Heinrich Isaac

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Heinrich Isaac (Italian: Arrigo il Tedesco ; * around 1450 in Flanders , perhaps near Bruges ; † March 26, 1517 in Florence ) was a Franco-Flemish composer and singer of the Renaissance .

Live and act

The composer's father († February 1489) was an unknown Hugo Isaac; the son called him "Hugo of Flanders". The early life of Heinrich Isaac, his musical training and possible teachers are not known. The training must have been excellent and, based on the dating of an early manuscript with three motets, had already been completed in the years before 1476. It is not known where Isaac worked before 1484. The earliest reliable evidence is the evidence of a payment from September 15, 1484 to a "Hainrichen ysaac composer" at the Innsbruck court of Duke Sigismund the Münzreich von Tirol , where Paul Hofhaimer also worked. Isaac then traveled on to Florence, as he had been recruited by Lorenzo de 'Medici for the local singing group cantori di San Giovanni . This had to provide the figural chant at the Cathedral of Santa Maria del Fiore , at the Baptistery and at the Church of Santissima Annunziata ; Isaac's name appears accordingly from July 1, 1485 in the payment documents there, for SS Annunziata from October 1, 1486. ​​A close relationship to the Medici family is to be assumed, since Lorenzo mediated his wife Bartolomea Bello (* May 16, 1464) for the composer, the Medici children very likely received music lessons from Isaac and Isaac set Lorenzo's carnival poems to music. In later years, Lorenzo's son Giovanni, then Pope Leo X , sought Isaac's pension in Florence. Isaac lived in the San Lorenzo district, where the Medici Palace also stood. From October 1, 1491 to April 30, 1492 the composers Alexander Agricola , Johannes Ghiselin and the singer Charles de Launoy were colleagues of Heinrich Isaac.

For the sudden death of his employer on April 8, 1492, Isaac wrote the funeral motets "Quis dabit capiti meo aquam?" And "Quis dabit pacem populo?". Lorenzo's son and successor Piero went with his entourage to Rome in September of the same year , where the coronation of Alexander VI. was expected to the Pope; there is evidence of clothing money for this trip for Isaac and the other composers. At the end of October 1492 Isaac had returned to Florence. As a result of the decline of the Florentine economy and the unrest triggered by Girolamo Savonarola , the singing group cantori di San Giovanni was dissolved on April 1, 1493. Isaac entered the private service of Piero de 'Medici until the Medici were expelled from Florence in November 1494 and Isaac lost his employer. Two notarial acts concerning the settlement of various obligations show that Isaac was preparing his departure from Florence. He was looking for a new place of work and first turned to Pisa according to a document dated November 13, 1496 . The Roman-German king and later Emperor Maximilian I (reign 1493–1519) stopped there; With regard to his own court orchestra, he must have welcomed a “Dutch” musician of such stature.

Maximilian ordered the dissolution of his chapels in Augsburg and elsewhere and brought together the best forces in Vienna ; in November 1496 he sent "cantor Isaac" with his wife from Italy to Vienna. On April 3, 1497, Isaac signed his oath of service in Innsbruck and was employed as "composer and servant" at the Habsburg court. Nevertheless, he maintained good relations with Florence, which results from the consideration given by the Santa Maria Nuova hospital there on September 25, 1499 for the payment of certain amounts of money in the form of annual deliveries in kind . From February 1, 1500 at the latest, Isaac followed his employer on his travels for almost two years; so there are demonstrably 1500 stays in Augsburg on April 15 and September 8, 1500 in Nuremberg , on March 20, 1501 in Wels and again on November 10, 1501 in Nuremberg, as well as a stay in Neustift monastery near Brixen where he was accepted as a member of the local lay fraternity around 1506 or shortly thereafter.

From 1502 to 1506 Isaac lived mainly in Florence again, where he made payments for his own pension and for his wife to the Santa Maria Nuova hospital mentioned above in 1502 and 1504. On August 15, 1502, in his first will, deposited in the church of Santa Maria dei Servi, he determined that he should be buried in this church and appointed his wife as sole heir. He also acted as a trustee for his widowed sister-in-law Margherita, who was married to the singer Charles de Launoy, on the occasion of their remarriage and took over the care of Maria de Launoy, Margherita's daughter. Isaac's stays in Ferrara in 1502 have also become known , where the music-loving Duke Ercole I. d'Este was looking for a successor to lead his court orchestra and an employment by either Isaac or Josquin Desprez was considered. The representative Gian de Artiganova wrote to Duke Ercole on September 2, 1502:

“I must inform Your Grace that Isaac was the singer in Ferrara and wrote a motet on a fantasy titled 'La mi la sol la sol la mi'; this is very good, and he wrote it in two days. One can only conclude from this that he is very quick at the art of composition; otherwise he is benign and sociable. ... he stipulated that he had a month to answer whether he wanted to serve or not. We have… promised him 10 ducats a month… I think he is well suited to serve Your Grace, better than Josquin , because he is more amiable to his musicians and wants to compose new works more often. That Josquin composes better is correct, but he composes when he wants to and not when you expect him to, and he demands 200 ducats as a reward while Isaac wants to come for 120 ... "

