Benedikt Anton Aufschnaiter (1665-1742) - Missa Sancti Francisci (1712)

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Composer: Benedikt Anton Aufschnaiter (1665-1742)
Work: Missa Sancti Francisci (1712)
Performers: Nеuе lnnsbruckеr Hofkapеllе

Painting: Corrado Giaquinto (1703-1766) - La Santísima Trinidad, la Virgen y santos
Image in high resolution: https://flic.kr/p/2kCLpZF

Further info: https://imslp.org/wiki/Category:Aufsc...
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Benedict Anton Aufschnaiter [Aufschneider, Auffschnaidter]
(Kitzbühel, bap. 21 February 1665 - Passau, bur. 24 January 1742)

Austrian composer. His main appointment was in Passau, where he succeeded Georg Muffat as court Kapellmeister in 1705. He spent his early years in Vienna, where he may have been a pupil of Johannes Ebner (a member of the well-known family of organ players and son of Wolfgang Ebner) whom he declared his model. Apparently he came into contact with members of the Viennese nobility, and he may have been employed at a court. In a letter of 1724 to Prince-Bishop Lamberg, while complaining about the quality of the violinists in Passau, Aufschnaiter claimed to have had in Vienna, where he spent many years, ‘16–18 excellent musicians’ at his disposal. His op.1 (of which no copy is extant) was dedicated to Count Ferdinand Ernst von Trautmannsdorf, who may have been his employer. In 1695 his op.2 appeared in Nuremberg with a dedication to Archduke Joseph (later Emperor Joseph I). Under the title Concors discordia it contains six orchestral suites which show Italian concerto grosso structure but also an apparent French influence; they probably followed the example of Georg Muffat. All that is known of op.3 is that it was dedicated to Emperor Leopold I; no copy is extant. Op.4 consists of eight church sonatas published under the title Dulcis fidium harmonia symphoniis ecclesiasticis concinnata, which appeared in 1703 and were dedicated to the four early fathers of the church and the four evangelists. These are orchestral sonatas for two solo violins (which have complicated double stops), two violins ad libitum, viola, violone and organ; they may have been inspired by Heinrich Biber’s works. From 1705, when he became Kapellmeister at Passau, Aufschnaiter was active as a composer of church music (although he was not officially appointed cathedral Kapellmeister as Muffat had been). His opp.5 and 8 comprise vespers for four voices, strings and continuo instruments (1709, 1728), his op.6 five masses (1712) and his op.7 offertories with two solo violas (1719). In all his church works Aufschnaiter favours a more traditional style similar to the Roman cantata style; there are fewer demanding violin passages and double stops than in his earlier works, and he prefers to please with melodic charm. In his theoretical writings he emphasizes the difference between church, chamber and theatre music.