NOTES (FRA)

Mitzi Meyerson possède une perception (et uneexpérience) si profonde de la littérature pourclavecin que chacune de ses visites dans lesstudios d’enregistrement laisse présager quelquechose de rare, de fascinant, d’illuminant...

Dans sa nouvelle exploration au-delà durépertoire traditionnel de la musique baroque,l’interprète célébrée par Chicago, sa ville natale,se plonge dans les Componimenti Musicali deMuffat, non pas Georg qui étudia à Paris avecLully, mais son fils, Gottlieb. Les Componimentiforment pratiquement le seul recueil ayantsurvécu de ce musicien actif à la cour impérialede Vienne en plein XVIIIe siècle, maisaujourd’hui oublié. Feuilletant une collectionde six suites (et une innovante Chaconne) faitesd’atmosphères contrastées, Mitzi Meyersonexplore le monde éclectique et clairement nonacadémique de Muffat, à travers toutes sortesde variations, danses – courantes, sarabandes,menuets, allemandes, gigues –, improvisationset pièces de caractère qui reflètent un ampleéventail de styles nationaux.

Cet enregistrement exprimant toute la joie etl’éclat du baroque, nous amène à nous poserla même question que Mitzi Meyerson :« Pourquoi Gottlieb Muffat a-t-il été oublié,balayé, par le temps qui passe ? »

NOTIZEN (DEU)

Man weiß genau, dass etwas ganz Besonderes,Erhellendes und Faszinierendes herauskommenwird, wenn Mitzi Meyerson sich insAufnahmestudio begibt, da sie so genaueKenntnis und so viel Erfahrung mit demRepertoire für Cembalo hat.

Ihre letzte Erkundung jenseits der Grenzen desbarocken Mainstreams führte die in Chicagogeborene und dort hochgeehrte Künstlerin zuden Componimenti Musicali von Gottlieb Muffat– nicht etwa zu dem in Paris bei Lullyausgebildeten Georg Muffat, sondern zu dessenSohn. Dies ist beinahe das einzige überlieferteWerk jenes heute vergessen Musikers, der inder Mitte des 18. Jahrhunderts am kaiserlichenHof in Wien wirkte. In dieser Sammlung vonsechs Suiten voll kontrastierender Stimmungen(mit einer abschließenden innovativen Chaconne)erforscht Mitzi Meyerson Muffats vielseitige undausgesprochen unakademische Welt, in der alleArten von Variationen, Tänzen – von Couranten,Sarabanden, Menuetten und Allemanden bis zuGiguen –, Improvisationen ebenso wieCharakterstücke eine ganze Reihe vonunterschiedlichen Nationalstilen widerspiegeln.

Diese Aufnahme fängt die ganze Freude undEnergie des Barock ein und lässt den Zuhörerzusammen mit Mitzi Meyerson fragen: »Werhat die Karten so gemischt, dass Gottlieb Muffatim Laufe der Zeit in Vergessenheit geratenkonnte?«

NOTAS (ESP)

Mitzi Meyerson posee una percepción (y unaexperiencia) tan profunda de la literatura paraclavecín que cada una de sus visitas a losestudios de grabación anuncia que algo raro,fascinante, iluminador, está a punto de surgir...

En su nueva exploración más allá del repertoriotradicional de la música barroca, la celebradaintérprete nacida en Chicago –ciudad que laadora–, se adentra en los Componimenti Musicalide Muffat, no Georg, que estudió en París conLully, sino su hijo, Gottlieb. Esos Componimentison prácticamente las únicas obras quesobrevivieron de este músico, activo en la corteimperial vienesa en pleno siglo XVIII y hoycompletamente olvidado. Recorriendo unacolección de seis suites (y una innovadoraChaconne) hechas de atmósferas contrastadas,Mitzi Meyerson explora el mundo ecléctico ydecididamente no académico de Muffat,mediante toda clase de variaciones, danzas–courantes, zarabandas, minuetos, alemandas,gigas–, improvisaciones y piezas de carácterque reflejan un amplio abanico de estilosnacionales.

Esta grabación expresa toda la alegría y elarrojo del Barroco, y nos lleva a hacernos lamisma pregunta que Mitzi Meyerson: «¿Cómoun compositor como Gottlieb Muffat pudo caeren el olvido con el paso del tiempo?»

