechtsberger’, Mundus Organorum. Festschrift Walter Supper zum 70. Geburtstag, ed. Alfred Reichling (Berlin: Merseburger, 1978), pp. 21–34. |
Biba, Bach-Tradition |
Biba, Otto, ‘Von der Bach-Tradition in Österreich’, Bach – in Salzburg. Festschrift zum 25-jährigen Bestehen der Salzburger Bachgesellschaft (Salzburg: Tauriska, 2002), pp. 46–64. Earlier version in Johann Sebastian Bach. Beiträge zur Wirkungsgeschichte (Vienna: Verband der wissenschaftlichen Gesellschaften Österreichs, 1992), pp. 11–33. |
Burney, Musical Tours |
Burney, Charles, The Present State of Music in Germany, the Netherlands, and United Provinces [...] (London: T. Becket & Co., 1775 [reprint Dr Burney’s Musical Tours in Europe, ed. Percy A. Scholes (London: OUP, 1959)]). |
Chew, Christmas pastorella |
Chew, Geoffrey, ‘The Christmas pastorella in Austria, Bohemia and Moravia’ (DPhil, University of Manchester, 1968). |
Csendes/Opll, Wien |
Csendes, Peter and Ferdinand Opll (eds.), Wien. Geschichte einer Stadt. Die frühneuzeitliche Residenz (16. bis 18. Jahrhundert) (Vienna: Böhlau, 2003). |
Deutsch, Currency |
Deutsch, Otto Erich, ‘Currency values and their purchasing power (1725–1934)’, Music and Letters 15/3 (July, 1934), pp. 236–38. |
Grove |
The New Grove Dictionary of Music and Musicians (Grove Music Online) |
Eberhardt, Georg Muffat |
Eberhadt, Markus, ‘Georg Muffat und seine Zeit’, Schmitz, Heinz-Walter (ed.), Georg Muffat. Ein reichfürstlicher Kapellmeister zwischen den Zeiten, ed. Heinz-Walter Schmitz (Passau: Karl Stutz, 2006), pp. 9–69. |
Edge, Mozart |
Edge, Dexter, ‘Mozart’s Viennese copyists’ (PhD thesis, University of Southern California, 2001). |
Eybl, Elisabeth Christine |
Eybl, Martin, ‘Die Kapelle der Kaiserinwitwe Elisabeth Christine (1741–1750) I: Besetzung, Stellung am landesfürstlichen Hof und Hauptkopisten’, Studien zur Musikwissenschaft 45 (1996), pp. 33–66. |
Federhofer, Georg Muffat |
Federhofer, Hellmut, ‘Georg Muffat’, MGG (i), vol. 9, cols. 915–19. |
Federhofer, Steiermark |
Federhofer, Helmut ‘Grundzüge einer Geschichte der Kirchenmusik in Steiermark’, Singende Kirche: Zeitschrift für katholische Kirchenmusik 11/3 (1964), pp. 50–79. |
Federhofer, Unbekannte Kopien |
Federhofer, Hellmut, ‘Unbekannte Kopien von Werken Georg Friedrich Händels und anderer Meister seiner Zeit’, Festschrift Otto Erich Deutsch zum 80. Geburtstag am 5. September 1963, ed. Walter Gerstenberg (Bärenreiter: Kassel, 1963), pp. 51–65. |
Fischer, Gattungsvielfalt |
Fischer, Axel, ‘Gattungsvielfalt und Gattungsschwerpunkte im Archiv der Sing-Akademie zu Berlin’, Das Archiv der Sing-Akademie zu Berlin. Katalog, ed. Axel Fischer and Matthias Kornemann (Berlin: De Gruyter, 2010), pp. 125–32. |
Fischer/Kornemann, Mythen |
Fischer, Axel and Matthias Kornemann, ‘Mythen und Legenden: Die Restitution des Archivs der Sing-Akademie zu Berlin’, Das Archiv der Sing-Akademie zu Berlin. Katalog, ed. Axel Fischer and Matthias Kornemann (Berlin: De Gruyter, 2010), pp. 111–15. |
Forkel, Catalogue |
Verzeichniß der von dem verstorbenen Doctor und Musikdirector Forkel in Göttingen nachgelassenen Bücher und Musikalien welche den 10ten May 1819 und an den folgenden Tagen Nachmittags von 1 bis 2 Uhr und Abends von 6 bis 8 Uhr in der Wohnung des Univ. Gerichts-Procur. Und Notars Fr. Justus Schepeler an der Jüdenstraße in Göttingen meistbietend verkauft wurden. (Göttingen, gedruckt bey F. C. Huth, 1819). |
