'i~;,~\,;:( ::' 's, :,t:1:450-1517) Choralis Constantinus::! C¢q is an anthology of 372; polyphonic Neglected Treasure - , setting the textsolthe Prop­ er of the Mass, accompanied by five Heinrich Isaac's polyphonic settings dflheOrdinary. A larger and more complete suc­ Choralis Constantinus cessor to the Magnus,iij:Jer organi of Leonin, the CC was fir~t 'pulJlished in three separate volum~s)' by the Nuremberg publisher j'lieronymous by James D. Feiszli Formschneider, beginning in 1550 and finishing in 1555'>:B.egarded by musicologists as a : ,',fsumma of Isaac's reputation prior to his move to assist him in finishing some in­ Netherlandish about to .3 complete work. Isaac was back in 1500, a comprehepsive com­ In Florence, Isaac was listed on Florence by 1515 and remained the rosters of a number of musical there until his death in 1517. pendium of virtually :fi:llli devices, manners, and styles prevalent at the organizations supported by the Isaac was a prolific and versatile time"! the CC today'i~,v:irtually ig­ Medici, in addition to serving as . He wrote compositions in nored by publishers:'Cing, hence, household tutor to the Medici fami­ all emerging national styles, produc­ choral ensembles. Few!or.:the com­ ly. He evidently soon felt comfort­ ing French chansons, Italian frottoie, positions from this i,'cblI'ection of able enough in Italy to establish a and German Lieder. That he, a polyphonyiihave ever permanent residence in Florence secular musician who held no been published in chqrat!octavo for­ and marry a native Florentine. Isaac religious orders, was employed by mat. The fact that Isaac:':occupied a assimilated enough of the Italian two of the more renowned and prominent position :)r1,the early secular-music tradition to produce powerful rulers-at a time when Renaissance, second/pnly to Jos­ some canti carnascialeschi, or nearly every other famous musician quin in the eyes of: h'is contem­ Florentine carnival songs. The har­ was a cleric-indicates the high poraries, makes the 'i'naccessibility monic foundation of the Italian style standing that Isaac held during his of this music particlJ,latly regret- blended with Isaac's native Flemish lifetime. Although Josquin is contrapuntal tradition to become generally conceded to be the table. ,".":-"".. ~:: ;. his mature compositional style. greatest composer of the era by con­ Heinrich IS~CI~lf The bulk of Isaac's religious com­ temporaries and historians alike, i ; .!~~ ~ positions were written after he was Isaac was considered by at least one Very little is knowQ~ of Isaac's appointed court composer to the writer of the time to be more con­ background prior to his appearance Hapsburg Holy Roman Emperor, genial and prolific: at the court of Lorenzo:' de Medici Maximilian I. This appointment oc­ (the "Magnificent") in Florence curred after the death of Lorenzo de An undated letter to the duke [of around 1485. Isaac's Flemish birth Medici in 1492 and the subsequent ] from his secretary pro­ is documented by Florentine legal fall from power of the Medici family poses the engagement of Isaac in­ records where, in his last will and in 1494. Isaac went to Pisa to meet stead of Josquin, because Isaac "is with Maximilian in 1496, traveled to able to get on with his colleagues testament, Isaac refers to himself as better and composes new pieces "Heinricus Yzac de 'Flandria."2 Vienna to accept appointment as the more quickly."4 However, his early training and Imperial Hof/componist in 1497 and young adulthood are a mystery. He was back in Florence in 1499. Max­ In addition, Isaac was instrumental is reported to have been in Inns­ imilian apparently spent little time in spreading the new equal-voiced bruck shortly before his arrival in in anyone locality and his retinue Netherlands polyphonic style to all Florence, but neither the length of was constantly on the move with of Europe. His pupils became major time nor the nature of his stay in him. Not being the Kapellmeister, of the German that city can be ascertained. That he Isaac's presence at court was not re­ Renaissance, making him one of the must have achieved some fame quired on a permanent basis and his most influential forces of the period: before Lorenzo de Medici recruited position merely required him to join him is evident by the fact that the the court at various times to provide Isaac's importance for music Medici at that time were at the new compositions. Isaac thus re­ history rests, first, on the uniform­ zenith of their power and were