Georg Muffat

I avidly pursued this style which was flowering in Paris at the time under the most famous Jean Baptiste Lully.

[2] In any case, the style which the young Muffat learned was unequivocally Lullian and it remains likely, though unevidenced, that he had at least some contact with the man himself.

He could not get an official appointment, so he travelled to Prague in 1677, then to Salzburg, where he worked for the archbishop for some ten years.

In about 1680, he traveled to Italy, there studying the organ with Bernardo Pasquini, a follower of the tradition of Girolamo Frescobaldi; he also met Arcangelo Corelli, whose works he admired very much.

These performance directions were intended to assist German string players with the idiom of the French dance style, and include detailed rules for the tempo and order of bow strokes in various types of movement, as well as more general strategies for good ensemble playing and musicianship.