Gericke, Wiener Musikalienhandel |
Gericke, Hannelore, Der Wiener Musikalienhandel von 1700 bis 1778 (Graz: Böhlau, 1960). |
Harrer-Lucienfeld, Wien Häuser |
Harrer-Lucienfeld, Paul, Wien seine Häuser, Menschen und Kultur (Vienna: author, 1951–58). |
Hintermaier, Graf |
Hintermaier, Ernst, ‘Das Orgelbüchlein des Mattseer Stiftsorganisten Johann Anton Graf aus dem Jahre 1738’, Bach in Salzburg. Festschrift zum 25-jährigen Bestehen der Salzburger Bachgesellschaft (Salzburg: Tauriska, 2002), pp. 84–99. |
Ishii, Froberger |
Ishii, Akira, ‘The toccatas and contrapuntal keyboard works of Johann Jacob Froberger: A study of the principal sources’ (PhD thesis, Duke University, 1999). |
Jahn, Catalogue |
Otto Jahn’s Musikalische Bibliothek und Musikalien-Sammlung. Bonn. 1870. Versteigerung in Bonn am 4. April 1870 und an den folgenden Tagen, Nachmittags 4 Uhr unter Leitung der Herren Joseph Baer in Frankfurt a. M., Max Cohen & Sohn in Bonn, M. Lempertz in Bonn im Auctionslocal des Letzteren. |
Kačic, Fuxiana |
Kačic, Ladislav, ‘Fuxiana bei P. Pantaleon Roškovský, OFM: Ein Beitrag zur Rezeption der Musik für Tasteninstrumente von Johann Joseph Fux in der Slowakei’, Jahresgabe der Johann Joseph Fux Gesellschaft 25 (2002), pp. 1–24. |
Kačic, Muffatiana |
Kačic, Ladislav, ‘Muffatiana in der Slowakei’, Musicologica Istropolitana IV (2005), pp. 61–80. |
Kier, Kiesewetter |
Kier, Herfrid, Raphael Georg Kiesewetter (1773–1850) Wegbereiter des musikalischen Historismus (Regensburg: Gustav Bosse, 1968). |
Kobayashi, Frühe Bach-Quellen |
Kobayashi, Yoshitake, ‘Frühe Bach-Quellen im altösterreichischen Raum’, Johann Sebastian Bach. Beiträge zur Wirkungsgeschichte (Vienna: Verband der wissenschaftlichen Gesellschaften Österreichs, 1992), pp. 35–46. |
Köchel, Fux |
Köchel, Ludwig Ritter von, Johann Joseph Fux: Hofcompositor und Hofkapellmeister der Kaiser Leopold I., Josef I., und Karl VI. von 1698 bis 1740 (Vienna: Beck’sche Universitäts-Buchhandlung, 1872 [reprint Hildesheim: Georg Olms, 1974]). |
Köchel, Hofmusikkapelle |
Köchel, Ludwig Ritter von, Die kaiserliche Hof-Musikkapelle in Wien von 1543 bis 1867 (Vienna: Beck’sche Universitäts-Buchhandlung (Alfred Hölder), 1869 [reprint Hildesheim: Georg Olms, 1976]). |
Mat’a/Winkelbauer, Habsburgermonarchie |
Mat’a, Petr and Thomas Winkelbauer (eds.), Die Habsburgermonarchie 1620 bis 1740. Leistungen und Grenzen des Absolutismusparadigams (Stuttgart: Franz Steiner, 2006). |
MacIntyre, Viennese concerted Mass |
MacIntyre, Bruce Campbell, ‘The Viennese concerted Mass of the early classic period: History, analysis, and thematic catalogue’ (PhD thesis, City University of New York, 1984). |
Marpurg, Abhandlung |
Marpurg, Friedrich Wilhelm, Abhandlung von der Fuge nach den Grundsätzen und Exempeln der besten deutschen und ausländischen Meister entworfen (Berlin, 1753 [reprint Laaber: Laaber, 2002]). |
Marpurg, Legende |
Marpurg, Friedrich Wilhelm, Legende einiger Musikheiligen (Cologne, 1786 [reprint Leipzig: Peters, 1977]). |
Maul, Questenberg (i) |
