External links
- score of part I (Denkmäler der Tonkunst in Österreich, Band 10) at the International Music Score Library Project
- Modern editions of many items at the Choral Public Domain Library
The Choralis Constantinus is a collection of over 375 Gregorian chant-based polyphonic motets for the proper of the mass composed by Heinrich Isaac and his pupil Ludwig Senfl. The genesis of the collection is a commission by the Constance Cathedral for Isaac, at that time the official court composer for the Holy Roman Emperor Maximilian I, to compose a set of motets for the special holy days celebrated in the diocese of Constance. Isaac was in Constance at the time (April 1508) with the Imperial court as Maximilian had called a meeting of the German nobility (Reichstag) there. The music was delivered to the Constance Cathedral in late 1508 and early 1509.
After Isaac's death in 1517 his pupil Ludwig Senfl, who had been a member of the Imperial chapel choir, compiled music composed for Constance and for the Habsburg Imperial court into the collection which was published by Hieronymus Formschneider in Nuremberg in three volumes (1550–1555) and titled the Choralis Constantinus. Gerhard Pätzig, in his dissertation for the University of Tübingen in 1956, compared available manuscripts with the Formschneider print and determined that the music written for the Constance Cathedral was most of that contained in Volume II and parts of Volume III of the Formschneider publication. The remainder of the Choralis Constantinus is from Maximilian's court repertory.
A modern edition appeared in Volumes 10 and 32 of Denkmäler der Tonkunst in Österreich , the latter edited by Anton Webern, the famous composer, who was a composition student of Arnold Schoenberg. He prepared this volume as part of his dissertation for the University of Vienna, where he received his PhD in 1906. Volume III, edited by Louise Cuyler, was published by the University of Michigan Press in 1950. The Formschneider edition was reprinted with short introductory essays by Edward R. Lerner (Peer: Alamire, 1990–1994).
Each Feast contains a polyphonic motet, based on the corresponding Gregorian chant for the Introit, Alleluia (or Tract) and Communion. Volume II contains most of the Solemn Feasts. Those Propers all include alternate verses of the Sequence hymn, set thus so as to allow for alternatim performance between the choir and the organist. The medieval Sequence was of particular interest to the Constance diocese, which included the monasteries of Reichenau and St. Gall where many Sequences originated.
Choralis Constantinus I(Denkmäler der Tonkunst in Österreich , Volume 10):
| Asperges me Domine/Gloria Patri | |||||
| Introit | Alleluia | Tract | Sequence | Communion | |
|---|---|---|---|---|---|
| De Sanctissima Trinitate | Benedicta sit sancta Trinitas | Benedictus es, Domine | Benedicta semper sancta sit Trinitas | Benedicite Deum | |
| Domenica I p. Pentecosten | Domine in tua | Domine Deus salutis | Narrabo omnia mirabili | ||
| Domenica II p. Pentecosten | Factus est Dominus | Deus judex justus | Cantabo Domino | ||
| Domenica III p. Pentecosten | Respice in me | Diligam te virtus | Ego clamavi | ||
| Domenica IV p. Pentecosten | Dominus illuminatio | Domine in virtu te | Dominus firmamentum | ||
| Domenica V p. Pentecosten | Exaudi Domine | In te Domine | Unam petii | ||
