Jacob Obrecht's Missa Salve diva parens and Archduke Maximilian
Obrecht’s Missa Salve diva parens is the opening piece of the choirbook » A-Wn Mus.Hs. 15495, which was produced for Maximilian I around 1508-1510 in connection with his journey to the Netherlandsfollowing his proclamation as Emperor Elect and the conclusion of the “League of Cambrai” (December 10, 1508). The repertoire for this splendid manuscript was generally selected based on its relation to Maximilian himself or his daughter Margaret (see » D. Musikalische Huldigungsgeschenke, Kap. Zum Repertoire der Handschrift A-Wn Mus.Hs. 15495). Within the Burgundian-Habsburg manuscript complex, the first composition in a codex is typically the one most closely associated with the dedicatee. The opening page is usually also the most richly illuminated, often adorned with the coats of arms of the recipients of the gift—as is the case here, with those of Emperor Maximilian I and his (second) wife, Bianca Maria Sforza (» Abb. Kyrie Salve diva parens). Notably, Missa Salve diva parens was already quite old (approximately 25 years) at the time of its inclusion, in contrast to the following repertoire, and underwent a modernizing revision during the copying process (see » C. Medien mehrstimmiger Vokalmusik).
This finding suggests that the Mass was probably associated with a significant event in Maximilian’s life: otherwise, there would be little reason to place such a comparatively “old” work at the forefront of a manuscript explicitly compiled for Maximilian, and to modernize it specifically for this purpose.
Missa Salve diva parens was copied in manuscript at Rome as early as late 1487 or early 1488 in the choirbook » V-VCbav (ehemals I-Rvat) Capp. Sist. 51[3] – and was possibly brought there by Obrecht himself in early 1488.[4] This dating places the composition in a period about which we know extraordinarily little regarding Maximilian’s court music. In 1482, his wife Mary of Burgundy had died in a riding accident, leaving Maximilian (as guardian of their four-year-old son Philip) in charge of Burgundian affairs. The highly renowned Burgundian court chapel, which Mary had inherited from her father in 1477 and which comprised more than twenty singers, seems to have been neglected by Maximilian due to ongoing warfare. Consequently, very little is known about the court’s musical repertoire in the 1480s.[5] A notable testament to Mary’s and Maximilian’s (Marian) piety—expressed in a daily polyphonic Marian Mass—is the richly endowed Mass foundation that Mary of Burgundy arranged on her deathbed for the Church of Our Lady Bruges’, which Maximilian brought into being.[6] However, the repertoire performed there remains unknown.
In the autumn of 1485, Maximilian undertook a large-scale reorganization of the Burgundian court chapel. In anticipation of his reunion with his father, Emperor Frederick III, and in preparation for his hoped-for coronation as king, he recruited the finest and most experienced singers from across Europe and dressed them lavishly in signal red, as described by the Burgundian court chronicler Jean Molinet (1435–1507)[7] The chapel played a key role in the months-long festivities surrounding the royal election and coronation and accompanied Maximilian on his subsequent journey through Artois, Flanders, and Brabant. Thereafter, sources fall silent again—political turmoil, including the Burgundian succession war and ongoing conflicts with France, once more created difficult circumstances. The next documented reference comes only in late 1488 when, after his captivity in Bruges (January–May 1488), Maximilian left the Netherlands and compensated several court chapel members with significant payments (» I. Maximilian’s Court Chapel). By the early 1490s, his son, Archduke Philip, had officially taken over the Burgundian chapel.[8]
The association between Obrecht’s Missa Salve diva parens and Archduke (later King) Maximilian, suggested by its prominent position in the prestigious choirbook A-Wn Mus.Hs. 15495, is particularly noteworthy given the loss of sources concerning the Burgundian-Habsburg court chapel in the 1480s. This composition provides at least one tangible piece of evidence linking Obrecht’s work to the chapel’s repertoire in the later 1480s. Additionally, until now, research had not assumed any connection between Maximilian and Obrecht (c. 1457/58–1505), who began composing Mass settings around 1480 (see » G. Jacob Obrecht).
In addition, the earliest recording of the mass (in I-Rvat Cap. Sist. 51, copied late1487/early 1488) is close in time to a major state event in Maximilian’s life: his coronation as King of the Romans in the spring of 1486 in Aachen. The fact that the second early manuscript source is a fragmentary manuscript (» A-LIb Hs. 529; » C. Medien mehrstimmiger Vokalmusik, Kap. Handschriftliche Quellen zur Missa Salve diva parens) which likely belonged to Maximilian’s circle after his return to the Empire (c. 1490–1492), further supports this connection. These circumstances justify the hypothesis that Obrecht may well have composed Missa Salve diva parens in the context of Maximilian I’s royal coronation.
