There is another outstanding composition for the liturgy, the Würzburg Cathedral Mass for the consecration of the rebuilt St Kilian's Cathedral in May 1967, which is a kind of "full mass", i.e. the Proprium and Ordinary are compositionally a unit. Although the Ordinary is labelled op. 31 as the "Cathedral Mass" and the Proprium as op. 32 with the title of the opening words of the Introit "Salvation comes to the righteous from the Lord", the movements play into each other in terms of their overall style and show that they belong together. Furthermore, although they are in German, the formal structure of the alternation between cantor, choir and congregation is very much in line with the traditional form of Gregorian chant. It is remarkable that such a large and important festive mass was composed in the vernacular so soon after the publication of the liturgical constitution ("Sacrosanctum Concilium" in 1963 and the church music instruction "Musicam Sacram" in 1967). On the one hand, it may reflect the composer's progressive liturgical thinking; on the other hand, it probably takes into account the fact that in the diocese of Würzburg, the vernacular language in chant in the so-called "German Mass" also had a very old and great tradition on high feasts.
"Zum Einzug" alternates blaring trumpets with a broad hymnal theme of woodwind, horns and strings in a festive Intrade until the antiphonal alternation of the congregation's frame verse with the soloist (baritone solo) and his psalm verses begins. The following"Kyrie", the"Herr, erbarme dich", begins again with a broad, wide-ranging theme alternating with striking trumpet bars, before the baritone intones the"Herr, erbarme dich" twice, followed by the same call, once from his lead singer, once from the boys' choir, one from the congregation and a final call from the choir. The"Christus, erbarme dich" is performed three times by the solo soprano, each time increasing in the extension of the call and melodic intensification, then performed in a similar manner by the precentor, congregation and choir as with the"Herr, erbarme dich". The solo soprano rises above a dense, chordal choral movement with triadic storms in a vocalise up to high C. This intensification of the entire call in the third"Herr, erbarme dich" is intensified in the exalted use of the two solo voices with the participation of all the others. One is almost inclined to see in this intensive structure the compositional realisation of the demand of the Second Vatican Council's liturgy constitution regarding the distribution of roles for all those actively involved in the liturgy.
The "Glory be to God" is a combination of baritone solo, choir and congregation. The choral structure of the following interludes, or rather response chants to the readings, is reminiscent of Gregorian chant, where huge melodic arcs are composed for the final syllables, for example, just as in the Latin gradual verses. This is also the case here in the choral movements set in sections. The"Alleluia" goes as far as double-choir-like eight-part harmony with repetitions, plus the solo baritone with a short psalm verse.
In the"Creed", again with baritone, choir and congregation, a sectional chordal conception prevails, from which a richer, canonically led arrangement stands out in"Er hat Fleisch angenommen".
The precentors, boys' choir, choir and congregation sing"Heilig" with"Hochgelobt" in unison, sometimes canonically as a genuine acclamation of the congregation with a few highlights from the soprano and baritone solo. As usual, the"Lamb of God" is divided into three parts for soloists, choir and congregation.

Franz A. Stein (in "Die Kirchenmusik Bertold Hummels", Tutzing 1998)