Ultimately, Josquin got this job. In September 1503 there was a remarkable visit to the “rival court orchestra” of Philip the Beautiful from Burgundy in Innsbruck; On this representative occasion Isaac wrote the six-part mass “Virgo prudentissima”. In addition, a note in the organ tablature by Fridolin Safe names a visit by the composer to Konstanz before 1505, where he wrote the motet “Sub praesidium” at the request of the Konstanz organist Martin Vogelmaier; Vogelmaier had a fatal accident in June 1505. One of the high points of Heinrich Isaac's career was the Reichstag held in Constance from April to July 1507 ; for this he composed the motets "Sancti Spiritus assit", "Imperii proceres" and especially the impressive six-part motet "Virgo prudentissima", which was probably performed on August 15, 1508. Maximilian's coronation as emperor in Trento in February 1508 was such a high point. At the request of the rector of the Imperial Chapel, Georg Slatkonia , the cathedral chapter of Konstanz Cathedral decided on April 14, 1508 to commission Isaac to compose the mass propria for the main festivals, who accepted this commission. In May 1509 the order was largely fulfilled, after which the Constance Chapter decided on November 29, 1509 to honor the work delivered. Isaac's pupil Ludwig Senfl published these compositions in the second volume of his Choralis Constantinus collection in 1550/55 .

The court of Emperor Maximilian decided on May 25, 1510 to lend the composer estates in Val Policella near Verona , the income from which was apparently intended to replace Isaac's salary. He was living in Florence again by the end of 1511 at the latest, sold his house there on January 4, 1512 in Via dell'Ariento and bought another one in Via del Cocomero (now Via Ricasoli) in the San-Marco district. At the Habsburg court, this move to Italy was even considered useful, perhaps for diplomatic reasons. On September 1, 1512, the Medicis took control of Florence again. It was in this late period that Isaac composed great state motets and the second and third versions of his will (November 24, 1512 and December 4, 1516). It is possible that he was considering leaving Florence for some time because on November 16, 1512 he appointed the cleric Andrea Pasquini as his proxy ( procurator ). On March 13, 1513, Cardinal Giovanni de 'Medici , son of Lorenzo Magnifico, was elected Pope as Leo X. Isaac congratulated him with the motet "Optime divino date munere pastor", composed perhaps for the visit of the Habsburg envoy Matthäus Lang in Rome in 1513/14. Although he had become a new and well-paid “prepositus Capelle cantus figuralis” in 1514 and although the Habsburg court, after a temporary suspension of payments, ordered their continued payment from January 27, 1515, the Roman Curia made several efforts , apparently through Leo X. arranged for Lorenzo de 'Medici the younger to arrange an additional pension for the servant Heinrich Isaac, who had been loyal in earlier years - with success.

Pope Leo X visited Florence from November 30, 1515 to February 19, 1516; On this occasion, polyphonic masses were sung daily at San Lorenzo during this time , with Isaac certainly participating in the musical arrangement of the visit; however, it is not known what was listed in detail. The composer fell ill in the fall of 1516, wrote his third will in December and died on March 26, 1517. He was buried the following day, and a mass was performed at the request of his childless widow Bartolomea. Isaac's widow made her will on February 3, 1521, with her younger sister Antonia and niece Maria as heirs, and died on May 30, 1534.

meaning

Heinrich Isaac was counted by the Swiss humanist and music theorist Heinrich Glarean (1488–1563) in the middle of the 16th century, together with Josquin Desprez, Jacob Obrecht and Pierre de la Rue , to the group of composers who had a musical "ars perfecta" represented. Isaac was already known in Italy before 1500, north of the Alps shortly thereafter, as a truly famous, extremely fruitful and admired composer. This fame and the extent of his oeuvre apparently had a very direct effect on the tradition of his works and the sum of the sources that have survived to this day, although many losses have certainly occurred here after the 16th century. The surviving inventory of sources can be called monumental in comparison with other composers of his time.

Isaac's work of composed measuring ordinaries is unusually extensive and, with its 35 preserved measuring cycles and 15 individual measuring sets, surpasses the measuring works of all contemporaries, which means that it also occupies a prominent position in its own complete works. Up to around 1505, his masses belong to the type of mass based on monophonic and polyphonic originals and from around 1496/97 to the type of alternating mass based on his own originals, i.e. ordinarium melodies based on the chorale . The composer permeates all corresponding works with a technical virtuosity and contrapuntal quality that is available to him in almost any extent. He also possessed the ability to achieve a representative effect through a large and changing number of votes and by dividing the whole into related parts. His “state motets” are of particular importance in his motet work, such as the motets for the Diet of Constance in 1507 and for the coronation of Leo X. in 1513.

