Johann Michael Müller

Concerto da camera III

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Product Description

Con­cer­to da cam­era III
Johann Michael Müller (1683–1736)
Mod­ern edi­tion by David Whitwell (1937–)

I. Adagio–Allegro
II. Aria
III. Adagio–Presto
IV. Adagio–Allegro
V. Adagio–Presto

Date: 1712
Instru­men­ta­tion: Haut­bois­t­en (Oboe con­certi­no, Ob 1.2, Cor Ang, Bsn)
Lev­el: 4

Notes

Ear­li­er music his­to­ry texts assumed that the Haut­bois­t­en name referred to a small mil­i­tary band, usu­al­ly of two oboes, a bas­soon, and side drum, which would alter­nate com­po­si­tions with a sin­gle trum­pet play­er. From exam­i­na­tion of the actu­al reper­toire in libraries through­out Europe, today we know that there was an impor­tant indoor ensem­ble based on the Le Grands Haut­bois of Louis XIV. This ensem­ble had dou­bled parts result­ing in an ensem­ble of usu­al­ly twelve play­ers. The twelve-play­er Haut­bois­t­en ensem­ble con­tin­ued into the nine­teenth cen­tu­ry and, among oth­er things, explains why Mozart wrote a wind ensem­ble for twelve winds and string bass.

We changed the name of these suites from “Sonata” to “Con­cer­to da cam­era,” as it is more in keep­ing with the late Ger­man Baroque. In addi­tion one will note that the prin­ci­pal oboe part was called “Oboe Conc.,” or Oboe Con­certi­no, a dis­tinct part of the con­cer­to form at this time. The term “Sonata” was added by the pub­lish­er in Ams­ter­dam and reflects an ear­li­er Renais­sance tra­di­tion.

Johann Michael Müller (1683–1736/43) was organ­ist and Direc­tor of Music at the Hanauer Marien Church in Ger­many. Dur­ing his life­time he was wide­ly known for hav­ing set 150 psalms of David to melodies of his own com­po­si­tion. It is an hon­or and a trib­ute to him that the first pub­li­ca­tion of these works in 1719 includ­ed a ded­i­ca­to­ry poem com­posed by Tele­mann.

In 1712 he pub­lished in Ams­ter­dam twelve Con­cer­to da cam­era for Haut­bois­t­en of high qual­i­ty, reflect­ing the con­sid­er­able inter­est in this medi­um in Ger­many begin­ning at the end of the sev­en­teenth cen­tu­ry.