able tained Florence as his permanent ly high quality of his compositions to .employ the finest musicians in residence and spent much of his ... and second, on the significant Europe. Cuyler supports this time there. fact that he, one of the greatest assumption with her suggestion that Isaac remained in the employ of Netherlanders, found his way into Isaac may have been known to his Maximilian until he requested German lands, instead of returning release in 1514. He had been in to Northern Europe like most of later employer, the Holy Roman his compatriots . . . It becomes Emperor Maximilian I, through their Florence from 1509 until that time clear that Isaac, with his receptivity common Flemish background and and returned there after traveling to and adaptability to new surround­ Vienna to meet with Maximilian. ings, was the first recognized Feiszli is the Director of Musical Ac­ One of the singers from the Imperial master and figure of real artistic tivities at the South Dakota School of Hof/capelle, , went back stature to represent personally the Mines and Technology. with Isaac to Florence as his scribe spirit of great Netherlands music November 1985 Page 27 in Germany, and that he was prob­ by Maximilian.6 Cavanaugh has Diocese of Passau until 1469 and ably a decisive force in the ever­ shown that polyphonic Mass-Proper did not receive its own bishop until increasing acceptance of the cycles in 15th-century Germany 1513. The Graduale Patavienese was Netherlands style in Germany.s were the result of a religious revival the first chant book published for sparked by the Council of Constance the Diocese of Vienna and it was this The Choralis Constantinus (1414-1418) which called for the liturgy which was probably used by The origins of the CC have been abolishment of Votive masses and the Imperial Ho{kapelle. Patzig's shrouded in as much mystery and the return to traditional liturgy.? comparison of the plainsong misconception as Isaac's youth. Through the study of the Rite of melodies and liturgy in the Graduale Bente postulated that the actual Passau, Patzig determined that what Patavienese to that in the CC re­ reason for Isaac's employment by was published as the CC by Form­ vealed that most of what became the Holy Roman Emperor was so schneider was actually only in part Books I and III of the Formschneider that he might create a great musical written for the Constance edition was probably written for the opus to commemorate the reign of Cathedral-contrary to traditional Ho{kapelle of Maximilian \. The that monarch, much like the literary thought.8 Vienna, the seat ofthe rov­ above-mentioned studies, joined cycles and artwork commissioAed ing Imperial Court, was part of the with those of other scholars (Butler, Cuyler, Nedden, and Schuler)9 reveal the following scenario. In 1508, Maximilian summoned all his entourage to Constance for the Reichstag, a parliament of Ger­ man nobles, for the purpose of per­ suading the assembled lords of the Empire to fund a trip for him to Rome so that he might be crowned Holy Roman Emperor by the Pope. THE GRAZ EXPERIENCE 1986 His title would then be legitimized in July and August - Graz, Austria . the eyes of all Europe. The Imperial Ho{kapelle was combined with the Individualized training with an international faculty of Constance Cathedral , "one of professional musicians. the leading pre- vocal groups in Germany/'lD for the 18th Summer lbcal Concert and opera studios; two voice lessons and two festivities. Isaac was also present to Institute for coaching sessions per week; daily German language provide music for this festival Singers and study; individual work in German, French and Italian chorus. On April 14, 1508, Isaac was diction; acting and stage preparation classes; lectures by Pianists. commissioned by the Constance internationally known musical figures; chamber music; Cathedral chapter to "compose a the Audition 'fraining Program, a must for the singer or group of motets, setting in choral pianist seeking an engagement in German-speaking polyphony certain portions of the opera houses. Mass Proper to the most solemn The AIMS Chorale. One voice lesson and one coaching session per week; feasts of the liturgical year."ll Isaac WiUiamHuckaby, full participation in all classes and lectures of the Sum­ completed this commission and submitted a set of motets to the Director. mer Vocal Institute as a member of the concert or opera studio; study of choral literature, especially liturgical Cathedral on November 