Isaac's curriculum vitae deviates from most of his Franco-Flemish predecessors and contemporaries in that he did not return to the region of his origin after an Italian phase, but after a long German-language interlude with the Habsburgs, he stayed in Italy until the end of his life. It can be seen that Isaac's large number of chorale-fed ordinarium and proprium cycles are partially based on German traditions, with the difference that they are filled with sovereign compositional technique, with finesse and great musical spirit. Isaac's often vaunted ability and willingness to be stimulated by foreigners and to respond to them finds its impressive expression in the juxtaposition of French-Flemish and German stylistic devices. This is also evident in the ease with which forms of the German song can be adopted. As a result of Isaac's amalgamation of Franco-Flemish and German stylistic devices, a musically progressive connection to the great European movement of Franco-Flemish music is brought about in the German-speaking area, also through his students Ludwig Senfl, Balthasar Resinarius and Petrus Tritonius .

Works

Complete edition: Henrici Isaac Opera omnia , edited by EL Lerner, Neuhausen-Stuttgart 1974–1998 (= Corpus mensurabilis musicae LXV / 1–8)

  • Measure, alternate measure and measure sentences
    • Missa “Argentum et aurum” with four voices
    • Missa "Chargé de deul" for four voices (before 1485)
    • Missa “Comme femme desconfortée” with four voices
    • Missa “Coment poit avoir joie” (“Wohlauff gut Gsell von hinnen”) with four voices
    • Missa “Coment poit avoir joie” (“Wohlauff, gut Gsell von hinnen”) with six voices
    • Missa de Apostolis (Magne Deus) to four voices
    • Missa de Apostolis to five voices
    • Missa de Apostolis for four voices
    • Missa de beata virgine to four voices
    • Missa de beata virgine (I) to five voices
    • Missa de beate virgine (II) to five voices
    • Missa de beate virgine to six voices
    • Missa de confessoribus to four voices
    • Missa de confessoribus to five voices
    • Missa de martyribus to four voices
    • Missa de martyribus to five voices
    • Missa de virginibus to five voices
    • Missa “Een vrolic wesenn” with four voices
    • Missa “Et trop penser” with four voices
    • Missa ferialis to four voices (only Kyrie, Sanctus and Agnus Dei)
    • Missa “La mi la sol / O Praeclara” with four voices
    • Missa "La Spagna" for four voices (de Bassadanze, Castila)
    • Missa “Misericordias Domini” with four voices
    • Missa paschalis to 4 voices
    • Missa paschalis ad organum to four voices
    • Missa paschalis to five voices
    • Missa paschalis to six voices
    • Missa “Quant j'ay au cueur” with four voices
    • Missa “Salva nos” with four voices
    • Missa solemnis to four voices
    • Missa solemnis to five voices
    • Missa solemnis to six voices
    • Missa “T'meiskin was jonck” with four voices
    • Missa “Une Musque de Biscaye” with four voices
    • Missa “Virgo prudentissima” with six voices
    • Gloria to four votes
    • 13 independent credo sentences with four voices each
    • Sanctus “Fortuna desperata” to four voices
  • Measurement proprien (consistently to four votes)
    • Proprium cycles according to Choralis Constantinus , Volume 1, Nuremberg 1550
      • "Asperges me / Domine hysopo"
      • De Sanctissima Trinitate (four parts: introitus, alleluia, sequence and communion)
      • Dominica I. post Pentecosten (three parts: Introit, Alleluja and Communio; so also all of the following with three parts)
      • Dominica II. Post pentecosts (three parts)
      • Dominica III. post pentecosts (three parts)
      • Dominica IV. Post pentecosts (three parts)
      • Dominica V. post pentecosts (three parts)
      • Dominica VI. post pentecosts (three parts)
      • Dominica VII. Post pentecosts (three parts)
      • Dominica VIII. Post pentecosts (three parts)
      • Dominica IX. post pentecosts (three parts)
      • Dominica X. post pentecosts (three parts)
      • Dominica XI. post pentecosts (three parts)
      • Dominica XII. post pentecosts (three parts)
      • Dominica XIII. post pentecosts (three parts)
      • Dominica XIV. Post pentecosts (three parts)
      • Dominica XV. post pentecosts (three parts)
      • Dominica XVI. post pentecosts (three parts)
      • Dominica XVII. post pentecosts (three parts)
      • Dominica XVIII. post pentecosts (three parts)
      • Dominica XIX. post pentecosts (three parts)
      • Dominica XX. post pentecosts (three parts)
      • Dominica XXI. post pentecosts (three parts)
      • Dominica XXII. post pentecosts (three parts)
      • Dominica XXIII. post pentecosts (three parts)
      • Dominica I. Adventus (three parts)
      • Dominica II Adventus (three parts)
      • Dominica III. Adventus (three parts)
