Georg Muffat (1653-1704) is one of those composers who tends to get lost not because his music is inferior but because it appeared during and was part of a great stylistic transition in which Muffat was a significant player but ultimately not a defining force. The “sonatas” performed on this surprising and eminently recommendable recording actually are fascinating documents that represent the early stages of what eventually came to be the concerto grosso. In fact, Muffat based these five “chamber sonatas for few or many instruments” on similar, pioneering pieces by Corelli that he had heard while studying in Italy (1680-82). The fascinating part is how they so clearly illustrate the gradual change from more collective-minded viol-consort forms to the more independently structured small-group and soloistic components of the concerto grosso. Muffat’s genius, if you can call it that, was his recognition of significant new styles and his ability to adapt and assimilate elements of these into his own music. In his own words, Muffat was “the first to bring to Germany the style of Lully for ballets” and, “upon my return from Italy . . . the first to bring some examples of [music in the style of Corelli’s concertos],” which he described as “this new harmony.”
And, on evidence of the performances here, it truly is harmonious music, especially in the slow movements, which are uncommonly rich in sound, owing to the composer’s highly refined skill at part-writing and his ability to create both plush and delicate textures with his five stringed instruments–in this case, combinations of violins, viola, gamba, cello, and archlute. Sensuous, lively, singing, meditative–all of these apply to various movements and moments throughout these interesting pieces, and there’s not a measure of slack anywhere. The performers not only are technically accomplished but they really play this music with feeling, unafraid to invest it with a sensibly-thought-out range of expressive articulations, whether by means of deliberate accents, dynamic shaping of phrases, or choices of tempo. The bright, clear, crisply delineated sound is ideal for the instruments and for bringing out important features of the music–the occasional high, exposed violins, or the exquisite resonance of thick-textured full-ensemble sections. This is really fine music and playing; Baroque chamber music fans shouldn’t miss it.
