Vokalensemble (Da pacem, Domine )

Work commentary

In May 2020 I wrote a short motet for the renowned German vocal ensemble "Singer Pur": in six voices on the well-known chorale text "Da pacem, Domine".I immediately recognized the potential in this music, which begged for a sequel. It was obvious to give these weighty words about the request for "peace" a corresponding musical form: and this could only be a mass.

So in about 5 weeks a complete parody mass was created, as we know it from the heyday of the 16th century. Instead of taking a template from another composer, I used my own template in the form of the motet mentioned. This procedure was already known 400 years ago.

In principle, the present fair is divided into two parts in terms of sound aesthetics:

The beginning of each movement uses the first part of the motet as a basis, and in the case of the extensive text sections also the entire motet. On the other hand, sections are used that have nothing in common with the motet model or the musical material of the chorale.

The only exception is the Christe eleison, in which the chorale wanders canonically from the low to the high voices in short fragments.

If the material-bound measuring parts are very concentrated, uniform compositions in terms of composition and expression, which quite consciously want to tie in with the ideals of the 16th century without being a mere template-like copy of an old, long-gone time, the free parts in particular prove to be special creative and variable in the intensification of the musical expression, which is first and foremost verbal

Kyrie

Immediate beginning of the diverse six-part composition in real six independent lines without linking through imitations. After the first climax in Mensur 6, the music develops its further progress through exactly that imitation technique that was completely missing before. After just 14 scale units, this movement ends in broad, outflowing vocal lines.Even the first movement, which has nothing in common with the model, the Christe eleison, is almost three times as long as the Kyrie eleison I with 36 scales. Two essential differences between these two movements are quickly mentioned:

the melodic design of the line and

their relation to the other voices

It is precisely the variety of intervals in the horizontal and vertical plane and the rhythmic organization of the movement that bring with them a considerable potential for possibilities, so that it is precisely here that the composer's creativity can spread. Not all three musical parameters - melody, harmony and rhythm - need to be equally affected - later we will also see examples of how rhythm can be taken out of the redesign - .

The concluding Kyrie eleison II then concludes the first movement of the Mass in such a way that both styles come together to form a well-rounded, complementary work of art.

Glory

The first part of the present Glorias is a single "Jubilus". The consistent filling of the music with small note values by all voices is remarkable. The "constriction" of the individual motifs acquires a special quality in its significance as a constructivist element, which does not want to be placed in the foreground, but can be experienced profoundly in the sense of increasing expression.

Then the "Stylo Nova": at the latest with the Qui tollis and the atonal choral fugue "Qu sedet ad dexteram Patris" with the all-encompassing "Miserere nobis" in the Superius, it should be clear that with a sensible use of completely different stylistic devices - here tonally bound, there atonally open - the music can have a subtle effect on the depths of the human spirit and on feelings that would otherwise hardly be so comprehensible. The "New Style" is not only convincing in small formal sections, but also in spacious "dimensions", because only with the Cum Sancto Spiritu does the music return to the original template - the motet.

Creed

The creed is divided into nine sections and is therefore of such a length - the performance lasts approximately 15 minutes - that a liturgical integration of the creed is unlikely. From the outset, however, dias was not a targeted option, but a new, in every respect intensive artistic examination of the Ordinary Missae.

Comparable to the text-rich Gloria, sections 1 and 9 are based on the motet text. All the rest is not tied to any given material, i.e. a significant portion of the Credo is completely rewritten. In addition, in the first and last parts only the three lowest voices are provided with the musical text of the motet, so that these voices have little assertiveness and the three upper voices in turn gain dominance with new material.

A comment on the sometimes very slow metronome indications would now make sense, because the "mystery of Christ's incarnation", i.e. the Et incarnatus est, is a tonal condition and not a musical development. However, the artistic director always decides during a performance whether the guidelines are accepted or not. The acoustic conditions alone may require different speeds for an effective presentation of the composition.

Sanctus

Homophonic beginning with three exclamations: Sanctus, sanctus, sanctus!

Then polyphonic movement in 3 voices, shortly afterwards in 6 voices with rhythmic 2:3 conflict because of the simultaneous use of the time signatures 9/4 and 3/2.

The Superius - voice in the manner of a coloratura soprano very flexible and virtuosic. This is followed by a jewel of three-part compositional art: in eight variations and subsequent coda over a bass theme. Contrary to tradition, the Pleni sunt caeli et terra and the Hosanna that follows are said in excelsis attacca. In this way, the detailed structure can be avoided and the following Benedictus receives an appropriate, contemplative character.

Just as atypically, the Hosanna in excelsis II does not end as "Da capo", but rather in the spirit of the varietas principle as a figurative variation of the Hosanna in excelsis I.

Agnus Dei

With the Agnus Dei I, the central key of A is left for the first time, and the lowering of the key to A flat gives the music a more harmonious character

Darkness to the point of depression, which quickly makes one forget the splendor of a Hosanna in excelsis. It should not go unmentioned that this first Agnus Dei movement found its way into the secunda pars of the Lamentatio nova super morte Josquin des Prez (ca. 1450 - 1521), performed at the festival "Laus Polyphoniae" in Antwerp by the Huelgas Ensemble conducted by Paul Van Nevel witnessed the world premiere on the 500th anniversary of Josquin's death on August 27, 2021.

With Agnus Dei II, the harmonic events are reduced to a minimum. The three bicinien are all designed linearly and you could

believe that when they look at the sheet music they are looking at a composition by Johannes Ockeghem. As far as the rhythm is concerned, one has to agree (see note in the Kyrie section, penultimate paragraph), but the melodic qualities are completely different: the ability to modulate has been considerably expanded compared to the historical models and thus become more differentiated in expression. Of course, this also has its price: the safe intonation within the vocal ensemble

should be much more difficult to achieve, but is essential for a sustainable interpretation of this music.

The climax is then reached with the Agnus Dei III: the two bass voices bring the chorale "Da pacem, Domine" in quadruple magnification as a canon in the fifth, tenor 2 joins them and intones the closing words of the mass in the same note values: dona nobis pacem.

The three treble voices ensure the rapid, flowing tempo and the extended ambitus up to a'' This movement is considered the composer's homage to the masters of the Franco-Flemish school, namely Josquin des Prez, who with his solutions, as in the Missa " Malheur me bat", so to speak, was the godfather. In the last movement, everything points back to the origin: no modulations whatsoever, only the redeeming C sharp in the last meeting of the voices...

Jörg Schnepel, June 17, 2022