      • Dominica IV Adventus (three parts)
      • Dominica infra octavam Epiphaniae (three parts)
      • Dominica I. post octavam Epiphaniae (three parts)
      • Dominica II. Post octavam Epiphaniae (three parts)
      • Dominica in Septuagesima (three parts)
      • Dominica in Sexagesima (three parts)
      • Dominica in Quinquagesima (three parts)
      • Into the cinerum (Ash Wednesday) (three parts)
      • Dominica Invocavit (three parts)
      • Dominica Reminiscere (three parts)
      • Dominica Oculi (three parts)
      • Dominica Laetare (three parts)
      • Dominica Judica (three parts)
      • Dominica Palmarum (three parts)
      • Dominica Quasimodo geniti (Introitus, Communio)
      • Dominica Misericordia Domini (three parts)
      • Dominica Jubilate (three parts)
      • Dominica Cantate (Introitus, Communio)
      • Dominica Vocem iucundidatis (three parts)
      • Dominica Exaudi (Introit, Communio)
    • Proprium cycles based on Choralis Constantinus , Volume 2, Nuremberg 1555
      • Nativitas Domini (four parts: Introitus, Alleluja, Sequence, Communio; also all the following with four parts)
      • Circumcisio Domini (four parts)
      • Epiphany Domini (four parts)
      • Purificatio Mariae (four parts)
      • Annuntiatio Mariae (three parts)
      • Resurrectio Domini (five parts)
      • Ascensio Domini (four parts)
      • Sancti Spiritus (four parts)
      • Corporis Christi (four parts)
      • Joannis Baptistae (four parts)
      • Joannis et Pauli (four parts)
      • Petri et Pauli (four parts)
      • Visitatio Mariae (four parts)
      • Mariae Magdalenae (four parts)
      • Assumptio Mariae (four parts)
      • Sancti Geberhardi (four parts)
      • Sancti Pelagii (four parts)
      • Nativitas Mariae (four parts)
      • Dedicatio templi (four parts)
      • De sancta cruce (four parts)
      • Omnium sanctorum (four parts)
      • Sancti Martini (four parts)
      • Praesentatio Mariae (four parts)
      • Sancti Conradi (four parts)
      • Conceptio Mariae (four parts)
    • Proprium cycles based on Choralis Constantinus , Volume 3, Nuremberg 1555
      • In vigilia unius apostoli (introitus, gradus, alleluia, sequence, communion)
      • Commune Apostolorum (introitus, three alleluias, sequence, two communios)
      • Commune martyrum (seven introites, nine alleluias, two sequences, seven communios)
      • Commune unius martyris (six introits, four alleluias, two sequences, five communios)
      • Commune confessoris (four introits, six alleluias, two sequences, three communios)
      • Commune virginum (four introites, three alleluias, sequence, four communios)
      • Tractus (all five movements)
      • Annuntiatio Mariae (Introitus, Alleluja, Sequence)
      • De Sancta Maria, a Nativitate usque ad Purificationem (Introitus, Alleluja, Sequence)
      • Commune festorum Beatae Mariae Virginis (Introitus, Alleluja, Sequence, Communio)
      • Sanctorum apostolorum Philippi et Iacobi (Introitus, Communio)
      • Inventio sanctae crucis (introitus, alleluja, sequence, communio)
      • In vigilia Sancti Joannis Baptistae (Introit)
      • Nativitas Sancti Joannis Baptistae (Introitus, Alleluja, Sequence, Communio)
      • In vigilia sanctorum apostolorum Petri et Pauli (Introitus, Communio)
      • Sanctorum apostolorum Petri et Pauli (Introitus, Communio)
      • Commemoratio Sancti Pauli apostoli (Introitus, Communio)
      • Visitatio Beatae Mariae Virginis (Alleluja, sequence)
      • In divisione apostolorum (sequence)
      • Mariae Magdalenae paenitentis (sequence, communion)
      • In vigilia Sancti Laurentii martyris (Introitus)
      • Sancti Laurentii martyris (introitus, alleluja, sequence)
      • Assumptio Beatae Mariae Virginis (Alleluja, sequence)
      • Nativitas Beatae Mariae Virginis (Alleluja, sequence)
      • In dedicatione Sancti Michaelis archangeli (introitus, alleluia, sequence, communion)
      • Sanctarum Ursulae ac sociarum virginum et martyrum (sequence)
    • Further individual proprium clauses
      • Sequence “Agnus redemit oves” with six voices
      • Tractus “Beatus vir qui Timetable” to four voices
      • Sequence “Benedicta semper / Pater filius” with six voices
      • Introit “Benedicta / sit Sancta Trinitas” with four voices
      • Introit “Benedicta / sit Sancta Trinitas” with six voices
      • Sequence “Botrus Cypri reflorescit” with four voices
      • Alleluia "Christ resurgens" to four votes
      • Introit “Cibavit eos / ex adipe” with six voices
      • Introit “Ecce / advenit dominator” with six voices
      • Tractus “Gaude Maria virgo” with four voices
      • Sequence “Haec domus aulae coelestis” with five voices
      • Alleluja “Hic est discipulus” to four voices
      • Communio “Laetabitur iustus / in Domino” with four voices
      • Alleluja “Laetabitur iustus in Domino” with four voices
