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Magnificat Quinti toni irregularis, Op.1 No.6

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Uploaded by: Agnus_Dei (12/18/20)
Composer: Murrchaushher, Franz Xaver
Sample Producer: Prospectum
Sample Set: St. Peter und Paul Weissenau
Software: Hauptwerk IV
Genre: Baroque
Description:
Franz Xaver Anton Murschhauser (1 July 1663 – 6 January 1738) was a German composer and theorist.

He was born in Saverne, Alsace, but he is first mentioned as a singer and instrumentalist at St Peter's School in Munich, in 1676. He studied music with the Kantor, Siegmund Auer and, from 1683 to his death in 1693, Johann Caspar Kerll. Murchhauser was appointed music director of the Munich Frauenkirche in 1691, where he remained until his death.

He published two collections of organ music in the tradition of the South German school, intended for use with the Catholic liturgy; these consist of short toccatas, fantasies and fugues written using the psalm tones and plainchant melodies.

The first collection is entitled Octi-tonium novum organicum, octo tonis ecclesiasticis, ad Psalmos, & magnificat (Augsburg, 1696), and contains 89 pieces.

The second collection is in two parts of 34 pieces each, entitled Prototypon longo-breve organicum; (part I, Nuremberg, 1703; part II, Nuremberg, 1707).

He also published two works on the subject of music theory, designed for instruction in the art of composition. These treatises are conservative and distinctly 'old-fashioned' in their treatment of the subject, and were strongly attacked by Johann Mattheson in his Critica musica due to their firmly being founded on the contrapuntal practice of late-16th century sacred music, while Mattheson was in favour of the 'modern', Italian opera-influenced style.

"Magnificat Quinti toni irregularis, Op.1 No.6" is intended for use at Vespers, but we often think of the "Magnificat" as the "Song of Mary" and Gabriel's "Angelic Salutation" during the season of Advent.

The work is found in "Octi-tonium novum organicum", dating 1696 and consisting of a "Præambulum", 5 brief "Fugas" and a "Finale".

In style, the work is a cross between the French and German styles common at the time.

The score is attached below, as well as several photos of the Munich Frauenkirche, and a period drawing.
Performance: Live
Recorded in: Stereo
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