Johann Gottfried Müthel (1728-1788) - Concerto per il cembalo

★ Follow music ► Composer: Johann Gottfried Müthel (1728-1788) Work: Concerto (B-Dur) per il cembalo, IJM 6 Performers: Björn Gäfvеrt (harpsichord); Drοttninghοlm Baroque Ensemble; Nils Erik Spаrf (conductor) Concerto per il cembalo 1. Allegro 0:00 2. Poco adagio 6:54 3. Allegro 16:18 Painting: Georg Melchior Kraus (1737-1806) - Familie Callenberg beim Musizieren (1773) HD image: Further info: Listen free: No available --- Johann (Jean) Gottfried (Godfried, Godefroy) Müthel [Muethel] (Mölln, 17 January 1728 - Bienenhof, nr Riga, 14 July 1788) German composer. Son of Christian Caspar Müthel (1696-1764), organist at the Nikolaikirche in Mölln, he received his earliest musical instruction from his father. Later, when he was in Lübeck, he studied under Johann Paul Kunzen. In 1747 he was appointed court organist of Mecklenburg-Schwerin under Duke Christian Ludwig II. In 1750 he was given a year’s leave of absence to further his studies and he traveled to Leipzig to meet Johann Sebastian Bach, and remained with him for a few days before Bach’s death. He then studied with Bach’s son-in-law Johann Christoph Altnikol in Naumburg and Johann Adolph Hasse in nearby Dresden. Toward the end of the year he found himself in Berlin, where he formed a fast friendship with Carl Philipp Emanuel Bach, who also gave him some lessons. After returning to Schwerin, he moved to Riga, then under Russian rule, with Duke Christian’s brother, Otto Hermann von Vietinghof, where he remained the rest of his life. His only other position came in 1767 when he was appointed as organist at the St. Peter’s Church there. As a performer, he had some peculiar quirks, with it being said that he refused to perform other than in winter so that the sounds of the horses on the cobbles outside would not distract him. Among his extant works are 10 harpsichord concertos, a Concerto for 2 Bassoons and Strings, sonatas for Harpsichord, and organ music. Charles Burney wrote of him: ‘The style of this composer more resembles that of Emanuel Bach, than any other. But the passages are entirely his own, and reflect as much honour upon his head as his hand’.