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Georg Muffat on Performance Practice
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Table of Contents

Preliminary Table of Contents:I. Introduction
1. Foreword
2. Biographical Sketch of Georg Muffat
3. Description of the Materials
II. Translations
4. Florilegium Primum, 1695
5. Florilegium Secoundum, 1690
6. Auserlesene Instrumentalmusik, 1701
III. Commentary
7. Muffat's Intentions
8. Instruments
9. Tuning: Pitch, Temperament, Intonation
10. Technique: Bowing Rules, Ornamentation, General Conventions
11. German Performance Practice
12. Performance Settings
13. Conclusion
Bibliography

Promotional Information

The composer's own writings for the benefit of performers

About the Author

David K. Wilson is a Baroque violinist based in the San Francisco area. He has taught baroque violin at Indiana University and has performed extensively with period instrument chamber ensembles and orchestras in the United States and in Germany. Professor Thomas Binkley was a noted lutenist and director of early music performances. He founded the early Music Institute at the Indiana University School of Music.Dr. Ingeborg Harer is Assistant Professor at the Universitat fur Musik und darstellende Kunst in Graz, Austria.Dr. Ernest Hoetzl is Assistant Professor of Pedagogy at the Universitat fur Musik und darstellende Kunst in Graz, Austria.Dr Yvonne Luisi-Weichsel teaches in the pedagogy department of the Universitat fur Musik und darstellende Kunst in Graz, Austria.

Reviews

" ... this book will provide us with valuable tools towards enlivening and enlightened performances of Muffat's music." Early Music, February 2003 "... a fascinating overall impression of the day-to-day concerns and working environment of a professional musician of the late 17th century." American Recorder

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