[3] Roth 1998, especially 46 f., 52 f., 55. From Rome, the Mass likely found its way into the extensive choirbook » I-VEcap 761 in the mid-1490s. For the creation time and circumstances of this manuscript, see Rifkin 2009.
[4] The documents regarding the suspected trip to Rome were compiled by Rob C. Wegman (Wegman 1994, 139–144), although he assumes that the Mass was already present in Rome by that time.
[5] The mass repertoire of the Burgundian court chapel from the 1460s and 1470s can be found in the choirbook » B-Br Ms. 5557 (facsimile: Wegman 1989). The six anonymously transmitted L’homme armé masses in the choirbook » I-Nn Ms. VI E 40 are also likely associated to the Burgundian chapel. The “Alamire Manuscripts,” closely associated with the court, were created during or after the reign of Philip the Handsome (» A-Wn Mus. Hs. 15495).
[6] See Strohm 2009.
[7] A detailed account with names of singers, their positions, and musical qualities can be found in Molinet 1935–1937, vol. 1, 469 f.
[8] The date commonly given is 17 November 1492 (see Fiala 2015, 434); Honey Meconi (Meconi 2003, 20–23) interprets the surviving payment records differently and assumes the transfer took place on September 30, 1495; see also Gasch 2015, especially 363 f.
[1] See Dunning 1970.
[2] Basic principles regarding the symbolic relationship between Cantus firmus material and mass composition can be found in Kirkman 2010. Reinhard Strohm can plausibly connect the creation of two Obrecht masses with foundations in Bruges (Strohm 1985, 40 f., 146 f.). For Obrecht’s Missa Sub tuum presidium, see » J. Körper und Seele.
[3] Roth 1998, especially 46 f., 52 f., 55. From Rome, the Mass likely found its way into the extensive choirbook » I-VEcap 761 in the mid-1490s. For the creation time and circumstances of this manuscript, see Rifkin 2009.
[4] The documents regarding the suspected trip to Rome were compiled by Rob C. Wegman (Wegman 1994, 139–144), although he assumes that the Mass was already present in Rome by that time.
[5] The mass repertoire of the Burgundian court chapel from the 1460s and 1470s can be found in the choirbook » B-Br Ms. 5557 (facsimile: Wegman 1989). The six anonymously transmitted L’homme armé masses in the choirbook » I-Nn Ms. VI E 40 are also likely associated to the Burgundian chapel. The “Alamire Manuscripts,” closely associated with the court, were created during or after the reign of Philip the Handsome (» A-Wn Mus. Hs. 15495).
[6] See Strohm 2009.
[7] A detailed account with names of singers, their positions, and musical qualities can be found in Molinet 1935–1937, vol. 1, 469 f.
[8] The date commonly given is 17 November 1492 (see Fiala 2015, 434); Honey Meconi (Meconi 2003, 20–23) interprets the surviving payment records differently and assumes the transfer took place on September 30, 1495; see also Gasch 2015, especially 363 f.
[9] See the descriptions in Molinet 1935–1937, vol. 1, 469–471; see also Cuyler 1973, 32–35.
[10] Molinet 1935–1937, vol. 1, 474.
[12] The song is preserved in two contemporary sources that both reflect the repertoire from Maximilian’s court (» B. Lieder 1450–1520, Kap. Aufschwung der Liedkunst unter Maximilian I.; » B. Lieder 1450–1520, Kap. Liederdrucke): in » D-As Cod. 2° 142a (fol. 69v–70r; the tenor incipit of the otherwise textless notation reads „hilff fraw von Ach“) and in the songbook » Aus sonderer künstlicher art… (Augsburg: Erhard Oeglin 1512), where the song appears second after the Marian hymn Dich mütter gottes rüff wir an.
[13] Wolf 2005, 98–102. Friedrich moved the Reichstag, originally scheduled for December 1485 in Würzburg, to January in Frankfurt am Main.
[14] For the election of Maximilian as king, see in detail Wolf 2005, 100–122, especially 115 f. During the altar installation ceremony, the newly elected king was indeed placed on the altar, the throne of Christ; see in detail Bojcov 2007, 243–314: „Die Altarsetzung […] war Teil der Wahlprozedur und war am besten dazu geeignet, einen aus dem Kreis der mehr oder weniger Gleichen auszusondern und über sie [zu] erheben.“ (Bojcov 2007, 292).
[15] See Schenk 2003, 307–313, 336–338; see also » D. Fürsten und Diplomaten auf Reisen.
[16] Molinet 1935–1937, vol. 1, 474 und 511. – The Aachen pilgrimage usually took place every seven years.
[17] Custis 1765, 68 f.; see also Wolf 2005, 191–200.
[19] The reconstruction of the Latin text according to Staehelin 1975, 20–23.