      • Introit “Loquebar / de testimoniis” with four voices
      • Sequence “O Narcisse fons eloquio” with four voices
      • Communio "Pascha nostrum / immolatus est" to four (?) Voices (fragment)
      • Sequence “Pater Filius Sanctis Spiritus” with six voices
      • Introit “Puer natus est nobis / et filius” with four voices
      • Sequence "Quantum Potes" for four (?) Voices (fragment)
      • Introit “Resurrexit et adhuc / tecum sum” with six voices
      • Introit “Rorate / coeli desuper” with six voices
      • Introit “Salve / sancta parens” with six voices
      • Sequence “Sed nunc urbem Augustinam” with four voices
      • Part of the sequence “Sol occasum nesciens” for three voices
      • Introit “Spiritus Domini / replevit orbem” with six voices
      • Introit “Suscepimus / Deus misericordiam” with six voices
      • Sequence “Tu eius amore” with four voices
      • Sequence “Udalrici benedici Christi regis” with four voices
      • Sequence “Venerantes hanc diem” with four voices
      • Alleluja “Venite ad me omnes” to four voices
      • Introit “Venite / benedicti Patris mei” with four voices
      • Introit “Viri Galilaei / quid admiramini” with four voices
      • Introit “Viri Galilaei / quid admiramini” with six voices
      • Introit “Vultum tuum / deprecabuntur” with four voices
      • Introit “Vultum tuum / deprecabuntur” with six voices
  • Motets
    • “Accessit ad pedes Jesu” to four votes
    • “Alma redemptoris Mater” to four votes
    • "Angeli archangeli" with six voices (= "O regina nobilissima)"
    • “Anima liquefacta est” to four votes
    • “Argentum et aurum” to four votes
    • "Ave ancilla Trinitatis" with three voices (= "Caecus non iudicat", "Gaudent in caelis", "Regali quem decet")
    • “Ave ancilla Trinitatis” to four voices
    • “Ave Regina caelorum” (I) for four voices
    • "Ave Regina caelorum" (II) to four voices (partly = "Sive vivamus, sive moriamur")
    • “Ave sanctissima Maria” to four voices
    • “Christ surrexit” to six voices
    • “Credidi, propter quod locutus sum” to four voices
    • “Cum esset desponsata mater” to four voices
    • “Defensor noster aspice” to four votes
    • “Ecce sacerdos magnus” with four voices
    • “Gaude Dei genitrix virgo” to four voices
    • “Gratias refero tibi Domine” to three votes
    • "Hodie Deus homo factus" for four voices (fragment)
    • "Hodie scietis quia veniet" for five voices (fragment)
    • “In convertendo Dominus” with four voices
    • "Inviolata, integra et casta" for five voices (fragment)
    • "Ista est speciosa" for four (?) Voices (fragment, only Superius and Bassus survived)
    • “Nil prosunt lacrimae” to four voices
    • “O decus ecclesiae” to five votes
    • “O Maria, mater Christi” to four votes
    • “Optime… Divino pastor” to six votes
    • “Oratio Jeremiae prophetae: Recordare” with four voices
    • “Parce Domine populo tuo” with four voices
    • "Prophetarum maxime" with four votes (probably Florence between 1484 and 1496)
    • “Quae est ista quae ascendit” to four votes
    • “Quem tremunt impia” for three voices
    • “Quid retribuam Domino… Credidi” with four votes
    • "Quid retribuam tibi, Leo" with three votes (1510/1517, thanks to Pope Leo X.)
    • "Quis dabit capiti meo aquam?" To four voices (= "Illumina oculos meos")
    • “Quis dabit pacem populo” with four voices
    • “Recordare Jesu Christe” to five votes
    • “Regina caeli laetare” with five votes
    • "Rogamus te piissima virgo" to four voices (= "La mi la sol")
    • “Sancta Maria Virgo” to four votes
    • "Sancti Spiritus assit nobis gratia" (2nd part: "Imperii proceres") to four votes (for the Reichstag in Constance 1507)
    • "Sive vivamus, sive moriamur" for four voices (= part of "Ave regina caelorum" II)
    • "Sub tuum praesidium" for four voices (= "Ricercare", see song and instrumental movements)
    • “Sustinuimus pacem” / “En l'ombre” / “Une musque” with four voices
    • “Te mane laudum carmine” with four votes
    • “Tota pulchra es” to four voices
    • “Tristitia vestra vertatur” with three votes
    • " Virgo prudentissima " with six votes (for the Reichstag in Constance 1507, text by Georg von Slatkonia )
    • textless voice (fragment)
  • Secular works
    • French and Flemish titles
      • "Adieu fillette de regnon" to three voices (= "Non diva parens", without text)
      • “An buos” (correct: “Au bois”?) To four voices
      • "Coment poit avoir joye" (I) for three voices (= measuring contact "Et incarnatus" of the Missa "Coment poit" for four voices and "Et in Spiritum" of the Missa "Coment poit" for six voices)
      • "Coment poit avoir joye" (II) (= "Pleni" of the Missa "Coment poit" with four voices and "Patrem" of the Missa "Coment poit" with six voices)
      • "De tous biens" to two voices (= "Et qui la dira")
