The Mass-Proper Cycles of Henricus Isaac: Genesis, Transmission, and Authenticity Volume I: Text David J. Burn THESIS x Merton College Thesis submitted for the degree of Doctor of Philosophy University of Oxford, Trinity Term, 2002 ABSTRACT The Mass-Proper Cycles of Henricus Isaac: Genesis, Transmission, and Authenticity David J. Burn D. Phil. Merton College Trinity Term, 2002 This study reassesses the relationship between the monumental collection of Henricus Isaac's mass-proper cycles published as the Choralis Constantinus and the composer's original mass- proper projects. The first section charts changing views of Isaac as a historical figure, from his time to ours. Following this, the second section pursues the implications of recent redatings of major Choralis sources with a detailed investigation of the transmission of the Choralis' s music from composer to print. This analysis suggests new views for the make-up of each of the projects known to have been compiled together in the print: the earlier theory of a Constance Common of Saints is dismissed, whilst a mass-ordinary that may have belonged to the Constance project is identified; it is suggested that Isaac's mass-propers for the Imperial court cannot easily be seen as a single project, and that some anonymous proper- cycles not found in the Choralis may be Isaac's and may have belonged to Imperial repertory. To shed further light on the original scopes of Isaac's mass-proper projects, the third section of this thesis investigates Isaac's non-Choralis mass-propers. Particular attention is given to the large collection of such items found in two related manuscripts from later- sixteenth-century Augsburg. Examination of the context and function of these manuscripts suggests that the unica they preserve attributed to Isaac are spurious. On the other hand, consideration of the Choralis''?, transmission and the shape of Isaac's secure Imperial repertory suggests that some anonymous cycles in the manuscript WeimB A are Isaac's. The final part of this study re-examines the attributions and de-attributions made in the first two sections at a music-stylistic level. No conflicting evidence is found. On the contrary, all earlier suggestions are reinforced. a Dordmnak. Szeretlek... Frontispiece: The 'Constance Commission Document' Badisches Generallandesarchiv, Karlsruhe, Protokollsammlung 61/7237, fol. 104. (Constance Cathedral Protocol No. 3366) Contents List of Illustrations, Tables, Figures, and Musical Examples iv Spelling, Citations, Abbreviations, and Manuscript Sigla vi Isaac: An Outline Biography ix Acknowledgements xvi I. Introduction: Isaac in Theoretical and Historical Writings, Past and Present 1. From Within Isaac's Lifetime toe. 1800 1 2. c. 1800-c. 1940: Nationalism and Innsbruck, ich muft dich lassen 12 3. The Post-War Period 18 4. Isaac and the Choralis in Anglo-American Musicology: Some Problems 24 5. Outline of the Present Thesis 35 II. 'Lest the Work of this Great Man Perish': Behind the Scenes of the Choralis Print 1. Introduction 40 2. Polyphonic Mass-Propers before Isaac 42 3. Isaac, the Mass-Proper, and the Constance Commission 46 4. Isaac's Later Mass-Propers: The Evidence of the 'Opus musicum' 55 5. The Choralis in Manuscript Sources: General Observations 69 6. Transmission from Isaac to the Choralis Print - CCI(1550) 80 - CCII (1555) 86 - CCIII(1555) 89 7. From Compilation to Publication, c. 1537-1550 - BerlDS 40024 110 The'Heidelberg'Inventory 115 Choralis Music in Other Pre-Print Manuscripts and Publication 118 11 III. Beyond the Boundaries: Isaac's Mass-Propers Not in the Choralis 1. Introduction 123 2. Currently Accepted Non-Choralis Propers 124 3. Isaac in AugsS 7 and AugsS 23 139 4. The Choralis Print as Gesamtausgabel 154 5. The Manuscript WeimB A 160 - High Feasts 175 - Ferial Days, Including Those in MunBS 29 181 IV. Music-Stylistic Evidence for Proposed Attributions and De-Attributions 1. Introduction 188 2. Variant or Different Pieces in C/zora/w-Concordant Cycles - Communion 'Dominus/dabit benignitatem': CCI/26 and MunBS 39 190 - Introit 'Vocem iocunditatis/annuntiate': CCI/47 and MunBS 29 194 - WeimB A: Variant Versions of CCI Items 202 - WeimB A [4] and [5]: The Cycle for the Fourth Sunday in Advent 246 - BerlDS 40024: Variants 252 3. CCIII/3. Int. 3 'lusti epulentur/et exultent': Isaac or Senfl? 255 4. De-Attributed Non-Choralis Items: The AugsS 7 and AugsS 23 unica 265 5. Anonymous Cycles Attributed: WeimB A High Feasts 269 V. Summary and Conclusions 284 Manuscript and Print Sigla 1. Manuscript Sigla 290 2. Print Sigla 297 Bibliography 1. Works cited 299 2. Additional literature 321 in Illustrations Title Page: Triumphzug von Kaiser Maximilian /.: Isaac (?), second from left Frontispiece: Constance Cathedral Protocol No. 3366 i 1. 