Maul, Michael, ‘How relevant is Count Jan Adam von Questenberg for the genesis of the B-minor Mass? A preliminary report’, International Symposium: Understanding Bach’s B-minor Mass. Discussion Book 1, ed. Elise Crean, Ian Mills and Yo Tomita (Belfast: Queen’s University Belfast, 2007), pp. 27–32. |
Maul, Questenberg (ii) |
Maul, Michael, ‘ “Die große catholische Messe”. Bach, Graf Questenberg und die ‘Musicalische Congregation’ in Wien’, Bach-Jahrbuch 95 (2009), pp. 153–76. |
Maunder, Keyboard Instruments |
Maunder, Richard, Keyboard Instruments in Eighteenth-Century Vienna (Oxford: Clarendon Press, 1998). |
MGG (i) |
Die Musik in Geschichte und Gegenwart (first edition) |
MGG (ii) |
Die Musik in Geschichte und Gegenwart (second edition) |
Ogesser, St. Stephan |
Ogesser, Joseph, Beschreibung der Metropolitankirche zu St. Stephan in Wien (Vienna: von Ghelensche Erben, 1779). |
Rampe, Georg Muffat |
Rampe, Siegbert, ‘Georg Muffat’, MGG (ii), Personenteil, vol. 12, cols. 769–75. |
Raynaud, Savoyische Einwanderung |
Raynaud, Franziska, Savoyische Einwanderungen in Deutschland (15. bis 19. Jahrhundert) (Neustadt an der Aisch: Degener & Co., 2001). |
Riedel, Muffat Werkverzeichnis (R) |
Riedel, Friedrich W., Muffat Werkverzeichnis (MS in author’s possession) |
Riedel, Einfluss |
Riedel, Friedrich W., ‘Der Einfluss der italienischen Klaviermusik des 17. Jahrhunderts auf die Entwicklung der Musik für Tasteninstrumente in Deutschland während der ersten Hälfte des 18. Jahrhunderts’, Studien zur italienisch-deutschen Musikgeschichte 5 (1968), pp. 18–33. |
Riedel, Fischer |
Riedel, Friedrich W., ‘Johann Caspar Ferdinand Fischers Kompositionen für Tasteninstrumente in ihrer Bedeutung für die Stilentwicklung am Wiener Hof’, J. C. F. Fischer in seiner Zeit. Tagungsbericht Rastatt 1988, ed. Ludwig Finscher (Frankfurt am Main: Peter Lang, pp. 45–54. |
Riedel, Fuchs/Bach |
Riedel, Friedrich W., ‘Aloys Fuchs als Sammler Bachscher Werke’, Bach-Jahrbuch 47 (1961), pp. 83–99. |
Riedel, Fux |
Fux, Johann Joseph, Werke für Tasteninstrumente, ed. Friedrich W. Riedel (Kassel: Bärenreiter, 1964). |
Riedel, Kirchenmusik |
Riedel, Friedrich W., Kirchenmusik am Hofe Karls VI. (1711–1740): Untersuchungen zum Verhältnis von zeremoniell und musikalischem Stil im Barockzeitalter (Munich: Musikverlag Emil Katzbichler, 1977). |
Riedel, Minoritenkonvent |
Riedel, Friedrich W., Das Musikarchiv im Minoritenkonvent zu Wien (Kassel: Bärenreiter, 1963). |
Riedel, Römische |
Riedel, Friedrich W., ‘Johann Joseph Fux und die römische Palestrina-Tradition’, Die Musikforschung 14/1 (1961), pp. 14–22. |
Riedel, Wiener Minoriten |
Riedel, Friedrich W., ‘Die Wiener Minoriten und ihre Musikpflege’, Musik und Geschichte. Gesammelte Aufsätze und Vorträge zur musikalischen Landeskunde. Studien zur Landes- und Sozialgeschichte der Musik 10 (Munich: Emil Katzbichler, 1989), pp. 100–106. |
Riemann, Geschichte |
Riemann, Hugo, Geschichte der Musik seit Beethoven (1800–1900) (Berlin: W. Spemann, 1901). |
Rohling, Viennese Bruderschaften |
Rohling, Geraldine M. ‘Exequial and Votive Practices of the Viennese Bruderschaften’ (PhD thesis, The Catholic University of America, 1996). |
SA Katalog |
Fischer, Axel, Matthias Kornemann et al., Das Archiv der Sing-Akademie zu Berlin. Katalog (Berlin: De Gruyter, 2010). |
Sachs, Berlin |
