Style/principle: In a predominantly homophonic setting with occasional polyphonic parts, Hummel's Easter motet is characterised by its pleasant voice leading and good singability. The exciting tonal language, characterised by colourful mixed sounds but not overly dissonant, with clear tonal references is demanding and enriching. Hummel implements the compositional principle of the motet with its text-relatedness and dialoguing elements in echo formations between high and low male and female voices. He took his text from the Invitatory of Lauds, an old hymn to Christ and the final section of the Gloria. Opus 18a dates from Bertold Hummel's early creative period and is available here in print for the first time. It already shows in nuce the broad spectrum of expressive possibilities that the composer realised in his later years in his interdisciplinary oeuvre.
Notation: traditional
Form/structure/character: In keeping with the motet form, the musical conception of the work is closely linked to the structure of the text. The three-part structure reflects the context of the Triduum paschale as well as praising the triune God. The internal structure of individual sections is also in three parts, such as the Hallelujah (part 1) and the middle section, whose three sections are each framed by a Hallelujah. Part 3, on the other hand, is in four verses. It thematises Jesus Christ as the King of Glory, who is invoked in the Kyrie. The symbolic number four here stands for the earthly church, an effect that is further emphasised by the increase from one to four voices. Solo and two-part sections lend the Easter motet an oratorio-like character. The verses can also be performed by soloists. The wide range of tempi and the multi-faceted use of dynamic markings give the motet a strong expressive power, which is evident not least in the contrast between organ-point-like sound surfaces and the cantabile parts that unfold above them.
Performance/interpretational requirements: This demanding motet is an appealing task for a large, capable choir that already has some experience with New Music.
Use: Liturgy and concert.
Why you should tackle this piece: Hummel's haunting, modern, but not dissonance-overloaded tonal language is both challenging and beautiful in sound. A combination that should not be missed.

Barbara Stühlmeyer

The artistic centrepiece of this uplifting hour was probably the great three-part motet for six mixed voices "King of Glory" by the young Freiburg composer Bertold Hummel. This composition utilises other values of our contemporary language than we had heard in the morning. Joyful exuberance in bouncing rhythms and shimmering to rich harmonic colourings, which are naturally contrasted with simple diatonic melody lines. Here you can clearly recognise the difference between purely liturgical music and more general sacred music.

This was followed by the magnificent motet for six mixed voices in three parts "König der Herrlichkeit" by Bertold Hummel, whose premiere performance by the Geistlicher Chor had made a lasting impression just eight days earlier in Freiburg's St. Konradskirche. The excellent interpretation made this colourful and chorally virtuosic composition a profound experience here in Weil too. All the rhythmic gestures, the broad melismatics and the changing sound mixtures were ultimately focussed on the proclamation.