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Conclusion: the international outlook

Grantley McDonald

Maximilian’s chapel was an international body which comprised at different times members from across Europe, from the Low Countries to modern Slovenia. Although there was only limited transfer of personnel between Maximilian’s chapel as it existed during his time in the Low Countries and that which he built up in Austria, the musical sources associated with Maximilian’s Austrian court show a distinct preference for the music of French and Flemish composers, a taste already discernible in the chapels of the earlier Habsburg Kings Albrecht II and Frederick III.[23] Maximilian’s explicit instruction that the boys he sent to Vienna in 1498 in the care of Hanns Kerner and Henricus Isaac were to learn the art of Brabantine singing is consistent with this preference for Franco-Flemish polyphony, which was fed by ongoing links to the chapels of Maximilian’s children Philip the Fair and Margaret of Austria. Maximilian’s chapel also served as an important centre for the training of boys whose musical skill, education and close connections with the ruling élite of the empire prepared them for service in the imperial court and administration in adulthood.

[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.

[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).

[13] McDonald 2019, 21–22.

[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.

[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).