Sachs, Curt, Musikgeschichte der Stadt Berlin bis zum Jahre 1800: Stadtpfeifer, Kantoren und Organisten an den Kirchen städtischen Patronats nebst Beiträgen zur allgemeinen Musikgeschichte Berlins (Berlin: Gebrüder Paetel, 1908 [reprint Hildesheim: Georg Olms, 1980]). |
Schaal, Fischhof |
Schaal, Richard, ‘Dokumente zur Wiener Musiksammlung von Joseph Fischhof: Ihre Erwerbung durch die Berliner Staatsbibliothek’, Mozart Jahrbuch 1967 (1968), pp. 339–47. |
Scheutz/Wührer, Instruktionsbücher |
Scheutz, Martin and Jakob Wührer, ‘Dienst, Pflicht, Ordnung und „Gute Policey“. Instruktionsbücher am Wiener Hof im 17. und 18. Jahrhundert’, Der Wiener Hof im Spiegel der Zeremonial-Protokolle (1652–1800). Eine Annäherung, ed. Irmgard Pangerl, Martin Scheutz and Thomas Winkelbauer (Innsbruck: Studien Verlag, 2007), pp. 15–228. |
Schmitz, Georg Muffat |
Schmitz, Heinz-Walter (ed.), Georg Muffat. Ein reichsfürstlicher Kapellmeister zwischen den Zeiten (Passau: Karl Stutz, 2006). |
Schmitz, Passauer Musikgeschichte |
Schmitz, Heinz-Walter, Passauer Musikgeschichte. Die Kirchenmusik zur Zeit der Fürstbischöfe und in den Klöstern St. Nikola, Vornbach und Fürstenzell (Passau: Karl Stutz, 1999). |
Tyson |
Mozart, Wolfgang Amadeus, Neue Ausgabe sämtlicher Werke, X/33: Dokumentation der Autographen Überlieferung. Abteilung 2: Wasserzeichen-Katalog, ed. Alan Tyson (Kassel: Bärenreiter, 1992). |
Vogeleis, Elsaß |
Vogeleis, Martin, Quellen und Bausteine zu einer Geschichte der Musik und des Theaters im Elsaß 500–1800 (Strasbourg: F. X. Le Roux & Co., 1911). |
Walther, Musicalisches Lexicon |
Walther, Johann Gottfried, Musicalisches Lexicon oder musicalische Bibliothec [...] (Leipzig: Wolffgang Deer, 1732). |
Weigl, Demographischer Wandel |
Weigl, Andreas, Demographischer Wandel und Modernisierung in Wien (Wien: Pichler, 2000). |
Weinmann, Traeg |
Weinmann, Alexander, Johann Traeg: Die Musikalienverzeichnisse von 1799 und 1804 (Handschriften und Sortiment) (Vienna: Universal Edition, 1973). |
Wollenberg, Frescobaldi |
Wollenberg, Susan, ‘A note on three fugues attributed to Frescobaldi’, The Musical Times 116/1584 (Feb., 1975), pp. 133–35. |
Wollenberg, Jupiter theme |
Wollenberg, Susan, ‘The Jupiter theme: new light on its creation’, The Musical Times 116/1591 (Sep., 1975), pp. 781–83. |
Wollenberg, Viennese |
Wollenberg, Susan, ‘Viennese keyboard music in the reign of Karl VI (1712-40): Gottlieb Muffat and his contemporaries’ (DPhil, Oxford, 1974). |
Wurster, Bistum Passau |
Wurster, Herbert W., Das Bistum Passau und seine Geschichte, vol. 3 (Strasbourg: Editions du Signe, 2002). |
Wurzbach, Biographisches Lexikon |
Wurzbach, Constantin, Biographisches Lexikon des Kaiserthums Oesterreich (Vienna: Universitäts-Buchdruckerei, 1856–91). |
72 Versetl |
Muffat, Gottlieb, 72 Versetl sammt 12 Toccaten |
72 Versetl (Broude facsimile) |
Muffat, Gottlieb, 72 Versetl sammt 12 Toccaten |
Adler, 72 Versetl |
Muffat, Gottlieb, 12 Toccaten und 72 Versetl für Orgel und Klavier, ed. Guido Adler (Vienna: Universal-Edition, 1922 [= DTÖ 58]). |
Adler, Componimenti |
Muffat, Gottlieb, Componimenti Musicali per il Cembalo, ed. Guido Adler (Vienna: Artaria, 1896 [= DTÖ 7]). |
Benedikt, Ricercars and Canzonas |
Muffat, Gottlieb, Die 32 Ricercaten und 19 Canzonen, ed. Erich Benedikt (Vienna: Doblinger, 2003). |
