海因里希·伊萨克 Heinrich Isaac

文艺复兴时期的尼德兰南部作曲家。影响了德国音乐的发展。出生在佛兰德斯地区，可能是布拉邦。当地的音乐氛围良好，他可能在自己的故乡接受早期的音乐教育。一开始在奥地利哈布斯堡做歌手，1485年迁往佛罗伦萨，并在圣母百花圣殿做歌手。1491年又在佛罗伦萨圣母领报大殿做歌手直到1493年。在佛罗伦萨期间，艾萨克与洛伦佐·德·美第奇交往甚密，他的几部经文歌作品都是为洛伦佐而作。1496年后他受雇于神圣罗马皇帝马克西米利安一世，1497年他被皇帝任命为宫廷作曲家并直到去世，不过他仍然可以自由地访问其他地方。1502年他与若斯坎竞争埃斯特家族的职位，埃斯特家族在信中比较了两位作曲家：“艾萨克服从命令，也热衷写新的作品。而若斯坎虽然水平更高，却只按照自己的意愿写作。”1509年，他在佛罗伦萨和他的学生森夫尔共同完成了巨作“康斯坦茨合唱曲集”,包括有他和森夫尔所创作的375首格里高利圣咏。他的晚年在佛罗伦萨度过，并在1517年去世。

Heinrich Isaac(c. 1450 – 26 March 1517) was aNetherlandishRenaissancecomposerof south Netherlandish origin. He wrote masses, motets, songs (in French, German and Italian), and instrumental music. A significant contemporary ofJosquin des Prez, Isaac influenced the development of music in Germany. Several variants exist of his name:Ysaac,Ysaak,Henricus,Arrigo d'Ugo, andArrigo il Tedescoamong them. (Tedescomeans "Flemish" or "German" in Italian.)

Early life

Little is known about Isaac's early life (or indeed what he called himself), but it is probable that he was born inFlanders, probably in Brabant. During the late 15th century, standards of music education in the region were excellent, and he was probably educated in his homeland, although the location is not known.Sixteenth-century Swiss music theorist and writerHeinrich Glareanclaimed Isaac for Germany by dubbing him "Henricus Isaac Germanus", but in his will Isaac called himself by thepatronymic"Ugonis de Flandria", 'Hugo's[son] from Flanders'. A writer in the MilaneseRevista critica della letteratura italiana, June 1886, speculated that this patronymic might be connected to 'Huygens' and discovered the name "Isaacke" in the town archives ofBruges.

Career

Heinrich Isaac's career spanned well over thirty years and allowed him to travel far from his homeland of Flanders into Germany, Italy, and Austria, as well as other parts of central Europe. While the absence of plentiful primary sources makes it hard for us to map out Isaac's life, piecing together the sources we do have along with the works he wrote gives us a good picture of just how popular this Franco-Flemish composer was in his time. Isaac was probably writing music by the 1470s, and the first document mentioning his name dates back to 15 September 1484, placing him inInnsbruckas a singer forDuke Sigismundof Austria, of theHouse of Habsburg. The following year Isaac migrated toFlorence, since documents show that by July 1485 Isaac had become employed as a singer at the church Santa Maria del Fiore. By the middle of 1491, he was designated as a singer at Santissima Annunziata, a position that he held until 1493.

Several documents illustrate Isaac's long stay in Florence under the employment of Santa Maria del Fiore and Santissima Annunziata as a singer, and also suggest that he may have developed a close working-relationship withLorenzo de' Medici. It is speculated that it was Medici who may have summoned Isaac to Florence from Innsbruck in 1484.Previously, Isaac had been identified as an organist to Lorenzo but the Isaac who served at this post is now known to have been Isaac Argyropoulos.During his presence in Florence from 1484 until the end of 1496, Isaac probably composed several masses, motets and secular songs, including missa “J'ay pris amours” and the carnival song "Hora è di Maggio". In 1487 Isaac composed the piece “A la battaglia” to commemorate the battle between Genoa and Florence for the castle Sarzanello although there is much debate over the exact date and purpose of the piece.[5]Isaac's relationship with Lorenzo de' Medici must have been fairly close, because allegedly between 1488 and 1489 he composed the music for a play called “San Giovanni e San Paolo”, written by Medici himself. Moreover, when Lorenzo died in April 1492 Isaac composed two motets in his memory. Lorenzo's son Piero inherited everything he owned, including his musical groups. In September 1492 Piero took his musical groups to Rome to perform for the coronation ofPope Alexander VI.Records show that Isaac was one of the three singers for whom clothing was purchased for the trip, implying that he probably performed for the Pope.

During his first stay in Florence Isaac also had dealings with a Florentine named Piero Bello, whose daughter Bartolomea was Isaac’s wife. Although the actual date of the marriage is unknown, records imply that it may have been arranged for Isaac by Lorenzo de' Medici when he summoned Isaac from Flanders.[3]There is record of Piero Bello giving Isaac a dowry for his daughter in January 1495.

In November 1496 after Isaac and his wife spent some time in Pisa, they moved to Vienna and became employed byEmperor Maximilian I. By the winter of 1496 Isaac and Bartolomea had gone from Pisa to Vienna to Innsbruck, and on 3 April 1497, Isaac was appointed court composer for Maximilian I. He remained under Maximilian's employment from 1496 until his death, although he did not remain stationary during that period. In fact, Isaac traveled extensively around Europe north of Italy. Payment documents from Maximilian's court imply Isaac traveled with the court to Torgau, Augsburg, Nürnberg, Wels, and back to Innsbruck between 1497 and 1501.

