Felix Schaepers: Diabelli Contest 2016

The author of the prayer reflects on the original question of humanity, as it can then be that the beginning was nothing from which the universe emerged by the power of God. It's about the contrast between nothing and the All Almighty God. It is impressive that this prayer belongs simultaneously to the oldest words of the German-speaking realm.
In this context, the composition begins consciously with a very old musical motif that can be simultaneously thought about roughly in the origin of the text. These are the known trope (hymn) '"Rex caeli domine maris undisoni" aus "Musica Enchiriadis" (9th century), whose author is unknown. This trope underlies the whole composition virtually like a cantus firmus.
In order to be closest to the origin, the words are in the original language. The contrast is musically reflected between the beginning (nothing) and the great end, the praise to the omnipotence of the Holy God, and in the way of developing a concordant original canto to a five-part canto (second stanza). The two-part develops from the original unanimity in terms of a very early fourth organum.
A further variation of the song follows in terms of music history; initially e.g., by a melismatic duplum (measure twenty-one to twenty-eight); from measure twenty-eight there’s a continuous imitation; from measure thirty-five there is a polyphonic writing with derivative tensions in syncopated ligatures. The cantus always remains within all of this. From measure forty-five to measure fifty-five (A major) there’s exertion from a declamatory painting, particularly for the words “ufhimil” and “sunna ni scein” (melismatics also for “liuchta”). The cantus is also related in the form of cancer (measure fifty-nine to measure sixty-four in the bass part).
A fugue in measure sixty-seven is set, which is solidified thematically starting from measure seventy-eight/b. With the use of the fugue, the tonal range has expanded in terms of a five-part movement. Furthermore, declamations are weaved (“eino almamahtico cot”). The measures are characterized with the triplets by a remote third relationship and an approach to modern multiple sound formation. A special role is finally played for example in measures ninety-five to one hundred one.
The cantus is once again namely fugally heard in measures one hundred nine to one hundred fourteen. The first half of the cantus is originally quoted, the second in the form of cancer. The more animated time (quarter) and the five-part transposed cue of the theme is to emphasize the diversity of the divine spirit. But above all reigns the Holy God (Finale). The whole choir song is meant as an introduction to this climax.
Expression of this increase is towards the end and the multiple use of enharmonic dominant modulation (enlargement of tonal pitch space).
Particular tips: The first measures can be understood as a reflection of nothing and as a kind of chant, wherein they are taken up isolated in the text of named negation forms and namely as a mixture of Old High German and Latin.
The bass is led divisi here, the ostinato deep F is reflected in the bass II in connection with the repetitive “ni” nothing.
In some places divisi tones are indicated in the soprano because of the high position, here you could choose between the upper and lower tone because of the boundary value.