Benedikt, Toccatas and Capriccios |
Muffat, Gottlieb, Die 24 Toccaten mit Capriccios, ed. Erich Benedikt (Vienna: Doblinger, 2005). |
Chrysander, Componimenti |
Muffat, Gottlieb, Componimenti Musicali per il Cembalo, ed. Friedrich Chrysander (Leipzig: Deutsche Händelgesellschaft, 1896). |
Componimenti Musicali |
Muffat, Gottlieb, Componimenti Musicali per il Cembalo (Augsburg: Johann Christian Leopold, ca. 1736–39). |
Componimenti Musicali (Broude facsimile) |
Muffat, Gottlieb, Componimenti Musicali per il Cembalo (Augsburg: Johann Christian Leopold, ca. 1736–39. Facsimile edition by Broude Brothers, Monuments of Music and Music Literature in Facsimile I/8, 1967). |
Haselböck, B flat major Concerto |
Muffat, Gottlieb, Konzert B-Dur, ed. Martin Haselböck (Vienna: Universal Edition, 2001). |
Haselböck, C major Concerto |
Muffat, Gottlieb, Konzert C-Dur, ed. Martin Haselböck (Vienna: Universal Edition, 2001). |
Haselböck, F major Concerto |
Muffat, Gottlieb, Konzert F-Dur, ed. Martin Haselböck (Vienna: Universal Edition, 2001). |
Hogwood, Handel/Muffat Fugues |
Muffat, Gottlieb, George Frideric Handel 6 Fugues for Keyboard (1735) HWV 605–610 ‘mises dans une autre applicature pour la facilité de la main’ by Gottlieb Muffat (1736), ed. Christopher Hogwood (Bologna: UT Orpheus Edizioni, 2008). |
Hogwood, Handel/Muffat Suites |
Muffat, Gottlieb, George Frideric Handel 8 Suites for Keyboard (1720) HWV 426–433 ‘mises dans une autre applicature pour la facilité de la main’ by Gottlieb Muffat (1736), ed. Christopher Hogwood (Bologna: UT Orpheus Edizioni, 2007). |
Hogwood, Componimenti |
Muffat, Gottlieb, Componimenti Musicali (1739) for Harpsichord, ed. Christopher Hogwood (Bologna: UT Orpheus Edizioni, 2009). |
Kneihs, Sonata Pastorale |
Muffat, Gottlieb, Sonata Pastorale a 3, ed. Hans Maria Kneihs (Vienna: Doblinger, 1970). |
Löschenkohl, 72 Versetl |
Muffat, Gottlieb, XII kleine Fugen sammt 2 Toccaten (Vienna: Hieronymus Löschenkohl, [s. d.] (A-Wgm Q 14379). Fascimile edition by Fuzeau, 2007). |
Luntz, Concerti grossi |
Muffat, Georg, Concerti grossi I, ed. Erwin Luntz (Vienna: Artaria, 1904 [= DTÖ 23]). |
NBA |
Johann-Sebastian-Bach-Institut Göttingen and Bach-Archiv Leipzig (eds), Johann Sebastian Bach. Neue Ausgabe Sämtlicher Werke (Kassel: Bärenreiter, 1954f.) |
NBA KB |
Kritischer Bericht to NBA (see above) |
Rampe, Ebner/Muffat |
Muffat, Georg and Wolfgang Ebner, Sämtliche Werke für Clavier (Orgel), ed. Siegbert Rampe (Kassel: Bärenreiter, 2003–04). |
Riedel, Preludes |
Muffat, Gottlieb, Zwölf Kleine Praeludien, ed. Friedrich W. Riedel (Cologne: Fr. Kistner & C. F. W. Siegel & Co., 1960). |
Riedel, 6 Fugues |
Muffat, Gottlieb, Sechs Fugen, ed. Friedrich W. Riedel (Cologne: Fr. Kistner & C. F. W. Siegel & Co., 1958). |
Riedel, Toccatas and Capriccios 1 |
Muffat, Gottlieb, Drei Toccaten und Capriccios, ed. Friedrich W. Riedel (Cologne: Fr. Kistner & C. F. W. Siegel & Co., 1959). |
Riedel, Toccatas and Capriccios 2 |
Muffat, Gottlieb, Drei Toccaten und Capriccios, ed. Friedrich W. Riedel (Cologne: Fr. Kistner & C. F. W. Siegel & Co., 1960). |
Rietsch, Florilegium I |
Muffat, Georg, Florilegium Primum für Streichinstrumente, ed. Heinrich Rietsch (Vienna: Artaria, 1894 [= DTÖ 2]). |
Rietsch, Florilegium II |