      • “Et ie boi d'autant” to four voices
      • “Et qui la dira” to four votes
      • "Fille vous aves mal gardé" to four voices (= "How should I be" and "Ave sanctissima")
      • "Graciensi plaisat" (only arrangement for keyboard instrument preserved)
      • “Helas que devera mon cuer” with three voices
      • “J'ay pris amours” to three votes
      • "J'ay pris amours" to four voices (I)
      • "J'ay pris amours" to four voices (II)
      • "Je ne puis vivre" to four voices (= "Gaude, virgo")
      • “Le serviteur” to three votes
      • “Maudit soit c'il qui trouva” to four votes
      • “Mon père m'a doné mari” with four voices
      • “O Venus bant” to three voices
      • “Par ung chies do cure” with four votes
      • "Par ung iour de matin '" to four votes (= "I love me")
      • "Pour vous plaisirs" to four voices (= "Parcere prostratis")
      • "Serviteur suis" with three voices (= "Je suys malcontent" and "Verum tamen universa")
      • “Tartara” to three votes
    • Italian title
      • "A la battaglia" for four voices (1485 - 1489)
      • “Corri fortuna” to four votes
      • “Donna di dentro” / “Dammene un pocho” / “Fortuna d'un gran tempo” with four voices
      • “Fammi una gratia, amore” to three votes
      • “Fortuna desperata” to three votes
      • “Fortuna desperata in mi” (I) to three voices
      • "Fortuna desperata in mi" (II) to four voices (= "Sanctus")
      • “Hor 'e di maggio” to four voices
      • “La Martinella” (I) to three votes
      • “La Martinella” (II) to three votes
      • “La Morra” (“Dona gentile”) to four votes
      • “La più vagha et più bella” with three voices
      • "La spagna" for two voices (measuring contact "Qui tollis" from the Missa "La spagna")
      • "La spagna" to three voices (Messkontrafaktur Agnus Dei II from the Missa "La spagna")
      • "Lasso, quel ch'altri fugge" for two voices (Bassus not preserved)
      • “Lieto et contento amore” with three votes
      • “Morte que fay?” To four votes
      • "Ne più bella di queste" to four voices (1485/1495)
      • "Palle, palle" to four voices (1485/1495) (= "Halleluja. Hodie Christ natus est", "La bella", "Capellae Leonis Papae")
      • "Questo mostrarsi adirata" for three voices (Text: Angelo Poliziano; 1485/1495)
      • “Semper giro piangendo” to three votes
      • "Un di lieto giamai" to three voices (Text: Lorenzo de Medici, 1485/1495)
    • German title
      • “Oh hertzigs K.” to four votes
      • “Oh, what does my heart want?” To four votes
      • "Brother Conrat" to four voices (= counterfactor "Agnus III" of the Missa carminum )
      • "The Hundt" to three votes
      • “Der Welte Fundt” to four votes
      • “A happy being” to three / four votes
      • “Recognize my sad kindness” to four voices
      • "There is a farmer with a daughter" to four votes
      • "A Meydlein wants to graze" to four voices (= "You mother of God")
      • "Friendly and milking" to four votes
      • “Greiner, zancker, Schnöpffitzer” to four votes
      • “I stand one morning” to four votes
      • “In God's name we faren” (I) to four votes
      • "In a sense" to three votes
      • "In a sense" to four votes (I)
      • "In a sense" to four votes (II)
      • " Insprugk, I have to let you " with four equal voices (version A, tenor song, also as a counterfactor "Christe II" from the Missa carminum )
      • " Insprugk, I have to let you " to four voices (Version B, treble song)
      • “I have no pleasure” to four votes
      • "Las Rauschen" to four voices
      • “Maria Junckfrow born high” with four votes
      • “My Freud Alone” to four votes
      • “My little mother” to four votes
      • "O feminine kind" ("Oh feminine kind") to four votes
      • “Oh be happiness” to four votes
      • “Suesser Vatter, Herrre Gott” to three votes
      • "Suesser Vatter" to four votes (= Decem praecepta, the ten commandments)
      • “When I get up early in the morning” to four votes
      • “Was frewet mich” to four votes
      • "Wohlauff, gut Gsell" to three voices (= Messkontrafaktur "Qui tollis" of the Missa "Coment poit", to four and six voices)
      • "Delicately lapped fruit" to four votes
      • “Between Perg and deep valley” to four votes
    • Secular Latin titles (number of votes not given in source)
      • "Nile prosunt lacrimae"
      • "Quis dabit capiti meo"
      • "Sub cujus patula" (Lament for Lorenzo de Medici's death in 1492 by Angelo Poliziano)
      • "Quis dabit pacem" (lament over Lorenzo de Medici's death in 1492, based on Seneca's Hercules Oetaeus (around 1514–45; 1580–86))
    • Uncertain without text or language
      • “Benedictus” to three / four voices
      • "Carmen in fa" to four voices (= "Pleni" of the Missa "Lalahe")
      • “First I wais” to three votes
      • "Gratias accepistis" with four voices (= "Thysis", "Alleluya", 3rd part of the "Salve regina" with four voices)
