Georg Muffat(1653-1704)
      Solo Organ Works

Volume 1:
Apparatus musico-organisticus Part I:
Toccata prima
Toccata secunda
Toccata terita
Toccata quarta
Toccata quinta
Toccata sexta
Toccata septima
Toccata octava

Naxos 8.553917 - Recorded 1996
Organ of Klosterneuburg Abbey(1642)
Martin Haselbock, Organ
TT 54:31

Volume 2:

Apparatus musico-organisticus Part II:
Toccata nona
Toccata decima
Toccata undecima
Toccata duodecima et ultima

Ciacona
Passacaglia
Nova Cyclopeias Harmonica

Naxos 8.553990 - 1996
Organ of Zwettl Collegiate Church(1731)
Martin Haselbock, Organ
TT 58:47

Summary for the Global Individual: A Compendium of Styles

Georg Muffat studied music in France, Germany, and Italy.  He was
determined to forge an integrated musical style and also contribute to
harmony among nations through the integration.  As he wrote in a dedication
to the Prince of Passau, "The notes, the pages, the sweet musical notes
give me my daily work, and as I mix the French style with the German and
Italian, I do not stir up any conflict, but rather perhaps give a foretaste
of the desired harmony among the people, for beloved peace." Muffat
evidently had some utopian ideals which, of course, came to nothing.
However, he was quite successful as a composer and performer.

Muffat composed the Apparatus musico-organisticus in 1690.  This body of
works contains twelve relatively long toccatas arranged in the order of
church tones.  Muffat subsequently added the Ciacona, Passacaglia, and Nova
Cyclopeias Harmonica to the collection; each of these three compositions
presents many variations.

Martin Haselbock is a fairly well-known organist and conductor who has
recorded extensively for Novalis.  In his capacity as conductor of the
Wiener Akademie, Haselbock has recorded about forty CDs including works by
Schubert, Haydn, Bach, and Mozart.

In style, Muffat is more in the South German organ tradition, but there are
also prevalent qualities of French and Italian origin.  Muffat's musical
inspiration does not reach the levels of a Froberger or Buxtehude, but
every work on these 2 discs is rewarding.  The toccatas are particularly
diverse in rhythm and dynamics to the extent that a steady diet of them
does not result in lost interest.  I especially like "Toccata sexta" with
its slow, noble, and mesmerizing first section.  Two of the 'variation'
works, the Ciacona and the Passacaglia, might be a little disappointing in
that the range of dynamics is rather limited.

Haselbock performs excellently.  He provides the diversity in the music
and varies his registrations judiciously.  When power is called for, he
summons it strongly.  Tender and comforting passages hold no problems for
Haselbock, and his conveying of joy/exuberance is admirable.  Sound quality
is excellent as are the two historical organs.

Don's Conclusions: Although there's nothing on these discs to have
you rushing to the store, they should be fine acquisitions for organ
enthusiasts of the baroque period.  If you prefer to only consider one of
the two discs, I'd say the best bet is Volume 1 which has the first eight
toccatas.  This disc offers the greatest diversity, and I also consider
the toccatas more enjoyable than the three works with variations.

Don Satz