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Leonhard Paminger's Manuscript of Mass Propers

Identifieur interne : 000019 ( Main/Exploration ); précédent : 000018; suivant : 000020

Leonhard Paminger's Manuscript of Mass Propers

Auteurs : David J. Burn

Source :

RBID : ISTEX:1D264EC8F01A448C47849EF20F6B15B4B9D1DD68

English descriptors

Abstract

The important contribution of Heinrich Isaac (ca. 1455–1517) to the genre of the proper of the mass has long been recognised. His work in this genre, collected in the monumental posthumously published Choralis Constantinus, was considered a landmark even in the sixteenth century. Yet Isaac’s magnum opus was by no means isolated. The mass proper played a much greater and more significant musical and symbolic role in the landscape of later-medieval and Renaissance music-making than is currently acknowledged. The present collection of fifteen essays offers new insights into both Isaac's mass propers themselves, which are still shrouded by many enigmas, and their context within broader later-fifteenth and sixteenth-century mass proper traditions. The circumstances under which Isaac's mass propers were composed, performed, and transmitted are discussed afresh, as is the striking late-sixteenth-century reception that the Choralis experienced. Studies of previously unknown or little-examined mass proper collections from countries as widely seperated as Portugal and Poland, as well as of the transformation of the genre in Lutheran territories and in the hands of William Byrd, show that Isaac's enterprise, though the largest of its kind, was built on and embedded in a strong and ongoing tradition of proper settings and cycles.
This paper examines a manuscript of mass propers in the hand of the fantastically prolific composer, poet, and theologian Leonhard Paminger (1495-1567). The manuscript consists in part of copies of music by Heinrich Isaac, and in part of compositions by Paminger himself. As the manuscript appears to predate the publication of the monumental collection of Isaac’s mass propers, the Choralis Constantinus, comparison of Paminger’s copy and the final print gives insight into the process by which Isaac’s music was transmitted. The nature of Paminger’s contribution is also considered, as well as compositional aspects such as his handling of pre-existent material.

Url:
DOI: 10.1484/M.EM-EB.4.9011


Affiliations:


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<div type="abstract">The important contribution of Heinrich Isaac (ca. 1455–1517) to the genre of the proper of the mass has long been recognised. His work in this genre, collected in the monumental posthumously published Choralis Constantinus, was considered a landmark even in the sixteenth century. Yet Isaac’s magnum opus was by no means isolated. The mass proper played a much greater and more significant musical and symbolic role in the landscape of later-medieval and Renaissance music-making than is currently acknowledged. The present collection of fifteen essays offers new insights into both Isaac's mass propers themselves, which are still shrouded by many enigmas, and their context within broader later-fifteenth and sixteenth-century mass proper traditions. The circumstances under which Isaac's mass propers were composed, performed, and transmitted are discussed afresh, as is the striking late-sixteenth-century reception that the Choralis experienced. Studies of previously unknown or little-examined mass proper collections from countries as widely seperated as Portugal and Poland, as well as of the transformation of the genre in Lutheran territories and in the hands of William Byrd, show that Isaac's enterprise, though the largest of its kind, was built on and embedded in a strong and ongoing tradition of proper settings and cycles.</div>
<div type="abstract">This paper examines a manuscript of mass propers in the hand of the fantastically prolific composer, poet, and theologian Leonhard Paminger (1495-1567). The manuscript consists in part of copies of music by Heinrich Isaac, and in part of compositions by Paminger himself. As the manuscript appears to predate the publication of the monumental collection of Isaac’s mass propers, the Choralis Constantinus, comparison of Paminger’s copy and the final print gives insight into the process by which Isaac’s music was transmitted. The nature of Paminger’s contribution is also considered, as well as compositional aspects such as his handling of pre-existent material.</div>
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