Muffat, Georg, Florilegium Secundum für Streichinstrumente, ed. Heinrich Rietsch (Vienna: Artaria, 1895 [= DTÖ 4]). |
Schächer, Beuron |
Muffat, Gottlieb, Zwei Partiten (a-moll/C-Dur) für Cembalo (Orgel, Klavier), ed. Raimund Schächer (Stuttgart: Cornetto-Verlag, 2008). |
Schenk, Armonico tributo |
Muffat, Georg, Armonico tributo 1682. Sechs Concerti grossi 1701, ed. Erich Schenk (Vienna: Universal-Edition, 1953 [= DTÖ 89]). |
Upmeyer, 72 Versetl |
Muffat, Gottlieb, 72 Versetl samt 12 Toccaten (1726), ed. Walter Upmeyer (Kassel: Bärenreiter, 1952). |
Walter, Organ Masses |
Muffat, Gottlieb, Missa in F et C, ed. Rudolf Walter (Vienna: Doblinger, 1980). |
Walter, Toccatinen |
Muffat, Gottlieb, Toccatinen, Praeludien, Capricci für Positiv oder Orgel, ed. Rudolf Walter (Vienna: Doblinger, 2009). |
Wollny, Froberger |
Froberger, Johann Jakob, Toccaten, Suiten, Lamenti: Die Handschrift SA 4450 der Sing-Akademie zu Berlin. Faksimile und Übertragung, ed. Peter Wollny (Kassel: Bärenreiter, 2006). |
bn |
bassoon |
kbd |
keyboard instrument (manuals only) |
MDC |
Maestro di Cappella |
org |
organ |
va |
viola |
vc |
violoncello |
vle |
violone |
vn |
violin |
I.Andreas Muffat
m. Margarita (née Orsy)
1.Georg (bap. 1 June 1653, Megève; d. 23 February 1704, Passau)
m. Anna Elisabetha (née Voll) (b. ca. 1646; d. 12 February 1721, Vienna), 29 June 1677, Vienna
II.Children of Georg Muffat (I,1)
1.Maria Anna (Maria Barbara) (bap. 22 December 1678, Salzburg; d. 4 September 1710, Vienna)
m. Carl Caspar Junglieb, 10 May 1708, Vienna
2.Franciscus Maximilianus Josephus (Joseph) (bap. 12 March 1680, Salzburg; d. TBP 6 January 1745, PM 7 January, Vienna)
m. 1. Maria Anna Kollhund (b. ca. 1693, Vienna; d. TBP 13 March 1741, PM 14 March, Vienna), 31 August 1714, Vienna
m. 2. Elisabeth Krickl (née Winckler von Streitfort) (b. ca. 1692; d. 14 May 1757, Vienna), 17 May 1744, Vienna
IIIa. Children of Franciscus Maximilianus Josephus (Joseph) Muffat (II,2)
1.Josephus Matthias Adamus (bap. 13 May 1715, Vienna; d. after 1741)
2.Leopoldus Josephus Franciscus (bap. 21 November 1716, Vienna; d. before 1741)
3.Maria Anna Catharina (bap. 4 August 1718, Vienna; d. after 1741)
4.Carolus Felix (bap. 14 May 1720, Vienna; d. after 1741)
5.Joannes Nepomucenus (bap. 13 April 1722, Vienna, d. 27 May 1722, Vienna)
6.Elisabetha Josepha Barbara (bap. 21 May 1723, Vienna; d. after 1741)
7.Maria Josepha (bap. 1 April 1725, Vienna; d. 6 September 1725, Vienna)
8.Susanna (b. ca. October 1726, Vienna?; d. 6 December 1726, Vienna)
9.Ferdinandus Franciscus Xaverius (bap. 23 December 1727, Vienna; d. PM 19 June 1786, TBP 20 June, Vienna)
10. “Christina” (b. 6 July 1730, Vienna; d. 6 July
1730, Vienna)
3.Franciscus Georgius Godefridus (Franz Georg Gottfried) (bap. 2 November 1681, Salzburg; d. 25 August 1710, Vienna)
m. Maria Theresia Kürner, 19 February 1703, Vienna
IIIb. Children of Franciscus Georgius Godefridus (Franz Georg Gottfried) Muffat (II,3)
1.Joannes Georgius Melchior Maria (bap. 13 September 1706, Vienna; d. 25 August 1740, Vienna?)
4.Sigismundus Fridericus (Friderich) (bap. 30 March 1684, Salzburg; d. after 1723 Mannheim?)
m. Anna Maria Daniel, before 1717, Innsbruck
5.Joannes Sigismundus (bap. 2 June 1685, Salzburg; d. before July 1701, Passau?)