| Domenica VI p. Pentecosten | Dominus fortitudo | Omnes gentes plaudite | Circuibo et immolabo | ||
| Domenica VII p. Pentecosten | Omnes gentes plaudite | Eripe me de inimicis | Inclina aurem | ||
| Domenica VIII p. Pentecosten | Suscepimus Deus | Te decet hymnus | Gustate et videte | ||
| Domenica IX p. Pentecosten | Ecce Deus | Attendite populo | Primum regnum | ||
| Domenica X p. Pentecosten | Dum clamarum | Exultate Deo | Acceptabis sacrificium | ||
| Domenica XI p. Pentecosten | Deus in loco | Honora de tua | |||
| Domenica XII p. Pentecosten | Deus meus | Domine refugium | De fructu saciabitur | ||
| Domenica XIII p. Pentecosten | Respice Domine | Venite exultemus | Panem dedisti | ||
| Domenica XIV p. Pentecosten | Protector et respice | Quoniam magnus | Panis quem ego | ||
| Domenica XV p. Pentecosten | Inclina Domine | Paratum cor | Qui manducat | ||
| Domenica XVI p. Pentecosten | Miserere nostri Domine | In exitu | Domine memora | ||
| Domenica XVII p. Pentecosten | Justus es Domine | Dilexi quoniam | Vovete Domino | ||
| Domenica XVIII p. Pentecosten | Da pacem Domine | Laudate Dominum | Tollite et introite | ||
| Domenica XIX p. Pentecosten | Salus populi | Dextera Dei | Tu mandisti | ||
| Domenica XX p. Pentecosten | Omnia quae | Deus judex | Memento servo tua | ||
| Domenica XXI p. Pentecosten | In voluntate | De profundis | In salutari anima mea | ||
| Domenica XXII p. Pentecosten | Si iniquitates | Confiteor tibi | Dico vobis | ||
| Domenica XXIII p. Pentecosten | Dixit Dominum | Qui posuit | Amen Dico vobis | ||
| Adventus I | Ad te levavi | Ostende nobis | Dominus dabit | ||
| Adventus II | Popule Sion | Laetatus Sion | Jerusalem surge | ||
| Adventus III | Gaudete in Domino | Excita Domine | Dicite confortamini | ||
| Adventus IV | Memento nostri | Veni Domine | Ecce virgo | ||
| Domenica intra oct. Epiphaniae | In excelso | Jubilate Deo | Fili quid ego | ||
| Domenica I p. Epiphaniae | Omnis terra | Laudate Deum | Dicit Dominum | ||
| Domenica II p. Epiphaniae | Adorate Deum | Dominus regnavit | Mirabantur omnes | ||
| Septuagesima | Circumdederunt me | De profundis | Illumina faciem | ||
| Sexagesima | Exurge quare | Commovisti Domine | Introibo adalta | ||
| Quinquagesima | Esto mihi | Jubilate Domino | Manducaverunt et | ||
| Cinerum | Misereris omnium | Domine non secundum | Qui mediatur | ||
| Invocavit | Invocabit et ego | Qui habitat | Scapulis suis | ||
| Reminiscere | Reminiscere miserationum | Dixit Dominus | Intelligite clamorem | ||
| Oculi | Oculi mei | Ad te levavi | Passer invenit | ||
| Laetare | Laetare Jerusalem | Qui confidunt | Jerusalem quae | ||
| Judica | Judica me Deus | Saepe expugnaverunt | Hoc corpus | ||
| Palmarum | Domine ne longa | Deus meus | Pater si non | ||
| Quasimodo geniti | Quasimodo geniti | Mitte manum | |||
| Misericordia Domini | Misericordia Domini | Surrexit pastor | Ego sum pastor | ||
| Jubilate | Jubilate omnis terra | Surrexit Christus | Modicum et non | ||
| Cantate | Cantate Domino | Cum venerit | |||
| Vocem Jucunditatis | Vocem jucunditatis | Benedictus es | Cantate Domino | ||
| Exaudi | Exaudi Domine | Pater cum |
Choralis Constantinus II ( Denkmäler der Tonkunst in Österreich , Volume 32):
| Introit | Alleluia | Sequence | Communion | Other | |
|---|---|---|---|---|---|
| Natalis Domini | Puer natus | Dies sanctificatus | Natus ante saecula | Viderunt omnes | |
| Circumcisionis | Vultum tuum | Post partum | Laetabundus exsultet | Simile homini | |
| Epiphanie (6 Jan.) | Ecce advenit | Vidimus stellam | Festa Christi | Vidimus stellam | |
| Purificationis Mariae (2 Feb.) | Suscepimus Deus | Post partum | Concentu parilli | Responsum Simeon | Gaude Maria (tract) |
| Anunciationis Mariae (25 Mar.) | Rorate coeli | Ecce virgo | Ave Maria (tract) | ||
| Resurrectione Domini | Resurrexi et adhuc | Pascha nostrum | Laudes Salvatori | Pascha nostrum | Haec Dies (gradual) |
| Ascensionis Domini | Viri Galilei | Dominus in sina | Summi Triumphum | Psallite qui ascendit | |
| Sancto Spiritus | Spiritus Domini | Veni sancte Spiritus | Sancti Spiritus | Factus est | |
| Corpore Christi | Cibavit eos | Caro mea | Lauda Sion | Qui manducat | |
| Johannis Baptistae | De ventre | Internatos mulierum | Sancti baptistae | Tu puer propheta | |
| Johannes et Pauli | Multae et dehis | Isti sunt | Haec die veneranda | Et sicoram tormenta | |
| Petri et Pauli | Nunc scio | Tu es Petrus | Petre summi Christi | Tu es Petrus | |
| Visitationis Mariae (31 May, formerly July) | Gaudeamus omnes | Magnificat | Lauda sponsa | Beata viscera | |
| Mariae Magdalena | Gaudeamus omnes | Maria haec | Laus tibi Christe | Dico vobis | |
| Assumptio Mariae (15 August) | Gaudeamus omnes | Assumpta est Maria | Congaudent angelorum | Dilexisti justi | |
| Sancto Geberhardo | Sacerdotes Domine | O Geberhardo | Sancti Spiritus assist nobis | Beatus servus | |
| Sancta Pelagio | Laetabitur justus | O Pelagio | Omnes devota mente | Qui vult ab neget | |
| Nativitatis Mariae (8 Sep.) | Gaudeamus omnes | Nativitatis gloriosae | Stirpe Maria regis | Diffusa est | |
| Dedicatione Templi | Terribilis est | Vox exultationis | Ecclesiae desponsato | Domus mea | |
| Sancta Cruce | Nos autem | Dulce lignum | Laudes crucis | Nos autem | |
| Omnia Sanctorum | Gaudeamus omnes | Vox exultationis | Omnes sancti Seraphim | Amen dico vobis | |
| Sancto Martino | Sacerdotes | Martinus episcobus | Sacerdotem Christi | Beatus servus | |
| Presentationis Mariae | Gaudeamus omnes | Felix virgo | Altissima providente | Beata viscera | |
| Sancto Conrado (26 Nov.) | Sacerdotes | Ecce sacerdos | Adornata laudibus | Beatus servus | |
| Conceptionis Mariae (8 Dec.) | Gaudeamus omnes | Conceptionis gloriosae | Conceptio Mariae virginis | Diffusa est |
Choralis Constantinus III (University of Michigan Press, 1950)
| Introit | Alleluia | Sequence | Communion | Other | |
|---|---|---|---|---|---|
| In Vigilia un. Apostoli | Ego autem sicut | Dorsa eorum | Plausu chorus laetabundo | Ego vos elegi | Justus et palma (gradual) |
| Commune Apostolorum | Mihi autem honorati | Non vos me elegisti Per manus autem Iam no estis | Clare sanctorum | Vos qui secuti Amen dico ego | |
| Commune Martyrum | Multae tribulationis Induant sancti tui Justi epulentur Sancti tui Domine Sapientiam sanctorum Salus autem justorum Intret in conspectu | Corpora sanctorum Justi autem Justi epulentur Te martirum Stabunt justi Gaudete justi Laetamini in Domino Sancti tui Domine | O beata beatorum Agone triumphali | Multitudo languentium Justorum animae Et si coram Posuerunt mortalia Anima nostra Amen dico vobis Gaudete justi | |
