Gottlieb Muffat (1690–1770) was a German–speaking subject of the Holy Roman Empire under Habsburg rule. He was born into a family of musicians then living in the Prince–Bishopric of Passau. Gottlieb Muffat’s father, Georg Muffat (1653–1704), was the the Prince–Bishop of Passau’s director of music. Gottlieb’s older brothers – Franz Georg Gottfried (1671-1710) & Johann Ernst (1686–1746) – became violinists at the Imperial Habsburg Court in Vienna, which may explain how in 1711 Gottlieb arrived there to work under the aegis of Johann Joseph Fux (c.1660–1741) the Court’s music director.
Muffat spent the rest of his life as a court employee in Vienna where he played for services in the court’s Hofburg chapel and for court performances of chamber music and operas. He was also a music tutor to various children of the imperial family including the future Empress Maria Theresa and it was on her accession as Empress that Muffat was appointed the court’s senior organist.
Playlist:
Muffat the composer
Gottlieb Muffat wrote almost entirely for keyboard within such traditional structures as toccata, fugue, dance suite, ricercare, ciaccona &c. Muffat’s compositional style was informed by 17th-century Viennese organist-composers such as: Johann Jakob Froberger (1616–67) and Johann Caspar Kerll (1627–93).
During Muffat’s lifetime the circulation of his music seems to have been quite widespread. For example, in England Georg Frideric Handel (1685–1759) extensively borrowed ideas from Muffat’s Componimenti Musicali per il cembalo (1739) in works such as Concerti Grossi op. 6 (1739), Ode for St. Cecilia’s Day (1739), the oratorios Samson (1743), Judas Maccabeus (1746) and Joshua (1747).
The 72 Versetl sammt 12 Toccaten (Vienna, 1726)
This was Muffat’s first published work. He described it in the preface as a modest work “intended particularly to advance divine worship and support beginners”, presumably referring to ‘beginners’ of liturgical accompaniment since this is not music for neophytes.
The precise liturgical purpose for Muffat’s work was set out on the colletion’s title page, which reads:
72 Versets along with 12 Toccatas, particularly useful for church services during choral offices and vespers. Published by Gottlieb Muffat, currently serving as Court and Chamber Organist to His Imperial Majesty Karl VI; as well as Court Organist to Her late Imperial Majesty Wilhelmina Amalia.
— NB 1. Toccata here describes a short free-form work acting as a prelude and to establish pitch for singers
— NB 2. Verset here describes a short organ piece played during a sung Office in place of a verse during a plainsong canticle, hymn or psalm, i.e. alternating with the singers; a practice called ‘alternatim’ Such a performance practice was formally sanctioned in the publication of Caeremoniale Episcoporum (Rome, 1600) during the Papact of Clement VIII (b. 1536, Pope 1592–1605)
Muffat organised his music into 12 sets, each comprising a toccata and 6 fugal versets, with each set written in a single key. Muffat referred to the keys he used as ‘the common tones’ [gebräuchlichen Tonis].
These short pieces are endlessly inventive. The fugues use various techniques such as inverted themes (eg IV 2 and 3, VIII 5 and 6, X 2 and 3), double fugues (eg IX 5 and XI 4) canon (eg X 6) and various styles such as ‘pastorelles’ (eg VII 4 and XII 6). Muffat uses nine different time-signatures (4/2, 4/4, 3/2, 6/4, 3/4, 12/8, 9/8, 6/8, 3/8).
Throughout the collection Muffat indicated an abundance of ornamentation, and provided a table to indicate how this ornamentation might be realised. While such tables were a common feature in French keyboard music of that era, here Muffat is the pioneer of them among his Habsburg contemporaries.
Performance
– Editions:
The original Vienna 1726 edition is freely available online as is a Vienna 1960 edition. Currently there is also a Bonn 2002 print edition; details below.
– Instrument:
Although this music is written on two staves as if for any keyboard it is self evidently meant for the organ, not only because of its liturgical design but also because Muffat explained in his preface that while an independent pedal line was not indicated the pedals are “always to be used with longer notes or fermatas.”
– Tempo
Muffat gives only a few tempo indications: ‘Adagio’ at the head of toccatas 4, 9, 10 and 12; ‘Andante’ mid way through toccata 11 where running motifs give way to more measured writing.
– Registration:
Muffat offers no clues to registration and no specification survives for the organs that Muffat would have known at the Hofburg or at St Blasien. Even so, historically informed decisions can be made with reference to the 1642 choir organ in Vienna’s Franciscan church of St Jerome (2m/p) built by Johann Wöckherl (c.1594–1660):
— Hauptwerk (C-c³) 45 notes. (C-c³): Principal [8’], Copln [8’], Quintadena [8’], Principal octav [4’], Copl Flötten [4’],Quint [3’], Superoctav [2’], Mixtur [VI].