29, 1509. and operatic., These motets became the property of the Constance church. Mean­ The AIMS Gives instrumentalists experience in European audition, ' while, Isaac was continually at work Orchestra. Cornelius rehearsal and performing techniques. Emphasis is on producing similar compositions for music with VOice, especially operatic literature. A start­ Eberhardt, GMD. the Imperial Ho{kapelle. ing point for the instrumentalist seeking an engagement in German-speaking Europe. The death of Maximilian in 1519 led to the eventual demise of the Im­ Peiformance opportunities in Graz, other Austrian cities and Italy. perial Ho{kapelle, and when Senfl, Acceptance to the Graz Experience try audition, only. Contact the Isaac's successor, left Vienna he AIMS office for details. took with him a large collection of music written by Isaac for the Mass-motets setting both Proper Other Services. SeminarlWorkshops can be designed for schools, opera and Ordinary texts. Years later as studios, and independent groups. Individual consulta­ tions on all aspects of the Musician's career development court composer for the Bavarian can be scheduled through the AIMS office. Ho{kapelle of Wilhelm IV in , Senfl compiled a complete polyphonic Mass-Proper cycle for AmericIIn Institute ofMusicRl Studies his singers. His En opus musicum Nora Sands Owens, President festorum dierum, finished in 1531 2701 Fondren Drive but never published, included both Dallas, Texas 75206 2141691-6451 his own works and some of Isaac's from the imperial-court collection. Page 28 THE CHORAL JOURNAL After the Reformation, Constance stance ensemble. The manuscripts mensural proportions in such became a Protestant stronghold. in Senfl's possession remained with theoretical treatises as Sebald The great Cathedral musical the Bavarian Hofkapelle and finally Heyden's De arte canendi and organization was dissolved and the became part of the Munich Bavarian Heinricus Glareanus' Dodecachor­ compositions whiCh Isaac had writ­ State Library. The manuscripts from don. But, with the changes wrought ten for that choir came into the Constance have never been found in the liturgy by the possession of the Nuremberg although compositions from Book II (1545-1563), much of the music bookseller Johannes Ott. have been located in various collec­ contained in the CC became ob­ Nuremberg, also a Protestant city, tions throughout the world. solete for Roman Catholic as well as was one of the leading centers of The music published by Form­ for Protestant worship. The music printing in mid-16th-century Ger­ schneider was widely disseminated was founded primarily upon two many. Ou was most likely interested in the years following its publica­ regional pre-Reformation liturgies: in the Constance collection for its tion. The Constance collection had those of Vienna and Constance. The musical and literary qualities rather already gained notoriety for its in­ Council of Trent mandated the use than its liturgical value. He was a tricate rhythmic notation, having of a standardized liturgy throughout patron of music and had col­ been used as examples of difficult the Roman Catholic world. Local laborated with one of the leading Nuremberg publishers, Hierony­ mous Formschneider, to publish a number of musical collections. He was also evidently a close acquain­ tance of Ludwig Senfl, since much of that composer's music had been published through the Ott/Form­ schneider collaboration. Ott en­ gaged Senfl to edit the Constance collection and this was the point at which the music from the Hapsburg Court was joined with that of the Constance Cathedral. Both Ott and Senfl died before the combined collections were pub­ lished and Ott's widow, left with the manuscripts already in order and edited by Senfl, engaged Form­ schneider to publish the first volume of what was titled the Choralis Con­ stantinus. Formschneider did so in 1550 even though the religious climate of Nuremberg and the sur­ rounding areas was not favorable to Roman Catholic liturgical music at that time. The sales of Book I were not what OU's widow expected and she could not pay Formschneider for its printing. A lawsuit ensued and Formschneider gained possession of the rights to Book I as well as the manuscripts for Books II and III. Meanwhile, the antipathy towards Latin polyphony had declined in Protestant Germany. Form­ schneider subsequently published Books II and III in 1555. The music composed for the Con­ stance Cathedral choir comprises the bulk of Book II and