Finances
Courts were very expensive to run, and chapels could consume a significant percentage of the court’s budget. Since many singers were in clerical orders, the ruler could keep down costs by appointing singers to ecclesiastical benefices. These were church offices whose income was derived from an investment made as part of an initial foundation, often as part of a testamentary bequest. The terms of the foundation laid out the liturgical services desired by the founder. These might involve regular masses said for the soul of the founder, or votive services such as the performance of antiphons such as Salve regina. Depending on the amount of money provided in the foundation, the musical component of such benefices might involve chant, polyphony or organ. Even benefices that included no provision for music could serve the chapel, since they could be granted to singers in the ruler’s chapel, who would then appoint a vicar to carry out the liturgical requirements of the foundation while sharing its income with the cleric-singer who held the benefice.
The initial foundations specified who had the right to present candidates for each benefice to the relevant ecclesiastical authority (generally bishops or the heads of religious houses); these authorities generally, though not inevitably, endorsed the ruler’s candidate. Since rulers had the resources to establish many well-endowed foundations, their heirs accumulated the right of presentation to ever-growing numbers of benefices. As heir to many territories, Maximilian had the right of presentation to hundreds of benefices. He could therefore use the promise of promotion to ever more lucrative, prestigious or convenient benefices to promote singers within his chapel. His presentation of the Slovene Georgius Slatkonia as Bishop of Vienna was simply one extreme of a series of finely graded ecclesiastical appointments that lay in Maximilian’s hands.[14] There is much documentary evidence that Maximilian was personally involved in the presentation of his chaplains to various benefices, thus positioning himself as ultimate source of patronage. Beside the basic income from benefices, members of the chapel received money for the expenses associated with their attendance at court on its travels.
Members of the chapel who were not clerics had to be paid directly from the budget of the court, though they were sometimes appointed to positions in the imperial administration, such as toll-collectors; in such cases they evidently appointed representatives who carried out the everyday business associated with the appointment, analogous to clerical vicars. Secular members of the chapel might also be rewarded in kind, such as housing, or supplies of firewood, fish, butter, wine, meat or cloth. When Maximilian seized territory in the Veneto in 1510, he distributed parcels of land to several members of his chapel, such as Isaac, Georg Vogel and Sigmund Vischer.[15]
[14] McDonald 2019, 11.
[15] Wien, HHStA (A-Whh), Reichsregistraturbuch PP 17v–18r; transcr. in Staehelin 1977, vol. 2, 69–70.
[2] See Fiala 2002.
[3] On Lignoquercu’s career at Milan, see Merkley/Merkley 1999, 7, 101–102, 125, 141, 152, 177, 179–180, 242, 251, 285, 288, 290, 293, 296, 371, 373, 376, 391 (here called Ruglerius Lignoquerens).
[4] Wien, HHStA, RK Maximiliana 1 (alt 1a), Konv. 6, 1r–v. Further, see Kooiman/Carr/Palmer 1988. The importance of interpersonal relationships at court has been highlighted in recent historical work; notably, see Hirschbiegel 2015.
[5] Innsbruck, TLA (A-Ila), oö Kammerraitbuch 32 (1492), 30r. Further on court music at Innsbruck in these years, see » I. Music and ceremony in Maximilian’s Innsbruck.
[6] Innsbruck, TLA, Urkunde I 5147/2. Further, see Schwindt/Zanovello 2019.
[7] » A-Wn Mus. Hs. 18810, Tenor, 37r–38v; further, see Gasch 2010.
[9] Alberto Pio da Carpi to Maximilian, 25 June 1513, Philadelphia, University of Pennsylvania Library (US-PHu), Special Collections Ms. Coll. 637, folder 2, 6r–v. Further, see Jacoby 2011. Pietschmann 2019 argues that this motet was written rather for Matthaeus Lang’s entry to Rome in 1514, though this hypothesis seems less likely in the light of the report from Carpi.
[10] See Schlagel 2002, 574–577.
[11] Vienna, Finanz- und Hofkammerarchiv (FHKA), AHK SB Gedenkbuch [GB] 17, fol. 349r (377r).
[12] Wessely 1956, 121.
[13] McDonald 2019, 21–22.
[14] McDonald 2019, 11.
[15] Wien, HHStA (A-Whh), Reichsregistraturbuch PP 17v–18r; transcr. in Staehelin 1977, vol. 2, 69–70.
[16] Täschinger’s first mass is mentioned in Wien, HHStA (A-Whh), Reichsregistraturbuch AA, 66v–67r; he describes his personal history in a letter addressed apparently to the government of Ferdinand I, now Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Mus.ep. Arigoni, F. Varia 1 (20).
[17] Wien, FHKA AHK GB 4, 111r (135r); Gasch 2015, 368–369.
[18] Innsbruck, TLA (A-Ila), Hs.113, 94r (Nota wen man Speisn sol): “Zwen knaben bej Maister Paulsen.”
[19] Weimar, Thüringisches Landesarchiv, EGA, Reg. Rr. S. 1–316, nº 737, 1a r–v; EGA, Reg. Aa 2991–2993, 10r–11v; further, see Aber 1921, 75.
[21] See Koczirz 1930/31. For online images, see https://www.archivinformationssystem.at/bild.aspx?VEID=4016010&DEID=10&SQNZNR=11; https://www.archivinformationssystem.at/bild.aspx?VEID=4016010&DEID=10&SQNZNR=12
[22] » K. A-Wn Cod. 5094: Souvenirs. On alternatim uses of the organ in the liturgy, see Rabe 2019.
[23] See » D. Kap. Zur musikalischen Quellenlage der Hofkapelle Maximilians; » D. Hofmusik Innsbruck. In the sources discussed there, repertory from Flemish composers is well present. See also » F. Musiker aus anderen Ländern.
Empfohlene Zitierweise:
Grantley McDonald : „The court chapel of Maximilian I“, in: Musikleben des Spätmittelalters in der Region Österreich <https://musical-life.net/essays/court-chapel-maximilian-i> (2019).