Born in France of a German father and with Scottish forbears, Georg Muffat was something of a polyglot in more ways than one. As a result of his many travels, either for study or in search of work, Muffat was destined to introduce into Germany the fashionable baroque styles of both Italy and France, having met both Corelli and Lully.

In his splendid and lavish 24-part Missa In Labore Requies, both styles happily coexist. It is thanks to Haydn, who possibly acquired the autograph score from Muffat’s son, that the Mass is still extant, even though it was neglected up until the 1990s probably because it was thought to be spurious. (It has now been authenticated.)

The abbey church at Muri in Switzerland, with its four galleries and two organs is a wonderfully apt recording venue. Such spatial differentiation is reminiscent of the four organ galleries of Salzburg Cathedral. The cathedral was possibly the venue for which the work was originally written, as Muffat had to return from a study tour to assist in the celebrations for the 1,100th anniversary of the founding of the diocese.

The musical forces of the Mass are divided into five groups – two choral and three instrumental along with basso continuo.
Johannes Strobl co-ordinates his forces well and the Audite engineers have done a good job in balancing directional and cumulative effects. 

Throughout the Mass bold, chordal textures alternate with more intimate ensembles; in fact the whole score is something of a patchwork quilt of short, contrasting miniatures sewn together with consummate ease. Such a structure allows plenty of room for the eight fine vocal soloists to shine in addition to the well-blended groups of instruments. 

One interesting feature of the Credo is the use of a repeated figure on muted trumpets and drums at mentions of death. Using this sort of leitmotif is rather unusual but highly effective. Muffat’s cosmopolitan style is demonstrated by the Italian character of the jolly Et vitam venturi saeculi that concludes the Credo while the opening of the Agnus Dei is a delightful example of the French style.

Instrumental sonatas by Muffat’s colleague Biber and other contemporaries (Bertali and Schmelzer) are attractive makeweights, nicely varied in scoring and style, some using brass and some not. The resonant but not overwhelming acoustic of the Muri church suits them well. 

Like the large-scale masses of Biber (Missa Salisburgensis) and Striggio (Missa Ecco Sì Beato Giorno), Muffat’s is designed to impress and it certainly hits its mark in this fine recording, which will inspire repeated listening.