part of Book III. Most of the music contained in Books I and III is that which Senfl had acquired from the imperial­ court repertory. For this reason, no music from Book II is found in Senft's Opus musicum. It also ex­ plains why the music in Book II is more complicated rhythmically-it was written for the virtuoso Con- November 1985 Page 29 feast days and practices were no contemporary, Josquin. Isaac relied voices throughout the CC and longer permitted. Sequences were more heavily on the traditional sometimes in all voices of a single banned, as they had been by Luther cantus-firmus technique than on free , as in the previously men­ for the Protestant church. Stripped . His range of cantus­ tioned Alleluia-Magnificat verse (Ex­ of much of its liturgical utility, the firmus writing is impressive. The ample 1). The cantus firmus appears manuscript sources and Form­ chant melody for each motet is the at times in long note values while schneider editions alike became appropriate one for that P.roper of­ the other voices dance around it, as parts of various library collections, fice; e.g., an Ave Maria plainsong is in the Alleluia-Veni Sancte Spiritus forgotten until resurrected as items utilized as the cantus firmiLs for the from the Feast of the Holy Spirit, of musicological interest near the tract of the same name. In at least Book II (Example 2), and at other end of the 19th century. one instance, the alleluia from the times in note values of equal length Feast of the Visitation, Isaac used with the other voices as in Example The Music one Magnificat plainsong as the 1. Points of imitation are sometimes melody for the alleluia and another developed from each phrase of the The polyphony of the CC is, on for the Magnificat verse. The plain­ plainsong, but the chant may also be the whole. much like that of Isaac's song melodies can be found in all woven through a continuous stream of counterpoint. The variety of music in the CC reveals the remarkable fecundity of Isaac's compositional skill. Wonder­ ful canons and other devices abound. Homorhythmic writing oc­ curs at points of textual importance. Textures vary from long, solo duet passages to full, tutti, six-part har­ What's our secret?* mony. This variety is not rare and may be found in nearly alll110tets in Cultour's offices are located in the CC that are of any substantial length. The sequence Quae corda, Vienna, Great Britain, Italy and the which follows the previously men­ United States. tioned Veni Sancte Spiritus in the Cultour has contacts with over 80 Feast of the Holy Spirit, is divided legitimate Festivals and Competitions. into twelve sections. This motet con­ tains canons in four of its twelve sec­ Cultour's staff speaks over 10 tions. The last section, which languages; many are college music translates as "Thou hast made this graduates and others are certified day glorious," becomes a six-part travel agents. homorhythmic passage, chorale­ like in its majesty (Example 3). Ave Cultour cares. Ask a director who Maria, the tract from the Feast of the has used our expertise. Annunciation, is also sectional with A Cultour concert tour includes: textural variation in every section. • concerts with full promotion The first of the six parts is set for • personalized itinerary tenor and bass voices alone. The se­ cond section adds the altos (ATB). • complete land arrangements (hotels, The third section is SATB and the meals, transportation, sightseeing, fourth is written for soprano and alto multi-lingual tour conductors, solos. The fifth and sixth sections optional highlights) utilize all voices. However, the sixth • all air transportation begins with a lengthy duet between the alto and tenor voices. The Call collect or write for an informative basses join at midpoint and, lastly brochure. the sopranos for the closing measures, which set the text: Filius Jeannine Packel, President Dei ("Son of God"). A longer motet, Piae Dods from the Feast of the *no secrets Visitation, has eleven sections-six which use SATB voicing and the others ATB, SAB, TB, or SA solo. Here, in just three motets of the 372 Proper settings in the CC, are found an abundance of contrapuntal devices and a wide variety of vocal textures. The immense amount of choral polyphony available to in the Page 30 THE CHORAL JOURNAL Example 1. Alleluia-Magnificat, Feast of the Visitation, Example 2. Alleluia-Veni Sancte Spiritus, Feast of the Holy Choralis Constantinus, Book II, mm. 48-54. Spirit, Choralis Constantinus, Book II, mm. 1-6.