| Commune un. Martyris | Laetabitur justus In virtute tua Gloria et honore Protexisti me Deus Justus non conturbabitur Justus ut palma | Laetabitur justus Beatus vir Justus germinabit Justus ut palma | Spe mercedis et coronae Haec est sancta | Laetabitur justus Qui mihi ministrat Posuisti Domine Qui vult venire Magna est gloria | |
| Commune Confessoribus | Stauit ei Dominus Os justi Sacerdotes Dei Sacerdotes ejus | Juravit Dominus Elegit te Inveni David Iste est qui ante Amavit eum Fulgebunt | Dilectus Deo Ad laudes salvatoris | Beatus servus Domine quinque talenta Fidelis servus | |
| Commune Virginibus | Gaudeamus omnes Me exspectaverunt Loquaebar de testimonis Dilexisti justitiam | Diffus est Specie tua Omnis gloria | Exultent filiae Sion | Simile est regnum Quinque prudentes Diffusa est gratia Dilexisti justitiam | |
| Commune Apostolis | (tracts) Qui seminant Desiderium animae Beatus vir Audi filia Audi filia | ||||
| Annunciatiatione beate Virginis | Rorate coeli | Prophetae sancti | Mittet ad Virginem | ||
| Beata Virgine p. Nativitatis Christi | Vultum tuum | Post partum | Regem regnum | ||
| Commune de Beata Virgine | Salva sancta | Sancta Dei | Verbum bonum | Beata viscera | |
| Philippi et Jacobi | Exclamaverunt | Tanto tempore | |||
| Sancta Cruce | Nos autem | Dulce lignum | Laudes crucis | Nos autem | |
| In Vigilia Johannis Baptistae | Ne timeas | ||||
| Natalis Johannis Baptistae | De ventre matris | Erat Johannis | Sancti Baptistae | Tu puer propheta | |
| Vigilia Petri et Pauli | Dicit Dominus | Simon Johannis | |||
| Festo de Petri et Pauli | Nunc scio vere | Tu es Petrus | Tu es Petrus | ||
| Sancti Pauli | Scio cui credidi | Tu es vas electionis | |||
| Visitationis Mariae Virginis | In Maria benignitas | Veni praecelsa | |||
| In Divisione Apostolorum | Coeli enarrant | ||||
| Maria Magdalenae | Laus tibi Christi | Dico vobis | |||
| Vigilia Sancta Laurentii | Dispersit dedit | ||||
| Sancta Laurentii Martyris | Confessio et pulchritudo | Levita Laurentius | Laurentii, David | ||
| Assumptio Maria Virgine | Assumpta est Maria | Congaudent Angelorum | |||
| Navitatis Mariae | Nativitatis gloriosae | Stirpe Maria | |||
| Sancta Michaele | Benedicite omnes | Concussum est mare | Ad celebres Rex | Benedicite omnes | |
| S. Ursula ac Sociarum Virginum | Virginalis turma sexus | ||||
| Kyrie solemne | [Gloria] | [Credo] | [Sanctus] | [Agnus] | |
| Kyrie Paschale | [Gloria] | [Credo] | [Sanctus] | [Agnus] | |
| Kyrie Magne Deus | [Gloria] | [Credo] | [Sanctus] | [Agnus] | |
| De Martyribus | Kyrie | [Gloria] | [Credo] | [Sanctus] | [Agnus] |
| De Confessoribus | Kyrie | [Gloria] | [Credo] | [Sanctus] | [Agnus] |
Margaretha-Maximilian I, Capilla Flamenca together with La Caccia, Schola Cantorum Cantate Domino, Schola Gregoriana Lovaniensis and Joris Verdin, 2001 (Orf CD 265). Contains proper chants from the Choralis Constantinus along with several pieces of secular music.
In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond. The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts".
Heinrich Isaac was a Netherlandish Renaissance composer of south Netherlandish origin. He wrote masses, motets, songs, and instrumental music. A significant contemporary of Josquin des Prez, Isaac influenced the development of music in Germany. Several variants exist of his name: Ysaac, Ysaak, Henricus, Arrigo d'Ugo, and Arrigo il Tedesco among them.
Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant.
Ludwig Senfl was a Swiss composer of the Renaissance, active in Germany. He was the most famous pupil of Heinrich Isaac, was music director to the court of Maximilian I, Holy Roman Emperor, and was an influential figure in the development of the Franco-Flemish polyphonic style in Germany.
Paul Hofhaimer was an Austrian organist and composer. He was particularly gifted at improvisation, and was regarded as the finest organist of his age by many writers, including Vadian and Paracelsus; in addition he was one of only two German-speaking composers of the time who had a reputation in Europe outside of German-speaking countries. He is grouped among the composers known as the Colorists.
"Innsbruck, ich muss dich lassen" is a German Renaissance song. It was first published as a choral movement by the Franco-Flemish composer Heinrich Isaac ; the melody was probably written by him. The lyricist is unknown; an authorship of Emperor Maximilian I, as was previously assumed, seems highly unlikely.
Leopold Hofmann was an Austrian composer of classical music.
1550 in music involved some significant events.
Historical editions form part of a category of printed music, which generally consists of classical music and opera from a past repertory, where the term can apply to several different types of published music. However, it is principally applied to one of three types of music of this sort:
Hans Buchner was an important German organist and composer.
The Trent Codices are a collection of seven large music manuscripts compiled around the middle of the 15th century, currently kept in the northern Italian city of Trent. They contain mostly sacred vocal music composed between 1400 and 1475. Containing more than 1,500 separate musical compositions by 88 different named composers, as well as a huge amount of anonymous music, they are the largest and most significant single manuscript source from the entire century from anywhere in Europe.
Capilla Flamenca is a vocal and instrumental early music consort based in Leuven, Belgium. The group specialises in 14th to 16th century music from Flanders and takes its name from the historical Flemish chapel, the choir of the court chapel of Emperor Charles V. When the emperor left Flanders in 1517, he took his best musicians with him to Spain to accompany him as "living polyphony".
Hans Neusidler, was a German composer and lutenist of the Renaissance.
Thomas Stoltzer, also Stolczer, Scholczer (c.1480–1526) was a German composer of the Renaissance.
Hieronymus Andreae, or Andreä, or Hieronymus Formschneider, was a German woodblock cutter ("formschneider"), printer, publisher and typographer closely associated with Albrecht Dürer. Andreae's best known achievements include the enormous, 192-block Triumphal Arch woodcut, designed by Dürer for Maximilian I, Holy Roman Emperor, and his design of the characteristic German "blackletter" Fraktur typeface, on which German typefaces were based for several centuries. He was also significant as a printer of music.
Denkmäler deutscher Tonkunst is a historical edition of music from Germany, covering the Baroque and Classical periods.
The Missa tempore Quadragesimae, Klafsky 1:19, MH 553, is a mass without a Gloria by Michael Haydn. The work in D minor was written in 1794 in Salzburg, scored for a four-part choir and organ. It is suitable also for Advent.
The Liber selectarum cantionum is a collection of motets which was printed in Augsburg in the workshop of Sigmund Grimm and Markus Wirsung in 1520. Its full title is Liber selectarum cantionum quas vulgo mutetas appellant sex quinque et quatuor vocum which means translated into English: "Book of selected songs, commonly called motets, for six, five, and four voices". The print is dedicated to the cardinal and prince-archbishop of Salzburg Matthäus Lang von Wellenburg. The epilogue was penned by the humanist Konrad Peutinger. Ludwig Senfl selected the compositions, prepared them for printing, and possibly also assisted as a proofreader.
Virgo Prudentissima is a six-voice motet (SSAATB), dedicated to the Virgin Mary and composed by Heinrich Isaac in 1507. The motel describes the Assumption of the Virgin, calling on Her and the Nine Orders of angels to protect Emperor Maximilian I and the Holy Roman Empire. The lyricist was Georg von Zlatkonia.