Accepting the challenge - Bertold Hummel's Würzburg Dommesse
In fact, the lack of orientation in matters of church music had already affected large sections of the clergy and musicians at that time, unlike, it would seem, in the period immediately after the end of the Council. The practice in the diocese of Würzburg may serve as a remarkable example. Here, the cathedral chapter took the decision to commission a festive mass for the consecration of the rebuilt cathedral as a matter of course, and there seems to have been no question between the commissioner and the composer Bertold Hummel that the completely new possibilities opened up by the Council should be put into practice immediately. Hummel's Würzburg Dommesse op. 31 and the accompanying Proprium op. 32 realised the Council's ideas for the first time ever in Germany in 1967: a large mass for soloists, choir and orchestra in German and with the participation of the congregation, which has to take part in singing all parts of the Ordinary, the whole in a musical language that is both modern and solemn by liturgical standards. The beginning of the "Gloria", in this case the "Glory to God in the highest", sums up all the elements of this liturgical music, which was new at the time: Starting with the intonation of the priest - musically derived from the melody of the Easter hymn "Christ is risen" - through a striking accent of sound and movement from the orchestra to the rather declamatory text presentation of the choir, which is melodically embellished by a jubilee from the solo soprano, followed by a short pastoral interlude from the wind instruments, from which a run-up is made to the we-praises, in the third and fourth of which ("we worship you, how we glorify you") the congregational singing enters, the textual-musical events finally reach the invocation of the divine persons and thus a first form-structuring climax. This excerpt, chosen here as an example, is in every respect both theologically meaningful and liturgically appropriate as well as artistically ambitious, even if - and this is where the central conflict between the church and the musical art of modernism arises - from the perspective of the radical musical avant-garde of the 1960s, it is not up to date with the material and therefore out of date.

Ulrich Konrad from: Kirchenmusik und Geistliche Musik als Idee und Wirklichkeit (in: Dieter Kirsch / Ulrich Konrad (eds.): Kirchenmusik in der Diözese Würzburg - Studien und Quellen vom 16. bis ins 20. Jahrhundert, Würzburg 2010)

On the reconstruction of the cathedral (introductory text LP CALIG CAL 30330)
After 22 years of painstaking reconstruction, Würzburg's St Kilian's Cathedral was the last of the German cathedrals to be completed in May 1967. On the evening of 5 May, its doors were reopened to the faithful, on 6 May the new altars were consecrated and on Sunday, 7 May, Cardinal Döpfner held a festive thanksgiving service. This event was of secular significance for the city and diocese of Würzburg: after 22 years, both now have their episcopal church again and thus their religious centre.
Würzburg Cathedral has been resurrected in a new form. What had been preserved was restored, what had been destroyed was recreated in the spirit and according to the needs of our time, especially the centre of the cathedral: The bishop's altar and cathedra. This courageous combination of old and new gives the cathedral its unique charm and makes it not only an interesting and valuable architectural monument, but also a festive space in which the people of today can celebrate worship in the spirit of liturgical renewal.
What is visible in the new construction of the cathedral should be audible in the hymns of the thanksgiving service. Therefore, a Latin mass was not chosen from the existing treasury of church music. Instead, the Würzburg Cathedral Chapter commissioned a German mass from the composition teacher at the Bavarian State Conservatory of Music in Würzburg, Professor Bertold Hummel. At the service on this day, the faithful should not only listen with emotion, but also joyfully join in with the "new song" in their mother tongue, which could be heard again in the cathedral after such a long time. The mass was to express the significance of the event, but at the same time fulfil the requirements of the Council, above all to enable the singing participation of the whole congregation. The task was not an easy one. Professor Hummel took it on and created a work in the "Würzburg Cathedral Mass" that is not only musically very appealing, but also represents a serious contribution to the renewal of church music after the Council.
The Würzburg Cathedral Mass
The Kyrie, although long, clearly has the character of a call. The composition of the festive Gloria hymn departs from the previous formal scheme and seeks a new path in its structure. Here, too, the congregation participates with short calls. The Credo is not musically interpreted, apart from the middle section "He has taken flesh ...". The individual movements follow one another in a simple but incredibly powerful way. The entire Credo is, so to speak, composed over an organ point, on the note a.
The Sanctus is sung by the congregation and unanimous choir in canon. The soprano and baritone solo lend it a radiant splendour with their interjections. The Agnus Dei follows the division generally used today: soloist, choir, congregation. The festive service in Würzburg Cathedral showed that, despite all the difficulties that had to be overcome, the attempt was successful overall. The thousands who filled the vast space of the cathedral were not just spectators and listeners, they united their voices with the singing of the choir to form a powerful praise of God.