+ de.nl)te~ plainsong melody +++++ ...... + ...

ma-gni -- fi-ut a - ni-ma me- a Co ---- mi-nlJm ;n D< - -(0) lu---- + +++-t +++

ma- t)ni:: fi-ut d - m-tnll me-a AI- + ... + + of-

O/)otnionum1ma-gni _ II-ot a ~t\i-ma me. - - :a be - -- mi - num in De _ - - (0) AI - 1,-1. - - la, nl - It-I", - --", AI -Ie-I. - - .", AI - Ie-I. -- la, + +

me- 0 ______Al - - It - lu -- i., AI -- Ie - lu -- i. CC is obviously of considerable variety. Here are found motets in simple duple meter contrasting with music of the most demanding rhythmic complexity. Very short motets exist that would barely last thirty seconds in performance. Cer­ tain motets would extend to nearly ten minutes in length. There are motets the texts of which are still in liturgical use. The texts in the CC encompass the entire church year and include a number of special saints' days. Here, truly, is a vast wealth of literature for the choral world. Because the CC has been known only through the writings of scholars instead of through actual perfor­ mance of the music, a true assess­ ment of Isaac's magnum opus has not been possible. A fuller awareness of the many unexplored possibilities of early would be aided by editions of Isaac's music in a format which will encourage choral performance with­ out requiring special training to in­ terpret it, or an inordinate amount of rehearsal time. The availability of such performance editions would allow us to experience the beauty of this long-neglected treasure.

Notes

1. H. M. Brown, Music in the Renaissance (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1976), p. 167. 2. F. D'Accone, "Heinrich Isaac in Florence," Musical Quarterly 49 (1963): 464-483. 3.L Cuyler, The Emperor Maximilian and Music (London: Oxford University Press, 1973), p. 51. 4. G. Reese, Music in the Renaissance (New York: W. W. Norton & Company, 1959), p. 229. 5. S. Sadie, ed., The New Grove Dictionary o{ Music and Musicians, s.v. "Heinrich Isaac," by M. Staehelin (London: MacMillan Publishers Ltd., 1980). 6. W. Mahrt, The "Missae ad Organum" o{ Heinrich Isaac (Doctoral dissertation, Stan­ ford University, 1969; Ann Arbor, Michigan: University Microfilms International, UMI no. 70-1575), p. 3494A. November 1985 Page 31 Example 3. Sequence-Quae corda, Feast of the Holy Spirit, Choralis Constantinus, 7. P. Cavanaugh, A Liturgico-musical Study Book II, mm. 198-210. of "German Polyphonic Mass Propers, 1490·1520 (Doctoral dissertation, University ~.' ~ of Pittsburgh, 1972; Ann Arbor, Michigan: University Microfilms International, UMI no. Hunt.. eli --- e.m 9\0 - - - ~, - -- 0 - - - sum 73-5010), p. 5221A. 8. G. Patzig, "Liturgische Grundlagen und Handschriftliche Uberlieferung von Heinrich Isaacs Choralis Constantinus" (Doctoral Hun~ di - - - em Sib -- - ri - - - 0 - - - SUm 1'\8 dissertation, University of Tubingen, 1956). 9. See B. Butler, Liturgical Music in 16th Century Nuremberg (Doctoral dissertation, University of Illinois, 1970; Ann Arbor, llunL eli - - - em 9\0 -- -., - - - 0 - - - ~un1 Michigan: University Microfilms International r,. UMI no. 71-14,690), p. 6644A; L. Cuyler, "Music in Biographies of Emperor Max· imilian." In J. LaRue, ed., Aspects of Medieval Hunt. cii - - - e.m 0 - - - Sum 1'19 ~ 910 - - - ri - - - and Renaissance Music (New York: W. W. Nor· ton & Company, 1966); O. Nedden, "Zur Musikgeschichte von Konstanz urn 1500," Zeitschrift fur Musikwissenschaft 12 (1930): Hunt.. di -- - .. m ':)10 - - - ~i -- - 0 --- Sum 449·458; S. Sadie, ed., The New Grove Dic­ r,. tionary of Music and Musicians, s.v. "Konstanz," by M. Schuler. 10. Schuler, "Konstanz," p. 180. ~ H.unt.. 'illo - - - rl - - - 0 - - - Sum ~ ". Cuyler, The Emperor Maximilian and I. Music, p. 73.