'Opus musicum', Title Page 57 Tables 1. Chronological List of All Known Choralis Sources 70 2. Pieces Not by Isaac in the Choralis 105 3. Isaac's Non-Choralis Propers 126 4. Overview of Ms. WeimB A 163 5. Chant Forms of Passer invenit in WeimB A and CCI 208 6. Mod vie Recurrence in the Introit Domine/ne longe facias (WeimB A [104]) 211 7. Mod vie Recurrence in CCII/13. Int. 213 8. Motivic Recurrence in CCI/20. Int. 214 9. Motivic Recurrence in CCI/36. Tr. section 3 215 10. Motivic Recurrence in CCI/40. Tr. 217 11. Motivic Recurrence in CCII/19. Int. vs. 218 12. WeimB A [51], 'Zcu Wirtzburg' Motif 223 13. WeimB A [53], 'Nymmer wurst nur herring' Motif 225 14. Motivic Recurrence in WeimB A [37] 233 15. Possible Motivic Recurrence in WeimB A [40] 235 16. Motivic Recurrence in WeimB A [84] 237 17. Repeating Imported Material in WeimB A [86] 239 18. Imitative Structures in WeimB A [52] and CCI/35. Comm. 242 19. Cantus Firmus Distribution in CCIII/3. Int. 3 258 20. Voice Range and Ambitus in CCIII/3. Int. 3 259 IV 21. Cantus Firmus Distribution in Isaac's Six-Voice Cibavit eos/ex adipe (MunBS 31) 261 22. Cantus Firmus Distribution in Senfl's Five-Voice Benedicta sit/sancta Trinitas 263 Figures 1. Authorial Division in the 'Opus musicum' 60 2. Relationship Between the 'Opus musicum' and VienNB 18745 93 3. Comparison of the 'Heidelberg' Inventory, fol. 9'-10 and fol. 79-79' 103 4. Types and Scorings in Isaac's Chant-Based Mass-Ordinaries 108 5. Creation-Process of BerlDS 40024 112 6. Stemma of the Transmission and Creation of the Choralis 122 7. Contents and Composers in the Augsburg Manuscripts 139 8. Relationship Between the Choralis and AugsS 23 141 9. Relationship Between the Choralis and AugsS 7 142 Musical Examples 1. Recurring Motif in CCI/20. Int. 214 2. Recurring Motifs in CCI/36. Tr. section 3 215 3. Recurring Motif in CCI/40. Tr. 216 4. WeimB A [48] and CCI/34. Tr. section 2, Openings: Comparison with GP Chant 221 5. Recurring Motif in WeimB A [37] 233 6. Motif in WeimB A [40] Noted as Important by Heidrich 234 7. Recurring Motif in WeimB A [84] 237 8. Motivic Sharing in WeimB A and MunBS 31 Christmas and Epiphany Introits 275 Spelling, Citations, Abbreviations, and Manuscript Sigla Documents are quoted, wherever possible, in their original language with their original spelling. Translations are my own unless otherwise stated. References to pieces in the Choralis are made according to a standard format, giving firstly the volume, then the cycle number, followed by an abbreviation of the movement type, and section, if necessary, e.g. CCI/26. Comm. is the communion of the twenty-sixth cycle of the first volume of the Choralis, that is, for the first Sunday in Advent. Abbreviations denoting specific voice-parts follow as necessary. Full explanations of all abbreviations used in these references, and of other abbreviations used throughout the text, are given below. When reference is made to the opening text of a piece that begins with a chant incipit, the incipit is separated by a slash, e.g. Dominus/dabit benignitatem (polyphony begins at 'dabit'). In the case of sequences, the first line of the text is always given, separated from that of the first polyphonic section, if these are not the same, e.g. Verbum Sapientiae/O Narcisse promisse ('Verbum sapientiae' is the opening line of the sequence, but polyphony begins at 'O Narcisse promisse', verse 19). It is to be noted that the alphabetical list in the New Grove gives sequences only according to their first polyphonic section, hence it is possible to find multiple settings of the same item under different titles if the polyphony does not begin with the same verse in each case. Manuscripts are referred to by the abbreviations from Herbert Kellman et al., Census- Catalogue of Manuscript Sources of Polyphonic Music, 1400-1550. Prints are cited by their RISM codes (with the exception of the Choralis, referred to as CC). Full references for the sources cited by both these codes are given at the end of this thesis. The standard abbreviations of the New Grove are used in citations of secondary literature. None of the published editions of the Choralis gives bar numbers. When reference is made to these editions, bar numbers have been calculated according to the same system appiled in the transcriptions of Volume II of this thesis: counting begins at the first bar of VI polyphony, and continues uninterrupted unless there is intervening chant (hence numbering returns to 1 for introit verses and for each sequence section). Throughout the text, the word 'series' refers to a group of cycles, 'cycle' refers to all extant polyphonic parts of a particular proper, 'movement' to an individual part within the cycle, and 'section' to a constituent unit within a movement.