In this Magnificat, taken from a collection containing four-choir music for Vespers published in Venice in 1612, Viadana took an approach which was unusual at that time: the Magnificat is divided into 11 short movements like a cantata. The movements are structured with contrast clearly in mind. Viadana exploits not only the varied possibilities of the large vocal and instrumental forces to the full, but also presents a wide range of styles – from duet to four-choir tutti, from falsobordone to expressive madrigalian style. The work displays Viadana’s knowledge as well as his admiration of the church music of Monteverdi in many ways. Viadana’s printed edition of the Vespers of 1612 made a great impression on Michael Praetorius. Both Viadana’s handling of the instruments and his treatment of the tutti choirs had a considerable influence on the works of Praetorius and other German masters.