The extent to which Georg Muffat – though French-born he regarded himself as a German – was influenced by French and Italian musical styles is revealed in four important collections published between 1682 and 1698. The earliest of them, Armonico tributo, consists of five sonatas in which Muffat, wearing his Italian hat, applied various Corellian principles including that of alternating tutti and concertino passages. Later on, he revised these pieces, at the same time adding six new ones, also in the Corellian mould; but it is the five sonatas of the earlier collection which feature on this new disc from Harmonia Mundi.
It was a remark by Muffat, to the effect that he had once heard several of Corelli’s concertos played by a great number of instrumentalists, that prompted Ensemble 415 to make a big band recording of them some four years ago (Harmonia Mundi, 6/92). Jesper Christensen, who co-ordinated both those and the new performances with violinist Chiara Banchini, considers this disc as something of a continuation of the same principle. Muffat, inspired and guided by Corelli himself, described his Sonate da camera which are, to all intents and purposes concerti grossi, as suitable for both small and large ensembles. Taking the average forces of Corelli’s orchestra, Ensemble 415 fields a band of eight first violins, eight seconds, five violas, five cellos, four basses, three theorbos and two harpsichords. In the later version of the sonatas (1701), Muffat suggested the inclusion of two oboes and a bassoon for some of the dance movements; they, too, make an appearance, from time to time, on this recording.
The resulting sound of all these instruments is rich and, if you are unfashionable enough, as I am, to find that large is beautiful, then you will be generously rewarded by it. The playing of Ensemble 415 is lively and, especially in the tuttis, secure and homogeneous. The concertino group occasionally sounds a little less comfortable but is, on the other hand, capable of expressive delicacy. There is only one alternative version of these pieces currently in the catalogue – the Parley of Instruments on Hyperion, which caters more for readers of a minimalist persuasion. My own preference inclines strongly toward the newcomer. Both, of course, will delight Handelians who, in the Aria of the Second Sonata, will encounter an old and much-loved friend. A stimulating release.'