Programme & Conception

The tradition of horary prayers
(particularly Complet) is still cultivated for certain occasions today at the Evangelical Seminary, supporter of the cloister concerts and the Maulbronn Chamber Choir. It therefore stands to reason that the liturgical form of the horary prayers be transfused to a musical, clerical programme. Of course, it is not possible to feature the complete horary prayer texts as choir compositions. In such, the programme’s concept is based on the adoption of integral liturgy components from every horary prayer by textually identical or paraphrased choir compositions. Each horary prayer contains an hourly text, a psalm prayer, and a canticle from the New Testament. Thus, Zacharia’s Benedictus or the Te Deum is the designated canticle in the morning prayer; the vesper includes the Magnificat (Maria’s canticle), and the canticle in Complet is Simeon’s canticle (Nunc dimittis).
The programme implies particular suspense by posing 19th century compositions vis-à-vis stylistically contrary 20th century compositions and monophonic orthodox cantos. Whereby Arvo Pärt has limited himself to few harmonies in Magnificat and is very frugal with musical sources (minimal music) while assuming a vertically definitive harmonic and sensitive tone altogether, a strict contrapuntal linearity dominates Rolf Schweizer’s composition, which is primarily disposed to the consequent perfection of every individual voice, and in such, is subordinate to the vertical, harmonic aspect. Rolf Schweizer is of particular rigour in the imitative-rhythmic area in his composition “O lux mentium”, but keeps the piece in tonal balance with the rather homophonic insertions (“O Lux”).
The composition “Hear my prayer, O Lord” by the contemporary Swedish composer Sven David Sandström is a different type completely, and is based on a piece by the English composer Henry Purcell of the baroque era. Sandström adopts Purcell’s composition literally and in the middle of the piece, transports it very sensitively to his own modern tonal prose. Sandström is concerned with a very expressive interpretation of the text “Hear my prayer, O Lord, and give ear to my cry". After an initial reserved, lamenting tone, the piece gradually mounts until it ultimately climaxes in an outmost dramatic, existentially affected outcry in which the praying man calls out his desperation (soprano to C’’). Fierce dissonances and extreme dynamic make his emotional condition clear, but after a while, the piece is gradually restored and finally ends with the most delicate pianissimo and a pure C-major triad (bass to low C). The praying man gradually calms down and surrenders to the Lord’s guidance with hope and trust.

Jürgen Budday

O lux mentium
Motette, composed by Rolf Schweizer in 1998
Premiere 1998 of the Maulbronn Chamber Choir

O Licht der Gedanken, Gott, vertreibe von mir die Nacht der Torheit und gib mir den Tag der Weisheit. Gehe auf, Sonne der Wahrheit und der Gerechtigkeit, aus der tiefsten Tiefe deines Wesens, die alles Verstehen übersteigt. Erscheine im Himmel meiner Seele, auf Erden meinem Herzen. Vertilge also die körperlichen Gedanken und die Hirngespinste meiner Gedanken. Pflanze einen Spross deiner Erkenntnis in dem Innersten meines Geistes. Giesse deinen Heiligen Geist aus über dem Wasser meiner Hässlichkeit, damit ich zu dir gewandt und in Einklang mit deinem Sohn dich sehe und alles unter dir durch dich. O du reinste Wahrheit, schaue dich in mir, erkenne dich in mir. Durch mich selbst sehe ich nichts als Eitles, Schwankendes und Hinfälliges, sehe ich nichts als falsche und körperliche Vorstellungen. Durch mich bin ich nichts als Tod und dunkler, unvollkommener Abgrund. In dir bin ich, soweit ich bin. In dir lebe ich, soweit ich lebe. In dir erkenne ich, soweit ich erkenne, denn du bist die höchste Einsicht, die höchste Wesenheit, das höchste Leben. Vater, Sohn und Heiliger Geist, dreifache Einheit, einfache Dreiheit in sich, dem unendlichen Gott, ein Gott ohne Ende von Ewigkeit zu Ewigkeit. Amen

Maulbronn Chamber Choir
The Maulbronn Chamber Choir was founded by its director Jürgen Budday in 1983 and is one of the best choirs in Germany today. The ensemble compiles a clerical and secular a-cappella programme every year, its focal point on 19th and 20th century literature. First prize at the Baden Wuerttemberg Choir Competition in 1989 and 1997, second prize at the Third German Choir Competition in Stuttgart in 1990, and a victory at the Fifth German Choir Competition in Regensburg in 1998 document the chamber choir’s extraordinary musical standard. The Maulbronn Chamber Choir has also received invitations to the Ettling Palace Festivals, the chamber music series of the Dresden Philharmonic, the cloister concerts at the Walkenried Convent, the First International Festive Days of Clerical Music in Rottenburg, and the European Music Fest in Passau, among other places. In addition, the choir has made a name for itself internationally. The 1983 debut tour through the USA with concerts in New York and Indianapolis among other places, and the participation at the Festival of Music in New Harmony, Indiana, as well as concert tours through numerous European countries, Israel, Argentina (1993 and 1997), South Africa, and Namibia (2001) were all greeted with similar enthusiasm by the public and critics alike. The third tour through South America followed in autumn 2003 with concerts in Argentina and Uruguay.