      • "La la hö hö" to four voices (= Gloria of the Missa "Lalahe")
      • "La mi la sol" (= "Rogamus te piissima virgo" and measuring contact of the Credo of the Missa "O praeclara"), 1502 as a test piece for Ercole I. d'Este of Ferrara
      • "Mi mi" to three votes
      • “Sanctus” for four parts of the Missa paschalis
      • Six textless three-part and two textless four-part Carmina
      • “Vous marches du bout” to four votes
    • Lost Works
      • “Berricuocoli, donne” to three votes
      • "Che fai tu, Eco"
      • Missa "Je ne fays"
      • Missa "Pange lingua"
      • "Vieni a me, peccatore"
  • Doubtful and mistakenly assigned works to Isaac
    • measure up
      • Missa de beata virgine for three voices, by Ludwig Senfl?
      • Missa de beata virgine for four voices (Sanctus and Agnus Dei doubtful)
      • Missa carminum for four voices (after 1496)
      • Missa "J'ay pris amours" with four voices (= Missa Geger)
      • Missa "Lalahe" to four voices (Gloria and "Pleni" real)
      • Missa “O Austria” with four voices
      • Missa paschalis to three voices
      • Missa "Rosina" for four (?) Voices (fragment)
      • Missa sine nomine for four voices (fragment)
      • Missa solemnis for four voices (fragment)
      • Missa solemnis to three voices
      • Missa summa to three voices
    • Motets
      • “Benedic Anima mea Domino” with four voices, by Eustachius de Monte Regali ?
      • “Deo Patri sit gloria” with four votes, by Thomas Stoltzer ?
      • “Dies est laetitiae” to four votes
      • "Discubuit Jesus" to four voices (fragment, alto missing)
      • “Erubescat Judaeus” with five votes, by Ludwig Senfl
      • "En l'ombre" ("Il n'est plaisir")
      • "Fortuna desperata" to five voices (= "Sancte Petre")
      • "Gentile Spiritus" to three votes
      • “Illumina oculos meos” to three votes
      • “Judaea et Jerusalem” with four votes, by Jacob Obrecht
      • “Nisi tu Domine” to four votes, Isaac's authorship uncertain
      • “O sacrum convivium” to six voices, Isaac's authorship uncertain
      • “Qui paraclitus diceris” with six voices, by Adam Rener ?
      • “Regnum mundi” to three voices
      • “Salve Regina Misericordiae” (III) to four voices
      • “Salve Regina Misericordiae” (IV) for four voices, from “Ar. fer. ”, probably not identical with Isaac
      • “Salve virgo sanctissima” to four votes
      • “Spiritus Domini replevit” for four voices, by Jean Mouton
      • "Spiritus Sanctus in te" with six votes, by Ludwig Senfl
      • “Tulerunt Dominum meum” with four voices, by Michele Pesenti or by Josquin?
      • “Veni Sancte Spiritus, reple” to four voices
      • “Verbum caro factum est” to four voices
      • “Virgo prudentissima” to four votes (II), by Josquin?
    • Song and instrumental sets
      • “Adieu mes amours” to four votes, by Josquin
      • “Ami souffre” with three voices, by Pierre Moulu or by Claudin de Sermisy ?
      • Carmen with three voices (= "First I wais"), by Paul Hofhaimer
      • Carmen for four voices (= "Mag.e Olimpi"; "Vous marchez du bout"), by Antoine Busnois ?
      • “Christ is risen” with four votes, by Thomas Stoltzer?
      • "The little wells that flow" to three votes, by Paul Hofhaimer
      • "Digau alez donzelles" (= "Pour vostre amour"), by Antoine Brumel ?
      • “A happy being” to three / four voices, by Jacques Barbireau
      • “First I wais” (Carmen) to three votes, by Paul Hofhaimer?
      • "Frater Conradus" for four voices, tablature (= Agnus III, Missa carminum)
      • “Helogierons nous” for four voices, by Alexander Agricola ?
      • “No thing on earth” (I) to four voices, by Wolfgang Grefinger ?
      • “La stanghetta” with three voices (= “Ortus de coelo”), probably by Gaspar van Weerbeke or Jacob Obrecht?
      • “Les biens d'amore” with three voices, by Johannes Martini
      • “Morte che fay” to three / four voices
      • “Pour mieux valoir” with three voices (= “Come here”), by Rubinet
      • “Pover me mischin dolente” with four voices, probably by Bernhard Ycart
      • “Que vous madame / In pace idipsum” with three voices, by Josquin or Alexander Agricola?
      • “Sans avoir” for three voices (= “Malagrota”), by Antoine Busnois?
      • “Se io te o data l'anima e'l core” with four voices, probably by Bernhard Ycart
      • “Si dedero” to three voices, by Alexander Agricola
      • “Si dormiero” with three voices, by Alexander Agricola or Pierre de la Rue or Heinrich Finck ?
      • “Tmeiskin was iunch” with four votes, by Jean Japart or Jacob Obrecht?
      • “Gone is happiness and heyl” with four voices, with the second part “Beclag dich nit so hertzigklich” with four voices (two separate movements), by Jacob Hagenbach ?
      • Textless movement with four voices, probably by Bernhard Ycart