In 1502, Isaac returned to Italy, going to Florence to make arrangements with the hospital Santa Maria Nuova; payments were made to the hospital in return for health and food provisions. Recently discovered documents offer evidence that Isaac began making yearly payments to the confraternity of Santa Barbara for mutual assistance.[7]On 15 August 1502, Isaac wrote his first will which included names of his proprietors, alluding to the fact that he was doing well to care for his wife and property should anything happen to him. He then traveled toFerrarato theEstecourt where he wrote the motet "La mi la sol la sol la mi" in merely two days and competed with Josquin for employment: a famous letter from the agent of the Este family compared the two composers, saying that "[Isaac] is of a better disposition among his companions, and he will compose new works more often. It is true that Josquin composes better, but he composes when he wants to and not when one wants him to."

Between 1505 and 1512 there are records of Isaac having dealings in Augsburg, Florence and Constance (seeKonstanz), the latter in which he compiled his largest set of works:Choralis Constantinus. This monumental collection of mass propers was commissioned by the Constance cathedral on 14 April 1508 and completed by Isaac and his studentLudwig Senflby the winter of 1509. Isaac and Bartolomea were almost definitely back in Florence by this time since the completedChoralis Constantinushad to be mailed to the cathedral.

On 4 January 1512 Isaac bartered his house in Florence for a smaller one, signifying his settling down. He and his wife probably remained there except for a few short trips until his death. Isaac also made a point to revise his will on 24 November 1512 in which he requested that a mass be said every year forever at Santissima Annunziata or another church should Annunziata be unable. Bartolomea would be able to pay for these masses with provisions. He was given an honorary position as chief of the polyphic chapel at Santa Maria del Fiore on 30 May 1514, which served as a pension. Isaac also continued to receive payments from the court of Maximilian I regardless of his living in Florence.In 1517,Pope Leo Xmade a visit to Florence, where he almost certainly would have heard Isaac's music performed. Shortly before his death, Isaac wrote a third and final will, which shortened his previous request to instead have a commemorative mass said every year for ten years. Isaac died on 26 March 1517. Santissima Annunziata received payment the following day to hold his funeral. A last posthumous donation was made to the confraternity of Santa Barbara in the amount of five florins, which was equal to one quarter the value of Isaac's home.Bartolomea survived her husband by just over seventeen years and died on 30 May 1534.

Compositions

Isaac was one of the most prolific composers of the time, producing an extraordinarily diverse output, including almost all the forms and styles current at the time; only Lassus, at the end of the 16th century, had a wider overall range.Music composed by Isaac includedmasses,motets, songs in French, German, and Italian, as well asinstrumentalmusic. His best known work may be theliedInnsbruck, ich muss dich lassen, of which he made at least two versions. It is possible, however, that themelodyitself is not by Isaac, and only the setting is original.[10]The same melody was later used as the theme for theLutheran choraleO Welt, ich muss dich lassen, which was the basis of works byJohann Sebastian Bach, including hisSt Matthew Passion andJohannes Brahms.

Of his settings of the ordinary of the mass, 36 survive; others are believed to have been lost. Numerous individual movements of masses survive as well. But it is composition of music for theProper of the Mass– the portion of the liturgy which changed on different days, unlike the ordinary, which remained constant – which gave him his greatest fame. The huge cycle of motets which he wrote for the mass Proper, theChoralis Constantinus, and which he left incomplete at his death, would have supplied music for 100 separate days of the year.[4]
Isaac is held in high regard for hisChoralis Constantinus. It is a huge anthology of over 450 chant-based polyphonic motets for the Proper of the Mass. It had its origins in a commission that Isaac received from the Cathedral in Konstanz, Germany in April 1508 to set many of the Propers unique to the local liturgy. Isaac was in Konstanz because Maximilian had called a meeting of theReichstag(German Parliament of nobles) there and Isaac was on hand to provide music for the Imperial court chapel choir. After the deaths of both Maximilian and Isaac,Ludwig Senfl, who had been Isaac's pupil as a member of the Imperial court choir, gathered all the Isaac settings of the Proper and placed them into liturgical order for the church year. But the anthology was not published until 1555, after Senfl's death, by which time the reforms of theCouncil of Trenthad made many of the texts obsolete. The motets remain some of the finest examples of chant-based Renaissance polyphony in existence.

Isaac composed a 6-voice motetAngeli Archangelifor the Feast of All Saint’s Day, honoring angels, archangels, and all other saints.Another famous motet by Isaac isOptime pastor(Optime divino), written for the accession to the papacy of Medici popeLeo X.This motet compares the Pope to a shepherd capable of soothing all of his flock and binding them together.
While in the service of the Medici in Florence, Isaac wrote a lament on the death ofLorenzo de' Medici,Quis dabit capiti meo aquam(1492), which set words by Lorenzo's favorite poet,Angelo Poliziano.

Influence

The influence of Isaac was especially pronounced in Germany, due to the connection he maintained with theHabsburgcourt. He was the first significant master of the Franco-Flemishpolyphonicstyle who both lived in German-speaking areas, and whose music was widely distributed there. It was through him that the polyphonic style of the Netherlands became widely accepted in Germany, making possible the further development ofcontrapuntalmusic there. The Austrian serialist composerAnton Webern(1883–1945) gained his Ph.D on Isaac's Choralis Constantinus, with Prof.Guido Adler, the doyen of musicology in Austria and Germany.

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