NOTES (ENG)

Mitzi Meyerson’s insight into (and experiencewith) the harpsichord literature is such thatwhen she makes a visit to the recording studio,one knows that something rare, fascinatingand illuminating will emerge.

Her latest exploration beyond the mainstreamof Baroque music sees the Chicago (born andhonoured) performer turn to the ComponimentiMusicali of Gottlieb Muffat –not the GeorgMuffat who studied in Paris with Lully but hisson–, almost the only surviving score of amusician now forgotten but active at theImperial Court in Vienna in the middle of the18th century. Across a collection of six suites(and a final innovative Chaconne) full ofcontrasting moods, Mitzi Meyerson exploresthe eclectic and distinctly unacademic worldof Muffat, by way of all manner of variations,dances – from Courantes, Sarabandes, Menuetsand Allemandes to Gigues –, improvisationsas well as character pieces reflecting a rangeof national styles.

A recording which captures the joy and dashof the Baroque and which leaves one asking,like, Mitzi Meyerson, “Why did Gottlieb Muffatget lost in the shuffle of time?”

www.glossamusic.com

Gottlieb MuffatComponimenti Musicali per il Cembalo

Mitzi Meyerson, harpsichord

Glossa GCD 9218042 CDs – digipak

Programme

Gottlieb Muffat (1690-1770)Componimenti Musicali per il Cembalo (c.1736)

CD I [72:21]

01-08 Suite V09-16 Suite III17-25 Suite VI

CD II [77:46]

01-08 Suite I09-16 Suite II17-25 Suite IV26 Suite VII (Chaconne)

Production details

Recorded in Berlin-Karlshorst (Kirche Zur frohenBotschaft), Germany, in October 2006Engineered and produced by Maria SuschkeExecutive producer: Carlos CésterDesign: Valentín IglesiasBooklet essay: Boris KehrmannEnglish - Français - Deutsch - Español

Gottlieb Muffatby Mitzi Meyerson

GCD 921804New release informationFebruary 2009

8 424562 21804 8

www.glossamusic.com

A short interviewwith Mitzi Meyerson

Mitzi Meyerson’s insight into (and experiencewith) the harpsichord literature of the Baroqueis such that when she makes a visit to therecording studio, one knows that somethingrare, fascinating and illuminating will emerge.This has been the case in recent years withboth the Claviersuiten by Georg Böhm and theMusique de Salon of Claude-Bénigne Balbastre(which have also appeared on Glossa); thelatest exploration beyond the mainstreamundertaken by Mitzi Meyerson – Muffat’sComponimenti Musicali – is charged with thesame character and sense of expectation. Thisis not the Georg Muffat who studied in Pariswith Lully but his son, Gottlieb (also known asTheofilo), who spent much of his career inVienna and whose set of six harpsichord suitesComponimenti Musicali appeared towards theend of the 1730s.

In the accompanying booklet Meyerson discussesthe contrasting moods running through theentire collection of suites, wherein are to befound a diverse selection of Courantes,Sarabandes, Menuets, Allemandes and Giguesas well as Fantaisies and Fugues. Meyersoncomments that “It is exactly this eclectic andwhimsical quality in all the suites that I find sospecial. One is carried along, but cannot figurewhere and why.” The final Chaconne of theComponimenti Musicali bears a theme whichshows that Muffat’s music was much appreciatedby composers of his own time – the themereappears in one of Handel’s harpsichord suites.Meyerson is less troubled, indeed more intriguedby such Baroque “borrowings”, welcoming thedifferent treatment given by different composersto the same themes.

Mitzi Meyerson currently teaches harpsichordat the Universität der Künste in Berlin but herroots in her native Chicago run very deep andthe City Council there have seen fit to honourher recently – as she describes in the interviewhere. In addition, Chicago looks set to have astreet named after Mitzi Meyerson as well!

How would you describe the musical worldof Gottlieb Muffat and his father Georg?

