composer whose concerti grossi and instrumental suites were among the earliest German examples of those genres.

Muffat held positions as organist at Molsheim and Strasbourg cathedrals and in 1678 became organist to the archbishop of Salzburg. In 1681 he went to Italy and in Rome studied with Arcangelo Corelli and Bernardo Pasquini. He spent about six years in Paris, where he acquainted himself thoroughly with the music of Jean-Baptiste Lully. He became organist to the bishop of Passau in 1687 and chapelmaster there in 1690.

Muffat's most famous work, 12 orchestral suites, Florelegia (two sets, 1695 and 1698), was one of the earliest German collections of suites in the French manner, using dance movements influenced by those of Lully's stage works. The Florelegia also contains valuable information about French performance practices in the late 17th century. His Ausserlesene . . . Instrumental-Music (1701) was an early collection of concerti grossi in the style developed by Corelli. Among his other works are the Armonico tributo, a set of five-part trio sonatas, and the Apparatus musico-organisticus, toccatas for organ.

His son Gottlieb Muffat (1690–1770) became organist to the Holy Roman emperor. His most important works were Versetten oder Fugen for organ (1726) and Componimenti musicali (c. 1739), from which George Frideric Handel borrowed heavily.