Unlike that of his father Georg, Gottlieb Muffat’s music rarely has been represented on CD or LP. Although he lived nearly 30 years longer and was more prolific than his dad, the reasons for this neglect are not that mysterious. For one, Gottlieb concentrated almost entirely on keyboard composition while his more versatile father composed operas, masses, concertos, chamber music, and solo works. And judging from what many scholars believe to be Gottlieb’s most important work, the Componimenti Musicali per il cembalo, he was musically far less innovative, adventurous, and eccentric than his often-illustrious elder. What makes these Componimenti important is not because of the musical ground they break, but because Muffat’s friend George Frederic Handel lifted (ah, I mean “borrowed”) some of the melodies for later use in his own oratorios, odes, and concertos. Sometimes Handel would alter them slightly to disguise their source (compare for instance Muffat’s one-minute Adagio in C from Suite I to the one-minute adagio of Handel’s Concerto Grosso Op. 6 No. 8), and other times not (compare Muffat’s Rigaudon from the same suite to the musical line of Handel’s aria “Sharp violins proclaim!” from Ode for St. Cecilia’s Day).
Regardless of this significance, Muffat’s Componimenti are often lovely and engaging in their own right. Favorite moments include the Fantasie from Suite II that features brusque counterpoint reminiscent of an inspired Froberger. In contrast, the Allemande that begins Suite V nods respectfully to French style and caresses as gallantly as the works of masters such as D’Angelbert, Couperin, and Rameau. Muffat’s devotion to the keyboard combined with his keen awareness of international style effectively informs these five Suites–and couldn’t be better served than by the equally devoted and informed veteran harpsichordist Joseph Payne. Centaur’s sound is fine. As usual, Payne’s booklet notes are instructive and entertaining. Listeners expecting the “chip off the old block” invention of Muffat the elder will be disappointed. Others willing to accept Gottlieb’s music on its own terms will find much to enjoy.
