Sie sind hier

From the Battle of Sarzanello to Marian prayer

David Burn

In 1485 Isaac took up his first known permanent appointment, as a singer at the Baptistry of San Giovanni in Florence.[6] Alongside his sacred duties, he threw himself into other aspects of his new home-city’s musical life.

In the fifteenth century, as now, Carnival season, immediately before Lent, was an especially important moment in the annual calendar. Processions took place, songs were sung in the streets, and music-theatrical events organised. For the 1488 Florence Carnival season, Isaac composed a work on an unprecedented scale celebrating the recent military capture of the fortress of Sarzanello from the Genoese. The piece, A la battaglia, sets a long text in three strophes by Gentile Becchi, bishop of Arezzo and former teacher of Lorenzo de’Medici (» Hörbsp. ♫ A la battaglia).[7] A complete performance, with musical repeats for each strophe, would have lasted about a quarter of an hour. A remarkable series of letters written by an eye-witness tells us that, after a spectacular build-up and secret rehearsals, the work was met with bewilderment by the Florentine public.[8]

The failure may have had more to do with Becchi’s extravagant and slightly ridiculous text than the music. Separated from its original words, Isaac’s battle piece (Battaglia), with its attractive melodies, lively rhythms, and varied textures, was clearly thought worth preserving: sometime in the last decade of the fifteenth century or early in the sixteenth, it entered a German source, the Apel Codex (» D-LEu Ms. 1494), where it was shortened, and retexted with Latin, sacred words in honour of Mary, O praeclarissima atque gloriosa domina totius spirtitualis vitae.[9] A similar process can be seen in the manuscript » PL-Wu Ms. 2016 (c. 1500, Silesia), where the piece was given the text Ave sanctissima civitas divinitatis aeterno, and in the Fridolin Sicher Organ Tablature (CH-SGs Ms. Sang. 530, early sixteenth century, Constance/St. Gallen), where it has the title O dulcedo virginalis.[10]

[6] Relevant documents in Staehelin 1977, vol. 2, after D’Accone 1961 and D’Accone 1963.

[7] Complete text given in McGee 1983.

[8] Wilson 2006.

[9] Modern edition of » D-LEu Ms. 1494: Gerber et al. 1956–1975.

[10] http://www.e-codices.unifr.ch/de/doubleview/csg/0530/124v.

[2] Staehelin 1977, vol. 2, 19; Picker 1991, 4; Senn 1954, 10.

[3] More recent research confirms the date of c. 1476 originally proposed by Thomas Noblitt for the three motets, see » K. 7 The Codex of Nicolaus Leopold. » D-Mbs Mus. ms. 3154 is viewable online at: http://daten.digitale-sammlungen.de/~db/0005/bsb00059604/images/; Isaac’s motets are on fol. 72v, fol. 73v, and fol. 74v. Modern edition: Noblitt 1987–1996. On dating, see Rifkin 2003, 294–307. On possible identities of the scribes, see Strohm 1993, 519 ff. (though doubted in Rifkin 2003, 285 n. 103). See also » F. Regionalität und Transfer.

[4] See, further, Strohm 1993, 526; Kempson 1998, esp. vol. 1, 29–35, 92–106; Strohm/Kempson 2001.

[5] Cumming 2011, with reconstructed score at 268–274.

[6] Relevant documents in Staehelin 1977, vol. 2, after D’Accone 1961 and D’Accone 1963.

[7] Complete text given in McGee 1983.

[11] The authenticity of Comme femme has been disputed by some, but is accepted in Fallows 2001.

[13] See also Staehelin 1977, vol. 3, 81–86.

[15] Wegman 1996, esp. 461–469; Wegman 2011.

[16] Full document quoted in Staehelin 1977, vol. 2, 46 f.

[20] Especially the Trent Codices and the St. Emmeram Codex (» D-Mbs Clm 14274); Strohm 2011, 42 ff. and the literature cited there.

[21] It is difficult to specify how many feasts Isaac’s surviving mass propers could cover, given the multiple use of the common of saints, and the uncertaintly around the details of the liturgies for which Isaac composed. An estimate of around 150 days in the year seems reasonable.

[22] For an analysis of an introit, see Burn 2010.

[23] Discussed extensively in Burn 2002.

[24] Glarean 1547, 460; trans. in Picker 1991, 17 f.

[25] It is generally agreed that the first and third volumes contain imperial music, and the second music for Konstanz; see Burn 2003. Rothenberg 2011a presents an alternative hypothesis.

[26] Among others, the monastery of St. Ulrich and Afra in Augsburg, and the monasteries of Neresheim and Ottobeuren; see especially Eichner 2011 and Rimek 2011.

[28] Digitised images of the manuscript, including the two autographs, are available at: http://resolver.staatsbibliothek-berlin.de/SBB00012DA900000000. The “de manu sua” pieces are at fols. 8 ff., fol. 255v–256v, and fol. 294.

[29] Owens 1997, 258–290.

[30] The earliest mass “contra Turcos” is traceable to 1453/54; Jensen 2007, 117.

[31] The letter in which Du Fay mentions his laments is reproduced in Fallows 1982; Kirkman 2010, 121 f.

[32] Concordances to » D-B Mus. ms. 40021 (c. 1498–1500): D-Mu, 8°Cod. ms. 328-331 (Lalla hoe hoe; 1520s); » A-Wn Mus.Hs.18810  (La la hö hö; 1524–1533). D-B preserves the work in a longer form than the concordances, with a central section absent elsewhere. The longer form is most likely the original; transcriptions of the longer version in Staehelin/Neubauer 1991, and Just 1990/1991, vol. 3. For digitised images of D-Mu, 8°Cod. ms. 328-331 see: http://epub.ub.uni-muenchen.de/view/cim/cim.html; for D-B Mus. ms. 40021 (the piece is at fol. 224v; piece No. 110): http://resolver.staatsbibliothek-berlin.de/SBB00012DA900000000.

[33] Somewhat similar is Isaac’s “motet on a fantasia called La mi la sol”, which he composed for a job-interview in Ferrara in 1502, though the basic material of La la hö hö is even more striking in its limitations, and not connected to the piece’s title through solmisation-syllables.

[36] Wiesflecker 1971–1986, vol. 2, 156; also Staehelin/Neubauer 1991, 38 n. 24.

[37] Lindmayr-Brandl 1997, 255; Staehelin 1989 proposes that the original first word was not “Innsbruck” but “Zurück”.

[38] Strohm argues that he did in Strohm/Kempson 2001.

[40] RISM 1539/27. This source is also now viewable online, at: http://daten.digitale-sammlungen.de/~db/0007/bsb00074418/images/?viewmode=1.

[41] Salmen 1997, 250.

[42] First in Ernst Ludwig Gerber’s Neues historisch-biographisches Lexikon der Tonkünstler (Leipzig 1812–1814); see Lindmayr-Brandl 1997, 258.

[43] Drexel 1997, 285.

[45] Staehelin 1977, vol. 2, 89–130; Burn 2006.

[46] Strohm, in Strohm/Kempson 2001. On Isaac’s pupils, see Picker 1991, 15 f. On Senfl, see » G. Ludwig Senfl.

[50] Glarean 1547, 261; cited in Picker 1991, 15.