This lovely motet is a setting of two Magnificat chants. The first chant, Tone 5 (Liber Usualis, 1952, p. 210), is quoted in the soprano voice at the beginning of the alleluia and again at the beginning of the verse. The second chant, Tone 8 (Liber Usualis, 1952, p.212), is quoted or paraphrased extensively in all voices throughout. The text underlay in the Formschneider print is capricious, perhaps because the chants would have been so familiar to the singers. Editorial decisions have been indicated. The alto and tenor parts have nearly identical ranges so care must be taken to ensure homogeneity between those voices. The harmonic fabric is quite advanced, with the use of accidentals in the score to move the piece from a tonal center of F to B-flat and back.

Music devoted the Virgin Mary is especially significant to the Konstanz collection as the full name of the church is actually Münster Unserer Lieben Frau