ABSTRACT
Despite a general decline in music printing in Germany and Austria, 1 the revitalization of the court suite by the German Lullists carried the genre well into the eighteenth century. ‘Auf jetziger Zeit wol-bekannte Frantzösische Art’ (in the well-known French style of the present day) is how Jacob Scheiffelhut described his 1707 collection of suites in the German-Lullian style, Musicalisches Klee-Blatt. 2 Despite the War of the Spanish Succession and military conflict with France at the start of the eighteenth century, there can be little doubt that the influence of lully was still strong amongst musicians in Germany at this time. but German musical taste was still apparently preoccupied with the differences between French and italian music. Johann mattheson spends a good deal of time dealing with the matter in the first chapter of the third part of his treatise, Das Neu-Eröffnete Orchestre (hamburg 1713). his view of the suite also appears to have changed little from those of the German lullists of the previous century:
