Les Muffatti
The orchestra Les Muffatti was created in 1996 in and around the Royal Conservatory of Brussels by a group of twelve idealistic musicians who wanted to ensure that the Baroque music repertoire for string orchestra was sufficiently addressed in their education. The members agreed to work on several projects per year, inviting a different music director for each one.
When the group began to realize that its potential as a steady ensemble was growing quickly, and each member had specialized in Baroque strings, they decided, by the end of 2003, to present Les Muffatti to the public and give it a more official character. The group attracted new members and began to look for a regular music director, settling on Peter Van Heyghen, an internationally recognized specialist in performance practices of Renaissance and Baroque music. In June 2004, the ensemble performed its debut concert in Brussels under his direction.
Les Muffatti was promptly noticed by several concert organizers, and immediately invited to present concerts at the Concertgebouw, Bruges, the Handel Akademie in Karlsruhe, the Aqua Musica festival in Amsterdam, the festival Musica Antiqua Bruges, the Holland Oude Muziek festival in Utrecht, the Musica Sacra festival in Maastricht, and the Bozar concert series in Brussels.
The name Les Muffatti reflects not only what the ensemble considers to be its basic repertoire, but also its approach to performance practice. Georg Muffat (1653-1704), a cosmopolitan composer, is a key historical figure in the creation of the string orchestra, and one of the first authors to have clearly mapped out the main differences between French and Italian musical styles around 1700.
Les Muffatti's favorite repertoire consists of the various sinfonias, sonatas, concertos, and overtures for string orchestra composed between c. 1680 and 1740 by such composers as Georg Muffat, Arcangelo Corelli, Georg Philipp Telemann, Georg Friedrich Handel, and many others.
Future plans include focusing on Italian oratorios, serenatas, and intermezzi by Alessandro Scarlatti, Giovanni Bononcini, Antonio Caldara, Johann Adolph Hasse, and others; these are all compositions for string orchestra with an extended continuo section, a few vocal soloists, and the occasional wind instrument.
For these two types of repertoire, the ensemble attempts to present to the listener as many scores as possible, the original materials of which are preserved in Belgian music libraries.
From 2007 to 2009 Peter Van Heyghen will be artist in residence of the Augustinus Muziekcentrum (AMUZ) in Antwerp.
Bach Triple
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Orchestral Suite No. 2 in B Minor, BWV 1067: I. Ouverture - Bach Triple -
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Orchestral Suite No. 2 in B Minor, BWV 1067: II. Rondeaux - Bach Triple -
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Orchestral Suite No. 2 in B Minor, BWV 1067: III. Sarabande - Bach Triple -
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Orchestral Suite No. 2 in B Minor, BWV 1067: IV. Bourée I & II - Bach Triple -
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Orchestral Suite No. 2 in B Minor, BWV 1067: V. Polonaise & Double - Bach Triple -
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Orchestral Suite No. 2 in B Minor, BWV 1067: VI. Menuet - Bach Triple -
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Orchestral Suite No. 2 in B Minor, BWV 1067: VII. Badinerie - Bach Triple -
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Brandenburg Concerto No. 5 in D Major, BWV 1050: I. Allegro - Bach Triple -
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Brandenburg Concerto No. 5 in D Major, BWV 1050: II. Affettuoso - Bach Triple -
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Brandenburg Concerto No. 5 in D Major, BWV 1050: III. Allegro - Bach Triple -
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Concerto for 3 Harpsichords in D Minor, BWV 1063: II. Alla Siciliana (Transcr. for Traverso, Violin and Harpsichord by Frank Theuns) - Bach Triple -
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Concerto for Traverso, Violin and Harpsichord in A Minor, BWV 1044: I. Allegro - Bach Triple -
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Concerto for Traverso, Violin and Harpsichord in A Minor, BWV 1044: II. Adagio ma non tanto, e dolce - Bach Triple -
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Concerto for Traverso, Violin and Harpsichord in A Minor, BWV 1044: III. Alla breve - Bach Triple -
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Scipione, HWV 20: Ouverture - Handel: Arie per la Cuzzoni -
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Scipione, HWV 20, Acte I: Marcia - Handel: Arie per la Cuzzoni -
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Giulio Cesare in Egitto, HWV 17, Acte II Scène 3: Recitativo "Che sento? Oh Dio!" - Handel: Arie per la Cuzzoni -
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Giulio Cesare in Egitto, HWV 17, Acte II Scène 3: Aria "Se pietà di me non senti" - Handel: Arie per la Cuzzoni -