6.Joannes Ernestus (Johann Ernst) (bap. 9 December 1686, Salzburg; d. 24 June (probate documents) or 25 June 1746 (TBP, PM), Vienna)
7.Sigismundus Ignatius (Sigmund) (bap. 15 February 1688, Salzburg; d. 20 March 1760)
m. Maria Sophia Eineder (b. 18 August 1695, Vienna; d. TBP 5 March 1760, PM 7 March, Vienna), 17 May 1722, Vienna
8.Liebgott (Gottlieb) (bap. 25 April 1690, Passau; d. TBP 9 December 1770, PM 11 December, Vienna)
m. Maria Rosalia Eineder (bap. 19 January 1700, Vienna; d. TBP 26 May 1781, PM 28 May, Vienna), 22 May 1719, Vienna
IIIc. Children of Liebgott (Gottlieb) Muffat (II,8)
1.Franciscus Josephus Ignatius Laurentius Thadæus (Franz Joseph) (bap. 9 August 1720, Vienna; TBP 17? [sic] June 1763, PM 19 June, Vienna)
2.Maria Anna Christina (Maria Anna) (bap. 3 July 1725, Vienna; d. TBP 14 March 1759, PM 16 March, Vienna)
m. Jacob Joseph Woller (von Wollersfeld from 12 May 1764) (b. 22 August 1713, Traiskirchen; d. TBP 1 January 1777, PM 3 January, Vienna), 24 February 1754, Vienna
IV. Children of Maria Anna Christina (Maria Anna) Woller (née Muffat) (IIIc,2)
1.Theresia Josepha Rosina Anna Magdalena (bap. 13 January 1756, Vienna; d. 18 January 1756)
2.Maria Anna Aloysia Erasmus Expeditus Thecla Margaretha (Maria Anna) (bap. 26 December 1754, Vienna; d. after 1809)
3.Josephus Dominicus Antonius Judas Thadæus Ignatius Franciscus Xaverius (Joseph Dominik) (bap. 18 January 1758, Vienna; d. 17 November 1809, Graz)
m. Maria Anna Junker (b. ca. 1760, Bozen, Tirol; d. 2 August 1819, Pöltenberg), 10 June 1785, Vienna
V. Children of Josephus Dominicus Antonius Judas Thadæus Ignatius Franciscus Xaverius (Joseph Dominik) Woller (IV,3)
1.Maria (b. ca. 1785; d. 18 October 1788, Vienna)
4. “Christina” (b. 14 March 1759, Vienna; d. TBP 14 March 1759, PM 16 March, Vienna)
3.Franciscus Josephus Joannes Ignatius Felix (bap. 25 June 1727, Vienna; d. 7 March 1728, Vienna)
4.Ignatius Josephus Vitalis Sigismundus (bap. 28 April 1732, Vienna; d. 18 March 1733, Vienna)
5.Joannes Nepomuzenus Carolus Leopoldus Januarius (Johann Karl) (bap. 19 September 1735, Vienna; d. TBP 8 March 1767, PM 10 March, Vienna)
9.Maria Francisca (Maria Anna) (bap. 13 January 1692, Passau; d. 24 June 1760, Salzburg)
m. Karl Josef Perhandzky von Adlersberg (b. Dresden; d. 15 June 1721, Salzburg)
IIId. Children of Maria Francisca (Maria Anna) Perhandzky von Adlersberg (née Muffat) (II,9)
1.Josef Ernst (b. 1709, Salzburg; d. 28 April 1772, Thalgau)
m. 1. Maria Anna Maralt (b. ca. 1713; d. 15 July 1734), 10 November, 1733, Salzburg
m. 2. Antonia Konhauser (b. 25 October 1715, Tittmoning; d. 30 January 1796, Salzburg), 27 September 1735, Teisendorf
2.Karl Johann, (b. ca. 1710; d. 4 February 1781, Salzburg)
m. Franziska Steinheber (b. ca. 1717; d. 10 March 1789, Salzburg)
3.Rosa Josefa (bap. 8 August 1712, Salzburg; d. before 1721)
4.Franz Anton Ignaz (bap. 10 January 1715, Salzburg; d. 27 February 1748, Salzburg)
5.Ignaz Paul (bap. 28 April 1720, Salzburg; d. after 1773)
m. Maria Elisabeth Weiß
This research is the product of an extended period of systematic archival research in Austria, Germany and the Czech Republic. First and foremost, an assessment of these materials allows us to evaluate what influence family background, cultural ties and social spheres may have had on Gottlieb Muffat’s activities as a composer. As has been mentioned in the preface, the discrepancies in secondary literature, which suggested that primary sources were no longer extant, was the initial motivation for this research. As I began to navigate the labyrinth of archives, however, it became apparent that there exists such a vast wealth of sources that it would be impossible to investigate them all within the time constraints of this project. For this reason, this study could not be deemed a holistic one but it is hoped that the biography of Gottlieb Muffat has been considerably embellished. Sources which have been consulted include church records, wills, probate documentation, land registers and Viennese imperial court documents. As primary sources have been examined, the numerous errors which prevail in secondary literature will not be discussed.
