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'i~;,~\,;:( ::' Heinrich Isaac's, :,t:1:450-1517) Choralis Constantinus::! C¢q is an anthology of 372; polyphonic Neglected Treasure - motets, 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 polyphony about to Florence.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 composer. 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 Renaissance 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 Ferrara] 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, composers 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, Ludwig Senfl, 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 choir, "one of professional musicians. the leading pre-Reformation 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.
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