Toccata Septima (Apparatus musico-organisticus, 1690)

Georg Muffat (1653–1704) combined various styles of 17th-century music in his compositions:

The Savoy-born Muffat received important impulses during his musical studies in Paris, in the circle of Jean-Baptiste Lully. He lived and worked for a time in Alsace, then in Vienna, Prague, Salzburg and finally in Passau. During an extended study visit to Italy in 1680, he not only received organ lessons from Frescobaldi's pupil Bernardo Pasquini, but also met Arcangelo Corelli.

In his compositions – trio sonatas, suites, concerti grossi, sacred vocal music, operas and keyboard works – he combined these diverse influences in a virtuoso manner, thus becoming a pioneering representative of the so-called “mixed style”.

In 1690, the year he took up his post as Kapellmeister at the court of the Passau prince-bishop Johann Philipp, Count of Lamberg, Muffat published his “Apparatus musico-organisticus” – a collection comprising twelve toccatas and three sets of variations for organ, which demonstrate the blending of national styles in a variety of ways.