Although an array of sources are at our disposal when investigating Muffat family biography, very few items are known to survive which can be connected to anyone in Gottlieb Muffat’s close circle. For example, only one portrait (of Gottlieb Muffat’s son-in-law Jacob Joseph Woller von Wollersfeld) is known, no private letters have yet been found and only a handful of autographs survive. The following table lists both documents in Muffat’s hand and letters and testimonials composed by him but seemingly all in the hand of various professional copyists:
Table 1. Gottlieb Muffat autographs, letters and testimonials
Transcriptions and translations are my own unless stated otherwise. Documents have been transcribed in a semi-diplomatic manner. The layout (line breaks) of the original documents has not been replicated.
Omissions are indicated by [...].
Contemporary orthography has been retained, including capitalization (although in the case of certain letters it is not always possible to differentiate between lower and upper case) with the exception of people’s names, the first letter of which have been capitalized.
Macrons over the letters ‘m’ or ‘n’ are not transcribed, instead these letters have been doubled silently.
Punctuation is as in the original documents (including the use of ‘=’ for hyphenation and ‘/: : /’ for brackets) with two exceptions: hyphenation marks at the end or start of a line where a word has been split have been omitted, and full stops have been inserted at the end of paragraphs where there is no punctuation in the original.
The distinction between German cursive (Kurrentschrift) and Latin script denoting foreign words (or more commonly parts thereof) has not been preserved.
Underlining in the original document is reproduced.
Scribal abbreviations have been omitted (‘l’) or silently expanded (‘-er’ and ‘-en’) by the editor. The manu propria sign has been standardized to ‘mp’.
Where the text is not clearly legible [?] directly follows the word.
Other editorial additions and comments are included in square brackets.
Gottlieb Muffat was christened ‘Liebgott’ (meaning ‘love of God’)7 after his godfather Count Liebgott von Kuefstein (d. 7 July 1710).8 Confusion over his first name often arises due to the large number of variants found in the literature. In primary sources alone, we encounter Amadeus, Gottlieb, Liebgott, Teoffilo, Théophile, and Theophilus. Gottlieb is also referred to as ‘Franz’ in some early OMeA documents (probably erroneously as his older brother Franz Georg Gottfried was employed as a musician at the imperial court at the same time),9 once also as ‘Ernst’ (confused with his brother the violinist Johann Ernst),10 ‘Godfried’ in his marriage record,11 ‘Georgius Theophilus’ in his son Ignatius’s baptism record,12 and as ‘Gottlieb Joseph’ in a letter about his duties as guardian (16 August 1740).13 He is also called ‘Gottlieb August’ (or the reverse) in some nineteenth-century literature; to my knowledge, however, this second Christian name is not found in any contemporary documents.14 Variants of the surname also occur in eighteenth-century sources, for example, Mufat, Muffatt, Muffart, and Mupfart. Occasionally in mid to late eighteenth-century sources one also finds members of the family addressed as ‘von Muffat’—a predicate of nobility; for example, in Franz Joseph’s application to marry15 and in Maria Rosalia’s death records.16
Although he was christened Liebgott, throughout this study, he will be referred to as Gottlieb, the form used by the composer when signing his name. Other family members are referred to by the form of their name most commonly used in primary sources. Where no or few documents pertaining to an individual are known, the German form of their Christian name(s) is used (as opposed to the Latin normally found in baptismal records). As numerous members of the Muffat family are discussed, I will unconventionially primarily refer to each person by their first name(s).
Church records17 are the main source for events discussed under this heading but secondary sources have been used when archival materials could not be consulted. Dates of baptism, as opposed to birth dates, are given throughout, as at this period it is rarely possible to ascertain the latter. Dates of marriages can often not be precisely established as entries in the marriage registers were not made during or after the ceremony, but rather when an application to marry was received. Before the ceremony could take place the dispensation of trinis denuntiationibus—the marriage was announced three times to ensure that there were no impediments—was required. Only after there were shown to be no objections and the couple had taken an oath could the wedding take place. This was normally a couple of weeks after the intention to marry was stated.18 In the case of Franz Joseph Muffat, who married Maria Josepha von Kriegl on 25 July 1751, the three dates are given as 18, 22 and 25 July.19