related works

New Selection of Exquisite Motets (Volume I) : for 4 and 5 voices / Melchior Vulpius; transcribed and edited by Cees Wagemakers

Genre: Vocal music
Subgenre: Vocal ensemble (2-12)
Scoring: zang

Wie is Lilith : voor sopraan, mezzosopraan, alt, tenor en bariton, 1997 / op teksten van Lucebert, Bernard van Beurden

Genre: Vocal music
Subgenre: Vocal ensemble (2-12); Mixed choir
Scoring: sopr sopr-m alt ten bar / GK5

Parnassus Musicus Fernandæus (Volume 2) : Motets for 3, 4 & 5 voices & non-figured Basso Continuo (Partitura) / collected by Giovanni Battista Bonometti; transcribed and edited by Cees Wagemakers

Genre: Vocal music
Subgenre: Vocal ensemble (2-12)
Scoring: zang

Aliquid stat pro aliquo : for four singers / Edward Top

Genre: Vocal music
Subgenre: Vocal ensemble (2-12)
Scoring: 4voices

composition

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

Other authors:
Wagemakers, Cees (Editor)
Vulpius, Melchior (Composer)
Contains:
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”)
Description:
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