— Brustwerk (C-c³) 48 notes, including three split keys. Copln [8’], Spüzflöten [4’], Principal octav [4’], Super octav [2’], Zümbl [III], Khrumphörner [8’]
— Pedal (C-b) 19 notes : Portuna [16’], Plochflöten [8’], Octav [4’], Quint [3’], Mixtur [IV], Pusaunnen [8’]
— Tuning: meantone. [In the playlist givem here a ‘Silbermann mean-tone’ is used.]
— Pitch: A=457. [In the playlist A=440 is used.]
— Manual coupler
— Tremulant to the whole organ.
The dedicatory text of the 1726 edition.
[page 1]
To the Most Reverend Prelate and Lord Blasius, Abbot of the venerable St. Blaise Abbey in the Black Forest, Lord of the Imperial Lordship of Bondorf in Furtwangen, permanent councillor and plenipotentiary representative of the Roman Imperial and Royal Catholic Majesty to the venerable Benedictine Congregation. Also President of the venerable Prelates’ Estate. To my gracious Lord
[page 2]
Gracious Sir,
One cannot blame a lowly vine for seeking support to lift itself from the earth into the heights. Let my humble work not be interpreted by Your Reverence’s grace as though it merely seeks to magnify or endear itself through the renown and esteem of Your person. I do not presume to lean upon so honourable and distinguished a name, nor do I dare compare myself even remotely to such celebrated wine. Rather, this is a sincere and heartfelt acknowledgment, as well as a desire to entrust what is sacred to your gracious patronage.
Since this present modest work is intended particularly to advance divine worship
[page 3]
and support beginners, it has inclined itself to Your Reverence and Grace, who are able to elevate one possession above another—as a noble patron of a work grounded in its essence upon political wisdom, virtues, and distinguished qualities, as well as upon scholarship and the rigorous school of virtue.
As a harmonious work, it reminds me of the famed adage: *Concentus virtutum nihil suavius* [“Nothing is sweeter than the harmony of virtues”], united with thrift, prudent insight, and loyalty, alongside the most essential administrative duties and spiritual independence. Since an outstanding and self-contained harmony in a work is always esteemed, it follows that a certain order is likewise beneficial when upheld by corresponding virtues. Unwavering constancy and steadfast, uninterrupted unity are what advance progress in the sciences and adorn the distinguished court of education under Your Reverence.
As Your Grace has kindly and without reluctance deigned to receive my work, I shall approach Your wisdom with the utmost reverence and respect, humbly seeking your benevolent acceptance.
Your Reverence and Grace, ever obedient, Gottlieb Muffat
[page 4]
Honorable Reader
After striving for many years, under the guidance of—without flattery—the best master in the world, Mr. Johann Joseph Fux, Imperial Chief Kapellmeister, to advance as far as possible in the art of playing, I was persuaded to follow in my father’s footsteps, who in the year 1690, as Kapellmeister to the late Cardinal Lamberg, published a great work consisting of toccatas, ciacconas, etc., which is still in use today. And now, for the benefit of students and to the delight of enthusiasts, I have decided to publish these modest works in print. Indeed, I have already completed a good number of so-called “galanterie pieces”, which I plan to print at a later time. However, I wished to dedicate this first work of mine to the Almighty and His holy service, as it is particularly suited for choral offices and as an aid, etc. The work consists of 12 common keys, each represented by a toccata, six variations or fugues, making up a total of 84 pieces, the likes of which are scarcely to be found.
If a student has not yet learned the general application of fingering, modelled after the best authors, he should undertake the highly useful effort of setting aside previous habits and adopting this one. I have made extensive use of different clefs to assist learners: the upper lines belong entirely to the right hand, the lower ones to the left, so that neither needs to interfere with the other. [This use of clefs is only apparent in the original edition.] It was precisely this abundance of clefs that prevented me from notating the pedal, which should be used whenever there are long-held notes or fermatas. To allow the pieces to be played with greater variety and ornamentation, I have indicated embellishments through notes and reinforced signs.
Let this endeavour of mine turn out as it may: I will always remember that, along with my praisers or critics, I am nothing more than a flawed, imperfect human being. I have always strived to serve and not to show off.
Farewell!
The organs of the Hofburgkapelle
-
- 2001 – by Orgelbau Kuhn AG. 26 stops, 2 manuals and pedal.
- 1962 – by Walcker-Orgel. 26 stops, 2 manuals and pedal.
- 1862 – by Buckow-Orgel. 16 stops, 2 manuals and pedal.
- 1823 – by Christoph Erler. No details. This instrument was described by Vincent Novello as one of the best small organs he had ever heard.
- 1802/3 – by Johann Joseph Wiest, reusing some older pipework. 20 stops. 3m/ped.
- 1795/98 – repaired by Johann Wimola.
- 1763 – by J.F. Ferstl. 18 stops, 2 manuals.
- 1629 – by ? No details.
::: Reerences and further reading :::
– —- ‘Alternatim‘. Wikipedia. Online resource, accessed 15 December 2024.
– —- ‘Hofburg‘. Wikipedia. Online resource, accessed 15 December 2024.
– —- ‘Liturgy of the Hours‘. Wikipedia. Online resource, accessed 15 December 2024.