literature

  • Otto Kade, editor of the ADB:  Isaac, Heinrich . In: Allgemeine Deutsche Biographie (ADB). Volume 14, Duncker & Humblot, Leipzig 1881, pp. 590-608.
  • R. Eitner: About Isaac, his will and his origin. In: Monthly books for music history No. 22, 1890, page 64 and following
  • W. Heinz: Isaacs and Senfls propriums compositions, manuscripts from the Bayerische Staatsbibliothek Munich , dissertation at the University of Berlin 1952
  • W. Senn: Music and theater at the court of Innsbruck: history of the court orchestra from the 15th century to its dissolution in 1748 , Innsbruck 1954
  • Martin Just: Heinrich Isaac's motets in Italian sources. In: Analecta musicologica No. 1, 1963, pages 1-19
  • A. D'Accone: Some Neglected Composers in the Florentine Chapels, ca. 1475-1525. In: Viator No. 1, 1970, pages 263-288
  • AW Atlas: Heinrich Isaacs "Palle, palle". In: Analecta musicologica No. 11, 1974, pages 17-25
  • Martin Just:  Isaac, Heinrich. In: New German Biography (NDB). Volume 10, Duncker & Humblot, Berlin 1974, ISBN 3-428-00191-5 , p. 184 f. ( Digitized version ).
  • Martin Staehelin: Heinrich Isaac's Masses , 3 volumes, Bern / Stuttgart 1977 (= publications of the Swiss Music Research Society No. II / 28)
  • Manfred Schuler: On the transmission of the Choralis Constantinus by Heinrich Isaac. In: Archive for Musicology , Volume 36, Issue 1, 1979, ISSN  0003-9292 , Pages 68–76 and Pages 146–154
  • Martin Staehelin: Heinrich Isaac and the early history of the song “Innsbruck, I have to let you”. In: Martin Just and R. Wiesend (editors): Festschrift for W. Osthoff. Tutzing 1989, pages 107-119
  • Reinhard Tenberg: Isaac, Heinrich. In: Biographisch-Bibliographisches Kirchenlexikon, Volume 2, Bautz, Hamm 1990, ISBN 3-88309-032-8 , column 1338-1342
  • W. Elders: On the question of the presentation of Isaac's mass “La mi la sol” or “O praeclara”. In: F. Heidelberger, W. Osthoff, R. Wiesend (editors): Festschrift for Martin Just. Kassel 1991, pages 9-13
  • Martin Staehelin: On the music-historical position of Heinrich Isaac. In: Literature, Music and Art in the Transition from the Middle Ages to the Modern Age. Göttingen 1995, pages 216-245
  • J. Heidrich: Heinrich Isaac in Torgau ?. In: W. Salmen, R. Gstrein (editors), Heinrich Isaac and Paul Hofhaimer in the environment of Emperor Maximilian I , Innsbruck 1997, pages 155–168
  • M. Teramoto: The psalm motets by Heinrich Isaac. In: W. Salmen, R. Gstrein (editors), Heinrich Isaac and Paul Hofhaimer in the environment of Emperor Maximilian I , Innsbruck 1997, pages 179–187
  • Emma Kempson: The Motets of Henricus Isaac (c. 1450–1517): Transmission, Structure and Function , 2 volumes, dissertation at London University 1998
  • J. Heidrich: Heinrich Isaacs (?) "Missa carminum": Tradition - work shape - genre context , dissertation, in: Yearbook of the permanent conference of Central German Baroque music , 2001
  • David J. Burn: The Mass-Proper Cycles of Henricus Isaac: Genesis, Transmission, and Authenticity , dissertation at Oxford University 2002
  • G. Zavonello: Henricus Isaac (approx. 1450–1517) in Italy, the Mass “Misericordias Domini”, and Music in Renaissance Florence , dissertation at Princeton University 2004
  • David J. Burn, Stefan Gasch (editors): Heinrich Isaac and Polyphony for the Proper of the Mass in the Late Middle Ages and Renaissance. Brepols, Turnhout 2011, ISBN 978-2-503-54249-2
  • Ulrich Tadday (Ed.): Music Concepts 148/149. Heinrich Isaac. edition text + kritik, Munich 2010, ISBN 978-3-86916-056-6 .
  • Stefan Gasch, Markus Grassl, August Valentin Rabe (eds.): Henricus Isaac (c.1450 / 5-1517). Composition - Reception - Interpretation. Vienna: Hollitzer 2019 (Vienna Forum for Early Music History, Volume 11), ISBN 978-3-99012-575-5 ISSN  2617-2534

Web links

Commons : Heinrich Isaac  - Collection of Images, Videos and Audio Files

swell

  1. Martin StaehelinIsaac, Heinrich. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 9 (Himmel - Kelz). Bärenreiter / Metzler, Kassel et al. 2003, ISBN 3-7618-1119-5  ( online edition , subscription required for full access)
  2. Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 4: Half a note - Kostelanetz. Herder, Freiburg im Breisgau a. a. 1981, ISBN 3-451-18054-5 .