Juergen Budday
is director of church music and artistic director of the concert series at the monastery of Maulbronn, of the Kantorei and of the Maulbronn Chamber Choir. He studied music pedagogy, church music and musicology at the academy of music in Stuttgart and since 1979, has taught at the Evangelisch-theologisches Seminar in Maulbronn. For his teaching and artistic activity he has received the Bundesverdienstkreuz am Bande, the Bruno-Frey-Preis of the Landesakademie Ochsenhausen and was named “best conductor“ at the International Choral Festival in Prague. Since 2002, Jürgen Budday has also held the chair of the choral committee of the Deutscher Musikrat. Several concert recordings have been made under his artistic direction that received international recognition and high praise from critics. These have included the Handel oratorios Jephtha, Samson, Judas Maccabaeus and Saul with Emma Kirkby, Michael Chance, Nancy Argenta and Stephen Varcoe.

1. Von morgens früh 1:03
Motette für 4-stimm. gemischten Chor
Orlando di Lasso 1532 – 1594

Morgengebet / morning prayers (Laudes)

2. Laudate omnes gentes 3:26
aus Taizé

3. Morgenlied 4:31
für 6-stimm. gemischten Chor
Die Sterne sind erblichen mit ihrem güldenen Schein,
bald ist die Nacht entwichen, der Morgen dringt herein...
Joseph G. Rheinberger 1839 – 1901

4. Psalmgebet 6:04
Jauchzet dem Herrn, alle Welt
(Psalm 100) op. 69,2
Motette für 4 – 8 Stimmen
F. Mendelssohn-Bartholdy 1809 – 1847

5. Canticum 6:57
Benedictus
Lobgesang des Zacharias
altkirchlich

Mittagsgebet / noon prayers (Sexte)

6. O lux mentium 9:14
Motette für 4-8 stimm. Chor (1998 komponiert)
Uraufführung 1998 durch den Maulbronner Kammerchor
Rolf Schweizer geb. 1935

7. Psalmgebet 3:41
Hoffe auf den Herrn
Motette für 5-stimm. gemischten Chor
Hoffe auf den Herren und tu Gutes.
Bleibe im Lande und nähre dich redlich.
Habe deine Lust an dem Herren,
der wird dir geben, was dein Herz wünschet.
Befiehl dem Herren deine Wege und hoffe auf ihn.
Er wird’s wohl machen.
Johann H. Schein 1586 – 1630

8. Verleih uns Frieden gnädiglich 1:40
für 4-stimmigen Chor
Verleih uns Frieden gnädiglich,
Herr Gott, zu unsern Zeiten.
Es ist doch ja kein andrer nicht,
der für uns könnte streiten
F. Mendelssohn-Bartholdy 1809 – 1847

Abendgebet / evening prayers (Vesper)

9. Bleib bei uns, denn es will Abend werden 3:29
op. 69,3 Motette für 6-stimm. gem. Chor
Joseph G. Rheinberger 1839 – 1901

10. Cantus gloriosus 3:45
für 4 – 7 stimm. Chor
Alleluja, laudate Dominum, alleluja.
Tu solus sanctus, tu solus dominus, tu solus altissimus.
Alleluja, laudate Dominum, alleluja.
Jozef Swider geb. 1930

11. Canticum 6:32
Magnificat
(1989 komp.) für 4-6 Stimmen
Magnificat anima mea Dominum et exultavit spiritus meus
in Deo salutari meo. Quia respexit humilitatem ancillae sae.
Ecce enim ex hoc beatam me dicent omnes generationes.
Quia fecit mihi magna qui potens est et sanctum nomen eius.
Et misericordia eius...
Arvo Pärt geb. 1935

Nachtgebet / night prayers (Complet)

12. Hear my prayer, o Lord 6:22
für 8-stimm. gemischten Chor
Hear my prayer, o Lord, and let my crying come unto thee.
H. Purcell/Sven D. Sandström geb. 1938

13. Canticum 4:36
Nunc dimittis
Lobgesang des Simeon:
Herr, nun lässt du deinen Diener in Frieden fahren,
wie du gesagt hast; denn meine Augen haben deinen Heiland gesehen,
den du bereitet hast vor allen Völkern, ein Licht, zu erleuchten die Heiden,
und zum Preis deines Volkes Israel.
Altkirchlich

14. Der Mensch lebt 3:01
Motette für 8-stimm. gemischten Chor
Der Mensch lebt und bestehet nur eine kleine Zeit,
und alle Welt vergehet mit ihrer Herrlichkeit.
Es ist nur Einer ewig und an allen Enden, und wir in seinen Händen.
Max Reger 1873 – 1916

About the edition

Concerts from Maulbronn Monastery, a UNESCO's World Heritage Site
The abbey, founded by Cistercian monks in the year 1147, is the only completely preserved mediaeval complex north of the Alps. In 1994, it was the 13th German site added to the list of UNESCO World Heritage Sites and is thus in the illustrious company of such great monuments as the Egyptian pyramids and the Taj Mahal.
The internationally renowned monastery concerts have occurred since 1968. The performances take place in the unparalleled atmosphere of the abbey's premises (monastery church, cloister gardens and lay refectory). Under the arches illuminated by romantic candlelight, 25 concerts are held every year. This series presents a selection of some of the most beautiful works of sacred and secular music.

The Edition
"What makes the European atmosphere so impressive? By which means can the European heritage be defined? Where do the roots of European culture lie? Within the context of our documentary series ‘Maulbronn Monastery Edition’, we investigate these questions by documenting great works of European music with live excerpts from one of the most authentic sites this side of the Alps.
I have personally experienced the perfect acoustics and architectural beauty of the concert site and was greatly impressed. A publisher has no choice but to endeavour to preserve these cultural gems for future generations."

Josef-Stefan Kindler