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Scipione, HWV 20, Acte II Scène 8: Aria "Scoglio d'immota fronde" - Handel: Arie per la Cuzzoni -
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Ottone, re di Germania, HWV 15: Concerto - Handel: Arie per la Cuzzoni -
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Rodelinda, regina de' Longobardi, HWV 19, Acte I: Aria "Ombre, piante, urne funeste!" - Handel: Arie per la Cuzzoni -
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Siroe, re di Persia, HWV 24, Acte I Scène 13: Recitativo "Non credo che sian finti" - Handel: Arie per la Cuzzoni -
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Siroe, re di Persia, HWV 24, Acte I Scène 13: Aria "Or mi perdo di speranza" - Handel: Arie per la Cuzzoni -
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Tamerlano, HWV 18, Acte II Scène 2: Aria "Non è più tempo" - Handel: Arie per la Cuzzoni -
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Tolomeo, re d'Egitto, HWV 25: Ouverture - Handel: Arie per la Cuzzoni -
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Admeto, rè di Tessaglia, HWV 22: Ballo di larve - Handel: Arie per la Cuzzoni -
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Scipione, HWV 20: Sinfonia - Handel: Arie per la Cuzzoni -
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Admeto, rè di Tessaglia, HWV 22: Sinfonia - Handel: Arie per la Cuzzoni -
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Ottone, re di Germania, HWV 15, Acte I Scène 3: Recitativo "É tale Otton?" - Handel: Arie per la Cuzzoni -
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Ottone, re di Germania, HWV 15, Acte I Scène 3: Air "Falsa imagine" - Handel: Arie per la Cuzzoni -
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Rodelinda, HWV 19, Acte III Scène 4: Aria "Se'l mio duol non è si forte" - Handel: Arie per la Cuzzoni -
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Admeto, rè di Tessaglia, HWV 22: Sinfonia - Handel: Arie per la Cuzzoni -
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Alessandro, HWV 21, Acte I Scène 6: Aria "Nò, piu soffrir non voglio" - Handel: Arie per la Cuzzoni -
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Tolomeo, re d'Egitto, HWV 25, Acte III Scène 5: Aria "Torni omai la pace all'alma" - Handel: Arie per la Cuzzoni -
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The Brockes-Passion: 1. Chor. "Mich vom Stricke meiner Sünden" (Chor gläubiger Seelen) - Keiser: Brockes-Passion -
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The Brockes-Passion: 2a. Recitativo. "Als Jesus nun zu Tische saße" (Evangelist) - 2b. Accompagnement. "Dieß ist mein Leib" (Jesus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 3. Aria. "Der Gott, dem alle Himmels Kreise" (Tochter Zion) - Keiser: Brockes-Passion -
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The Brockes-Passion: 4a. Recitativo. "Und bald hernach nahm er den Kelch" (Evangelist) - 4b. Accompagnement. "Diß ist mein Blut im neuen Testament" (Jesus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 5. Aria. "Gott selbst, der Brunnquell alles Guten" (Tochter Zion) - Keiser: Brockes-Passion -
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The Brockes-Passion: 6. Choral. "Ach wie hungert mein Gemüthe" (Choral der christlichen Kirche) - Keiser: Brockes-Passion -
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The Brockes-Passion: 7. Recitativo. "Drauff sagte er dem Höchsten Dank" (Evangelist, Jesus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 8. Chor. "Wir alle, wir wollen dich nicht verlaßen" (Chor der Jünger) - Keiser: Brockes-Passion -
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The Brockes-Passion: 9. Accompagnement. "Es ist gewiß, denn also steht geschrieben" (Jesus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 10. Recitativo. "Auffs Wenigste will ich" (Petrus, Jesus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 11. Aria Soliloquio. "Mein Vater, schau wie ich mich quäle" (Jesus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 12. Accompagnement. "Mich drückt der Sünden Centner Last" (Jesus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 13. Aria. "Ists möglich daß dein Zorn sich stille" (Jesus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 14. Arioso. "Sünder schaut mit Furcht und Zagen" (Tochter Zion) - Keiser: Brockes-Passion -
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The Brockes-Passion: 15. Recitativo. "Die Pein vermehrte sich" (Evangelist) - Keiser: Brockes-Passion -
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The Brockes-Passion: 16. Aria. "Brich mein Herz, zerfließ in Thränen" (Tochter Zion) - Keiser: Brockes-Passion -
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The Brockes-Passion: 17. Recitativo. "Ein Engel aber kam" (Evangelist) - Keiser: Brockes-Passion -
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The Brockes-Passion: 18. Aria à 4. "So wachet doch, erwachet doch" (Jesus, Petrus, Jacobus, Johannes) - Keiser: Brockes-Passion -
