[44] See Ed. Hanslick: Aus meinem Leben. (Deutsche Rundschau, July, 1894, p. 54.)
[45] "Our Father, who art in heaven." This chorale was one of eight published for Pachelbel by Johann Christoph Weigel at Nuremberg about 1693.
[46] Georg Muffat, born about 1635, was a pupil of Lully, and studied also in Rome and Vienna. For some time he was organist in Strassburg, and about 1667 entered the service of the Bishop of Salzburg. About 1687 he became organist and master of the pages at the court in Passau. He died there February 23, 1714. He published in 1690, at Augsburg, the "Apparatus musico-organisticus" (re-edited by S. de Lange, Leipzig, 1888), which contains twelve Toccatas, one in each of the Gregorian modes, and some pieces of lesser importance.
These Toccatas are a development of the older form of the same name, where brilliant passages, harmonic progressions, or fugal imitations, succeeded each other. From each of these elements Muffat made a whole, developed separately; a similar method suggested in certain Canzoni of Frescobaldi was extended in some of the Capricci of Froberger. Nothing but the too sparing use of the pedal prevents these works from being ranked among the most important.
[47] J. Commer. Musica sacra, vol. i, No. 132.
[48] Following the publication of the "neu eröffnetes Orchester" of Mattheson, Buttstedt had written an essay entitled:
Ut mi sol
re fa la
Tota musica (Erfurt, 1717),
in which he defended the old solmisation, or system of changes, the si, a changeable note, being disregarded. Mattheson answered it the same year by the "neu beschütztes Orchester" (defense of the new orchestra), with the epigraph:
Ut mi sol
re fa la
Todte (nicht tota) Musica,
a bad pun on the words tota, the whole, and todte, dead.