Commercialising the Choralis Constantinus: The Printing and Publishing of the First Edition
Identifieur interne : 000027 ( Main/Exploration ); précédent : 000026; suivant : 000028Commercialising the Choralis Constantinus: The Printing and Publishing of the First Edition
Auteurs : Royston GustavsonSource :
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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.
Hans Ott announced, in 1537, that he intended to publish Isaac’s Choralis cantus constantiensis; he applied, in ca. 1544, for copyright protection for the Choralis Cantus, in dominicas et festa per totum annum; and in 1550, after his death, his widow published the first volume of the Choralis Constantinus. The present article establishes Ott’s commercial motivations for publishing this work, and reconsiders the delays and changes of title. Drawing on a range of evidence, including copyright-related and other legal documents, some previously unpublished, I argue that Ott originally intended to publish only what Gerhard-Rudolf Pätzig identified as Isaac’s “Constance commission”. Ott later became aware of and wished to include Isaac’s mass propers for the Imperial Hofkapelle, resulting in name changes and delays, the latter exacerbated by the breakdown of his relationship with his printer, Hieronymus Formschneider. After Ott’s death the story becomes unexpectedly colourful, involving a return to Formschneider as printer, the guardianship of underage children, manuscripts printed out of order, legal actions for breach of copyright, and financial disputes that dragged on for several years.
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DOI: 10.1484/M.EM-EB.4.9009
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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">Hans Ott announced, in 1537, that he intended to publish Isaac’s Choralis cantus constantiensis; he applied, in ca. 1544, for copyright protection for the Choralis Cantus, in dominicas et festa per totum annum; and in 1550, after his death, his widow published the first volume of the Choralis Constantinus. The present article establishes Ott’s commercial motivations for publishing this work, and reconsiders the delays and changes of title. Drawing on a range of evidence, including copyright-related and other legal documents, some previously unpublished, I argue that Ott originally intended to publish only what Gerhard-Rudolf Pätzig identified as Isaac’s “Constance commission”. Ott later became aware of and wished to include Isaac’s mass propers for the Imperial Hofkapelle, resulting in name changes and delays, the latter exacerbated by the breakdown of his relationship with his printer, Hieronymus Formschneider. After Ott’s death the story becomes unexpectedly colourful, involving a return to Formschneider as printer, the guardianship of underage children, manuscripts printed out of order, legal actions for breach of copyright, and financial disputes that dragged on for several years.</div></front></TEI><affiliations><list></list><tree><noCountry><name sortKey="Gustavson, Royston" sort="Gustavson, Royston" uniqKey="Gustavson R" first="Royston" last="Gustavson">Royston Gustavson</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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