In a commentary on the group of works called "Tradition", Dieter Schnebel writes that he wishes to track down what is urgent and lively in the time-honoured forms and contexts of the past and lead them to a new present and future in a dynamic way. As one of the most significant works in which that is displayed with great clarity, the "Missa" stands out from Schnebel's oeuvre.
"Missa" has got an ecumenical and political character: elements of every kind of Christian church music - and also music of the synagogue - are incorporated into it. Over and above this it acquires a specific connection with Berlin: in memory of the "Bekennende Kirche" [confessing church] in particular of Martin Niemoller, Dietrich Bonhoeffer and Karl Barth and the first performance (1988) took place in the Church of Jesus Christ in Dahlem, where Martin Niemoller once preached and which was once the centre of the church resistance movement against the Nazis.
"Missa" ends with the "Dona nobis pacem" in a multi-lingual cry for peace - rebellion and unfulfilled plea in one.
This production received the quarterly German Record Critics' Award!
In 1596, the Wasungen-born Melchior Vulpius was called to Weimar as the cantor, music and Latin teacher at the municipal school and the St. Peter and Paul Parish Church (Stadtkirche). Thus he became the highest ranking Ernestine church musician and the expectations of him were equally high. Within some years, he created a considerable repertoire, which he published from 1602 onwards. He released a new collection almost every year until his early death in 1615 aged 45. Many of these collections found their way to the cantorial library in the little Saxon town of Waldheim where they were preserved until today. Since 2002, this musical heritage has been investigated and gradually made accessible to the public once more. Waldheim’s cantor Rene Michael Roder and Capella Daleminzia directed by him now release a series with the complete works by Vulpius. This release is the second volume in the series, and contains the motets for eight to thirteen parts of the Cantiones Sacrae I, thus completing the recording of Vulpius’ first published collection of works. The nine-part motet “Surrexit pastor bonus” for Easter Monday is the only one in this collection to be sung by four choirs and contains another special feature. While Choir 1 sings the Latin text, the Choirs 2, 3, and 4 contrast this with hymn in German language. Furthermore, the choirs should be placed in a quadrophonic manner if possible.