The story of Gottlieb (or, as I like to think ofhim, Theofilo) really begins with his famousfather, Georg. Georg was born in 1653 in Savoyof Scottish parents. He had an incrediblyinternational upbringing, being sent to Paris tostudy with Lully, returned to Alsace, and thenfinished his law education in Bavaria. After thishe moved to Vienna where he had the patronageof Leopold I, and was promoted to the post ofFirst Organist in the Viennese Court. He wasallowed to travel to Italy and was thereinfluenced by the music of Corelli. Thecompositions of Georg Muffat combined theflavours of French, German and Italian idiomsin a unique way. He was enormously respectedas a player and composer, and his childrenwere heirs to many opportunities. Theofilo wentto live with his musician brother in Vienna,after their father’s death. He had the goodfortune to become the protégé of Johann JosephFux, and assisted in the very important operaby Fux, Costanza e Fortezza for the 1717première in Prague. Theofilo was himself laterappointed First Organist in the Viennese Court,where his duties included teaching the royalchildren. He also was considered one of thegreatest organists and composers of his time,but he stopped composing after he achievedhis position in the court. Unfortunately thereare very few pieces left to us, but they arewonderfully creative, challenging all thepreviously existing boundaries of harmony andcharacter. The Componenti Musicali on thisrecording represents his entire legacy ofharpsichord music.

What made you want to record GottliebMuffat’s works, given their obscurity?

I chose to record this music for the same reasonI recorded all my other solo CDs: very fewpeople are interested in it! By this I do notmean that these projects have no merit – onthe contrary, every one is particularlyfascinating. Unfortunately they have beenoverlooked in the mainstream repertoire. I feltmyself on a crusade to hunt out these neglectedworks and bring them into the limelight, atleast for a moment. It is a wonderful privilegeto be given the opportunity to do this.

What in Muffat’s music made it so temptingfor a composer such as Handel for thelatter’s “borrowings”?

I think it was quite accepted for all composersto borrow themes or tricks of writing. If we arestraight-laced, we call it stealing; if we aregenerous, we call it an homage. There areendless examples of this, from the smallestwhiff of reminiscence right down to the directrepetition of entire themes. There are somewho say JS Bach borrowed the idea for theGoldberg Variations from Buxtehude’s LaCapricciosa, a set of 32 variations in the samekey which has many striking similarities. Aswe know Bach to have been a great admirerof Buxtehude, it would be a natural thing forhim to take musical advice from one whom heso revered. And what of it? We are thebeneficiaries, having received both sets ofmarvellous variations.

You concentrate on music of the Baroquetime in your work, but do other musicalstyles interest or influence you as well?

I have spent a lot of time in Indonesia overthe last dozen years (working also as a doulain a clinic) and am extremely fond of Javanesesuling and gamelan music. In fact, it is myfavourite thing to listen to, and headed upmy “10 CDs for a Desert Island” list forGoldberg magazine in 2007. I have recentlybecome somewhat obsessed with salsa music,and dance around to this while cooking. Doesthat count?!

You were recently honoured by yournative Chicago. How did that come about?

This was a very unexpected honour! I receivedan e-mail one day saying that April 5 wouldbe declared “Mitzi Meyerson Day” in Chicagoand its environs. I thought it was a delightfuljoke, but then I was sent the official letterstating that in fact this had been passed as aresolution in the mayor’s office. I had a concertin Chicago that day; at the end of it I waspresented with the certificate, and the entireaudience was invited onto the stage forchampagne and cake. I live rather quietly,doing my work as best I can. It was a charmingsurprise to get a public notice for this. I alwaysthought there were around eleven people inthe world who were interested in my littleprojects! I know that harpsichord music is nota best-selling venture, and that my particularprojects appeal to an even smaller subdivisionof the tiny interest that exists commercially.For this reason I am especially grateful toGlossa for providing the opportunity to bringthese long-gone works back into the world.Without this support, Theofilo Muffat mighthave remained silent forever.

by Mark Wiggins© 2009 Glossa Music / MusiContact

Also available on Glossa:

Georg Böhm (1661-1733)Die ClaviersuitenMitzi Meyerson, harpsichordGCD 921801. 2 CDs

François Couperin (1668-1733)Les Ombres Errantes. Suites pour clavecinMitzi Meyerson, harpsichordGCD 921802

Claude-Bénigne Balbastre (1722-1799)Musique de SalonMitzi Meyerson, fortepiano & harpsichordGCD 921803. 2 CDs

Marin Marais (1656-1728)Le LabyrinthePaolo Pandolfo, Mitzi Meyerson et al.GCD 920404

Marin Marais (1656-1728)Grand BalletPaolo Pandolfo, Mitzi Meyerson et al.GCD 920406