– —- ‘Musical Temperament‘. Wikipedia. Online resource, accessed 15 December 2024.
– —- ‘Wien/Innere Stadt, Hofburgkapelle‘ Organ Index. Online reource, accessed 14 march 2025.
– —– ‘Wiener Hofmusikkapelle‘. Wikipedia. Online resource, accessed 15 December 2024.
– —- Wöckherl-Orgel 1642. (Vienna: Vereinigung der Freunde der Wöckherl-Orgel). Onllne resource, accessed 8 May 2025
– —- ‘Wöckherl-Orgel in Wien‘. [in German] Wikipedia DE. Online resource, accessed 8 May 2025.
– Michael R. Dodds (2012) ‘Organ Improvisation in 17th-Century Office Liturgy: Contexts, Styles, and Sources‘. Philomusica on-line 12 (2012). Online resource, accessed 15 May 2025.
– Michael R. Dodds (2023) From modes to keys in early modern music theory. Oxford University Press.
– Alison J. Dunlop (2013) ‘The Famously Little-Known Gottlieb Muffat‘ in Andrew Talle (ed.) Bach Perspectives, Volume 9: J. S. Bach and His German Contemporaries. Online resource, accessed 14 December 2024.
– Alison J. Dunlop. (2013) The Life and Works of Gottlieb Muffat (1690-1770): a documentary biography & aatalogue of works and sources. (Wien [Vienna]: Hollitzer Verlag). Online resource, accessed 14 December 2024.
– Theodor Hawlitschka (2003) ‘Die neue Orgel : Wiener Hofmusikkapelle’. (Wien: Wiener Hofmusikkapelle, 2003).
– Elisabeth Th. Hilscher (2003) ‘Hofburgkapelle(n)‘. ”Oesterreichisches Musiklexikon online”. Online resource, accessed 15 March 2025.
– Christopher Kent (1998) ‘Temperament and Pitch’ The Cambridge Companion to the Organ (Cambridge: Cambridge University Press) 42–54. Online resource, accessed 17 December 2024.
– Wolfgang Kogert (2009) Orgelmusik am Wiener Hof: Georg und Gottlieb Muffat. CD (NCA: 60206).
– Joseph V. Pollard (1985) Tuning and temperament in southern Germany to the end of the seventeenth century. Doctoral thesis. University of Leeds. Online resource, accessed 15 December 2024.
– Patrick Russel (1998) ‘Catholic Germany and Austria 1648–c1800’ The Cambridge Companion to the Organ (Cambridge: Cambridge University Press) 204–18. Online resource, accessed 17 December 2024.
– Susan Wollenberg (1975) Viennese keyboard music in the reign of Karl VI (1712-40) : Gottlieb Muffat and his contemporaries. Doctoral thesis. University of Oxford. 2 vols. Online resource, accessed 8 May 2025.
– Susan Wollenberg (2001) ‘Muffat, Gottlieb‘. Grove Music Online. Oxford University Press. Online resourcem accessed 14 December 2024.
– Rudolf Walter (2002). ‘Vorwort’ in Gottlieb Miffat 72 Versetl Samt 12 Taccaten. (Bonn: J Butz Verlag) BU1796.
::: Scores :::
— Gottlieb Muffat (1726). 72 Versetl sammt 12 Toccaten besonders zum Kirchen-Dienst bey Choral-Aemtern und Vesperen dienlich. (n.p. Vienna) in Sächsische Landesbibliothek, Universität Dresden. Online resource, accessed 16 December 2024.
— Gottlieb Muffat, ed. Guido Adler (1960). 72 Versetl sammt 12 Toccaten besonders zum Kirchen-Dienst bey Choral-Aemtern und Vesperen dienlich. Series: Denkmäler der Tonkunst in Österreich, vol.58 (Vienna: Österreichischer Bundesverlag).
— Gottlieb Muffat, ed. Rudolf Walter(2002) 72 Versetti sammt 12 Tocatten (Bonn: J. Butz)
::: Related commercial recordings :::
— Wolfgang Baumgratz (2002) Gottlieb Muffat (1690-1770) Missa F-Dur für Orgel CD (Amniente: 4357933)
– – Wolfgang Baumgratz (2004) Gottlieb Muffat: 72 Versetl sammt 12 Toccaten (1726) CD (Ambiente: 3641001)
— Wolfgang Kogert (2009) Orgelmusik am Wiener Hof: Georg und Gottlieb Muffat. CD (NCA: 60206).
::: Technical Notes :::
– Edition: Gottlieb Muffat (ed. Rudolf Walter) 72 Versetti sammt 12 Tocatten (Bonn: J. Butz, 2002).
– Temperament: Silbermann Mean Tone; pitch A=440
– Organ: Viscount Sonus 60
– Microphone: Zoom Q2N-4K
– Recording: ©Andrew Pink (2024–2025). All rights reserved. Published under Creative Commons licence: [Attribution-NonCommercial-NoDerivatives 4.0 International]
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