[20] The underlying text, a type of hymn strophe, could represent a humanistic expansion of the Marian hymn O quam glorifica luce coruscas (attributed tp Hucbald of Saint-Amand, 840–930), in the same rare meter (catalectic Asclepiadeus minor), especially since the cantus firmus of the mass, notoriously resistant to reconstruction, seems to show similarities with that in Févin’s Missa O quam glorifica (Strohm 1985, 148).
[21] “Rector” does not appear in the New Testament, but frequently in Ovid, especially concerning Augustus and Jupiter; see Flieger 1993, 67–69.
[22] See Stieglecker 2001, 388–391 et passim; for general information on humanistic veneration of saints, see Flieger 1993, 17–122.
[23] See Wegman 1994, 179–183.
[24] Current historical events have their counterparts in the New Testament, which in turn represent the fulfilment of events from the Old Testament in salvation history. “Thus, a legitimization of the Christian ruler from the Old Covenant takes place, which as already appears as the Carolingian-Franconian period, aappears to have been placed alongside the legitimation from the ancient empire as equally important.” (Cremer 1995, 88 f.).
[25] Maximilian I.: Weißkunig 1888, 47–49.
[26] Müller 1982, 147 f.; Dietl 2009, 37–40.
[27] Ca. 1513/14;Maximilian dictated the book in part and corrected it by hand.
[28] » A-Whh Hs. Blau 9 Cod. 24, fol. 38r; see also Silver 2008, 136 f., including the illustration.
[29] Cremer 1995, especially 88–99; Wiesflecker 1971, 65–67.
[30] Silver 2008, 137.
[31] See also Müller 1982, 147 f., 333; Wiesflecker 1971, 121, 131 f.; Molinet 1935–1937, vol. 1, 338.
[32] Molinet 1935–1937, vol. 1, 535 (in free translation).
[33] “I have revealed Your name to the people whom You gave Me from the world.” With these words, Christ Himself (here impersonated by Maximilian) declares whose true Son He is, according to the Gospel of John.
[34] Molinet 1935–1937, vol. 1, 529–539; see also Frieden 2013; Thiry 1990, 268–270.
[35] Molinet 1935–1937, vol. 1, 533–539; see also Müller 1982, 147.
[36] Ode 1,1 Caesar magnificis; see also Mertens 2000, 74 f.; foundational works on this topic: Tanner 1993; Seznec 1953.
[37] Wiesflecker 1991, 355 f.
[38] In the so-called Apel Codex (» D-LEu Ms. 1494), it seems that repertoire from Maximilian’s court was repeatedly included, mediated through the repertoire of the court chapel of Frederick the Wise of Electoral Saxony, who was in close contact with Maximilian from at least 1490; see Lodes 2002, 256–258.
[39] The text might also have been included in the manuscript » A-LIb Hs. 529 (“Linzer Fragments”), but only a small amount of music is preserved there.
[40] Regarding the “multiple meaning” in late medieval poetry, see Wehrli 1984, especially 236–270; Müller 1982, 146–148, also 124–129.
[41] The only other contemporary musical manuscript I know that begins with the words “[O Mater dei] memento mei” is the splendid manuscript B-Br 228, also produced in Petrus Alamire’s workshop. There, the words are attributed to the praying Archduchess Margaret, Maximilian’s daughter; see the illustration Blackburn 1997, 596 f., and Blackburn 1999, 188.
[42] See, among others, Borghetti 2015; Borghetti 2008, especially 208–214.
[43] “[…] lesquelz, ensamble unis, estoffoyent une très bonne chapelle dont il fut grandement honouré et prisiet des princes d’Alemaigne.” (Molinet 1935–1937, vol. 1, 470).
[44] Edition in Maas 1996, 43–47.
[45] In the text sections, first, forgiveness is requested from the Lord and thanks are given to the almighty King. Then, a prayer is made for “our (worldly) King” (“Pro rege nostro”) that the Lord may preserve him and that he may not fall into the hands of the enemies, and that the souls of the faithful may rest in peace. After a spoken “Our Father,” a final prayer to the Virgin Mary is sung, who carried the Son of the eternal Father. The musical petitions to God, for the king, and for Mary are concluded with a four-part “Amen” in each case. The music follows the rhythmic structure (in both the two- and four-part sections) exactly as per the text declamation (see Edwards 2011, 62 f.), and the largely homorhythmic, simple setting does not change throughout the piece, remaining the same for all three thematic areas.
Empfohlene Zitierweise:
Birgit Lodes: “„Mehrfacher Sinn“: Jacob Obrechts Missa Salve diva parens und die Königskrönung Maximilians”, in: Musikleben des Spätmittelalters in der Region Österreich <https://musical-life.net/essays/mehrfacher-sinn-jacob-obrechts-missa-salve-diva-parens-und-die-konigskronung-maximilians> (2017).