Muffat’s ‘Instrumental Music’ of 1701 is a collection of concerti grossi ‘suitable for court entertainment’. The titles given to each of the works in the set are believed to refer to the occasions of the first performance and have no bearing upon the music itself. Muffat’s importance as a composer of the baroque period lies in his extraordinary synthesis of different national styles. Mastery of the French style he had acquired through his study with Lully, and of the Italian style through his encounter with Corelli. In addition he was highly knowledgeable about the German style, which he had learned from another of his teachers, Kasper Kerll, who was also active as a court organist in both Vienna and Munich. All Muffat’s concertos are divided into two parts: the first two movements are written in the Italian style. The second half of each concerto consists of dances, reflecting the French courtly influence.