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The Brockes-Passion: 19a. Recitativo. "Und eh' die Rede noch geendet war" (Evangelist) - 19b. Chor. "Greifft zu, schlagt todt" (Chor der Kriegs Knechte) - Keiser: Brockes-Passion -
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The Brockes-Passion: 20a. Recitativo. "Und der Verräther hatte dieses ihnen" (Evangelist, Judas) - 20b. Chor. "Er soll uns nicht entlauffen" (Chor der Kriegs Knechte) - Keiser: Brockes-Passion -
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The Brockes-Passion: 21. Recitativo. "Nimm Rabbi, diesen Kuß von mir" (Judas, Jesus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 22. Aria. "Gifft und Wuth, Strahl und Flut" (Petrus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 23. Recitativo. "Steck nur das Schwerd an seinen Ort" (Jesus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 24. Chor. "O weh, sie binden ihn" (Chor der Jünger) - Keiser: Brockes-Passion -
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The Brockes-Passion: 25. Recitativo. "Wo flieht ihr hin, Verzagte?" (Petrus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 26. Aria. "Nehmt mich mit, verzagte Schaaren" (Petrus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 27. Recitativo. "Und Jesus ward zum Pallast Caiphas" (Evangelist, Caiphas, Jesus, Kriegs Knecht) - Keiser: Brockes-Passion -
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The Brockes-Passion: 28. Aria. "Was Bärentazen, Löwenklauen" (Tochter Zion) - Keiser: Brockes-Passion -
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The Brockes-Passion: 29. Recitativo. "Diß sahe Petrus an" (Evangelist, Erste Magd, Petrus, Zweite Magd, Dritte Magd) - Keiser: Brockes-Passion -
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The Brockes-Passion: 30. Arioso. "Ich will versinken und vergehn!" (Petrus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 31a. Recitativo. "Drauff krähete der Hahn" (Evangelist) - 31b. Accompagnement Soliloquio. "Welch ungeheurer Schmerz" (Petrus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 32. Aria. "Heul du Schaum der Menschen Kinder" (Petrus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 33. Recitativo. "Doch wie, will ich verzweiflend untergehn?" (Petrus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 34. Aria. "Schau, ich fall in strenger Buße" (Petrus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 35. Choral. "Ach Gott und Herr!" (Choral der christlichen Kirche) - Keiser: Brockes-Passion -
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The Brockes-Passion: 36a. Recitativo. "Wie Jesus nun zu allem was geschah" (Evangelist, Caiphas, Jesus) - 36b. Chorus. "Er hat den Todt verdient" - Keiser: Brockes-Passion -
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The Brockes-Passion: 37. Aria. "Erweg, ergrimmte Natternbrut" (Basso) - Keiser: Brockes-Passion -
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The Brockes-Passion: 38. Recitativo. "Die Nacht war kaum vorbeÿ" (Evangelist, Tochter Zion) - Keiser: Brockes-Passion -
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The Brockes-Passion: 39. Aria. "Meine Laster sind die Stricke" (Tochter Zion) - Keiser: Brockes-Passion -
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The Brockes-Passion: 40. Accompagnement Soliloquio. "O was hab ich, verfluchter Mensch, gethan!" (Judas) - Keiser: Brockes-Passion -
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The Brockes-Passion: 41. Aria. "Last diese That nicht ungerochen" (Judas) - Keiser: Brockes-Passion -
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The Brockes-Passion: 42. Recitativo. "Unsäglich ist mein Schmertz" (Judas) - Keiser: Brockes-Passion -
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The Brockes-Passion: 43. Aria. "Die ihr Gottes Gnad versäumet" (Tochter Zion) - Keiser: Brockes-Passion -
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The Brockes-Passion: 44. Recitativo. "Wie nun Pilatus Jesum fragt" (Evangelist, Jesus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 45. Chorus. "Bestraffe diesen Übelthäter" - Keiser: Brockes-Passion -
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The Brockes-Passion: 46. Recitativo. "Hastu denn kein Gehör?" (Pilatus, Evangelist) - Keiser: Brockes-Passion -
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The Brockes-Passion: 47. Aria à 2. "Sprichstu denn auf diß Verklagen" (Tochter Zion, Jesus) - Keiser: Brockes-Passion -
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The Brockes-Passion: 48a. Recitativo. "Pilatus wunderte sich sehr" (Evangelist) - 48b. Chorus. "Nein, diesen nicht" - Keiser: Brockes-Passion -
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The Brockes-Passion: 49a. Recitativo. "Was fang ich dann" (Pilatus) - 49b. Chorus. "Weg, laß ihn creutzigen" - 49c. Recitativo. "Was hat er denn gethan?" (Pilatus) - 49d. Chorus. "Weg, laß ih - Keiser: Brockes-Passion -
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The Brockes-Passion: 50. Recitativo. "Wie er nun sah" (Evangelist) - Keiser: Brockes-Passion -
Les Muffatti
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