fe. c.i - - di ______Other Selected Readings

L. ~ '" Bente, M. Neue Wege der Quellenkritik und die Biographie Ludwig Senf/s. Wiesbaden: _&...l _ .1:i ______'loS fe. c.i Breitkopf & Hartel, 1968 . Bezecny, E. & Rabl, W., eds. Choralis Con· I. stantinus I. In G. Adler ed. Denkmiiler der Tonkunst in Osterreich (Jg. V, Bd. 10). Graz: .f~"'------g- c, ~ Akademische Druck . U. Verlagsanstalt, 1898. - Cuyler, L. ed. Choralis Constantinus, Book III. Ann Arbor: University of Michigan Press, 1 t .. --- c' - sti __ 'lOS 1950. Cuyler, L. ed. Five Polyphonic Masses. Ann Arbor: University of Michigan Press, 1956. -- ,ti ___ Feiszli, J. D. Performance editions from {e --- c.', Heinrich Isaac's Choralis Constantinus (Doc· toral dissertation, Arizona State University, 1983). Dissertation Abstracts International, 1984,44106A, 1618. (University Microfilms fe...... -- Co\ di - No. PSE83-22525) Gossett, P. The mensural system and the Choralis Constantinus. In R. Marshall, ed. Studies in Renaissance and Baroque Music in Honor of Arthur Mendel. Kassel: Barenreiter, 1974. presbvterian Lipphardt, W. Die Geschichte des Mehrstim· migen Proprium Missae. Heidelberg: Kerle, 1950. Staehelin, M. Die Messen Heinrich Isaacs. Berne & Stuttgart: Paul Haupt, 1977. ~~~~2!OUCAT'ON Webern, A., ed. Choralis Constantinus II. In , . Church G. Adler, ed. Denkmiiler der Tonkunst'in Oster­ ~ te program In reich (Jg. XVI, Bd. 32). Graz: Akademische offers a gradu8: t' an Educat\on Druck· U. Verlagsanstalt, 1909. . nd ChriS I h 01 MUSIC a,l " he Presbyterian Sc 0 e in mUSIC, t M ter 01 Arts " achelOr's de9re mpetency" as. " with a For thOse oilers a dua\ a ministry In mtUSnl\he ollerings wltEhd~~atiOn bi~~ 1 Chnstlan k" 9 to com ngrega 10 " o 1 thOSe see In " n "the local co H torical- program f~hristian educatlo InSiblical Studies -I" I~n _leaching This publication ministry 0 urse inclu de" tion in Re Igi _ is available 01 this two-\~~~~S _lheO ry 10lr"~:r~~:re and perlo~ma~~~ewal - Choir lheol09lca esS - Choral I 0109y _Wors, liP in microform n Skills, Group_P~~~ral Arrang"lng-\-Iym from University Conducting" m Microfilms " tion wnte"" . 1 MusiC Progra . ~ For more Inlo;';~ormick, Director o. fan EducatIon International. Or David W. c \ of ChrtS I Call loll-free 800·521-3044. In Michigan. A1eska and Hawaii call collecl 313·761-4700" Or "p~esbvter\an Sch_~~chmond, Virginia 23227 mall inquiry 10: University lvlicroft1ms Inlernational• . 1205 Palmyra Avenue 300 North Zeeb Road, Ann Arbor. MI 48106.

Page 32 THE CHORAL JOURNAL