Johann Michael Müller

Concerto da camera IV

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In 1712 Müller 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.

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

I. Adagio–Allegro
II. Aria
III. Menuet
IV. Alle­gro
V. Giga

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


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.