componist

Vulpius, Melchior

Melchior Vulpius (c.1570-1615) was a German Composer and schoolmaster. He was one of the most important Protestant composers of church music of his time in Germany. Together with his brother ...

gerelateerde werken

New Selection of Exquisite Motets (Volume III) : for 8 and 18 voices / Melchior Vulpius; transcribed and edited by Cees Wagemakers

Genre: Vocaal
Subgenre: Vocaal ensemble (2-12)
Bezetting: zang

Tombeau à 4 : Egidius, waer bestu bleven?, for 4 male voices / Daan Manneke; text taken from the 'Gruuthuse' handwriting (14th century)

Genre: Vocaal
Subgenre: Vocaal ensemble (2-12)
Bezetting: ten-c ten bar bas

Psalm 60 : voor tenor solo, vrouwenkoor en tolk / Boudewijn Tarenskeen

Genre: Vocaal
Subgenre: Vocaal ensemble (2-12)
Bezetting: ten VK tolk

Septem verba Christi : for three equal voices / Kris Oelbrandt

Genre: Vocaal
Subgenre: Vocaal ensemble (2-12)
Bezetting: 3voc

 

compositie

New Selection of Exquisite Motets (Volume II) : for 6 and 7 voices / Melchior Vulpius; transcribed and edited by Cees Wagemakers

Uitgavenummer: 15473
Genre: Vocaal
Subgenre: Vocaal ensemble (2-12)
Bezetting: zang
Bijzonderheden: Early Music Edition.
Status: volledig gedigitaliseerd (direct leverbaar)

Overige auteurs:
Wagemakers, Cees (editor)
Bevat:
Dixerunt Iudæi ad Iohannem (4’30”)
Ascendit Ioseph a Galilæa (8’45”)
Beatus autor sæculi (à 6/4/8) (6’00”)
Postquam consummati sunt (4’45”)
Nunc dimittis (5’30”)
Qui Paracletus diceris (à 6/8) (6’45”)
Benedicta sit Sancta Trinitas (4’15”)
Ego autem in Domino gaudebo (3’15”)
Dominus pastor meus (7’45”)
Cantate Domino canticum novum (6’45”)
Domine, quis habitabit (6’00”)
Toelichting:
The underlying work is the Opusculum Novum selectissimarum cantionum sacrarum, meaning ‘New Opuscule of most exquisite motets’, published in Erfurt in 1610 by Heinrich Birnstiel. (This title is here translated into New Selection of Exquisite Motets) It contains unaccompanied religious works for 4, 5, 6, 7 and 8 voices, and even one for 18 voices: 3 choruses of six voices, a very monumental work. This can best be performed or doubled by instruments in the lower regions. The deep bass voice going to C will sound marvelously on a sackbut.
The motets in this book all have a rather mathematical structure; the voices in the polyphonic parts each starting the same time after the other. In all the pieces there is a remarkable daring repetition of a theme as a token of emphasis; on the other hand: the effect of emphasis is achieved in strictly homophonic phrases.
Both these two phenomena, trademarks of Vulpius’ music, can be heard in the Pater noster à 4 and à 5. Especially the pieces for 6 and more voices are breathing the atmosphere of Venetian polychoral works. Vulpius must have known the music of Claudio Monteverdi and Giovanni Gabrieli, because his polychoral style shows several elements of the works of these Venetians.
Cees Wagemakers, 2016

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