Müller, Concerto da camera I–XII

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Johann Michael Müller (1683–1736/43) was organist and Director of Music at the Hanauer Marien Church in Germany. 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.

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

Date: 1712
Instru­men­ta­tion: Haut­bois­t­en (Oboe con­certi­no, Ob 1.2, Cor Ang, Bsn), all parts should be doubled
Lev­el: 4

Score preview

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.

Con­cer­to da cam­era I
Dura­tion: 8:00
I. Adagio–Allegro
II. Minuet
III. Adagio
IV. Presto

Con­cer­to da cam­era II
Dura­tion: 9:40
I. Adagio–Allegro
II. Aria
III. Menuet
IV. Adagio–Giga Presto

Con­cer­to da cam­era III
Dura­tion: 11:30
I. Adagio–Allegro
II. Aria
III. Adagio–Presto
IV. Adagio–Allegro
V. Adagio–Presto

Con­cer­to da cam­era IV
Dura­tion: 9:30
I. Adagio–Allegro
II. Aria
III. Menuet
IV. Allegro
V. Giga

Con­cer­to da cam­era V
Dura­tion: 11:00
I. Grave–Allegro
II. Aria
III. Trio
IV. Sarabanda
V. Presto

Con­cer­to da cam­era VI
Dura­tion: 10:50
I. Adagio–Vivace
II. Aria, “Come Ciacona”
III. Sarabanda
IV. Menuet

Con­cer­to da cam­era VII
Dura­tion: 8:15
I. Vivace–Allegro
II. Aria
III. Menuet–Alternativement
IV. Gavotta
V. Presto

Con­cer­to da cam­era VIII
Dura­tion: 7:10
I. Adagio–Allegro
II. Presto
III. Adagio
IV. Allegro
V. Menuet

Con­cer­to da cam­era IX
Dura­tion: 7:30
I. Adagio–Allegro
II. Andante
III. Marche
IV. Presto
V. Menuet

Con­cer­to da cam­era X
Dura­tion: 7:15
I. Allegro
II. Rondeau
III. Adagio
IV. Presto

Con­cer­to da cam­era XI
Dura­tion: 8:14
I. Adagio–Allegro
II. Allegro–Adagio
III. Vivace
IV. Menuet

Con­cer­to da cam­era XII
Dura­tion: 8:43
I. Grave–Allegro
II. Aria
III. Passepied
IV. Menuet

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.