Extended play: Reflections of Heinrich Isaac's music in early Tudor England

John Bryan

Research output: Contribution to journalArticle

2 Citations (Scopus)

Abstract

The so-called Henry VIII's Book (London, British Library Add. MS 31922) contains two textless pieces by Isaac-his three-part Benedictus and the four-part La my-together with a number of other Franco-Flemish "songs without words" typical of the contents of manuscripts copied for the North Italian courts where the earliest viol consorts were being developed in the 1490s and early 1500s. Alongside these pieces are works by native English composers, including William Cornyshe, whose extended three-part Fa la sol has a number of stylistic traits in common with some works by Isaac (for example, his three-part Der Hundt) and Alexander Agricola (his three-part Cecus non judicat de coloribus) that were also transmitted in textless format. The fact that these latter two pieces were published in Hieronymus Formschneider's Trium vocum carmina (Nuremberg, 1538) while Cornyshe's Fa la sol was published in XX Songes (London, 1530) shows that this type of repertoire was still prized several years after the composers' deaths. Analysis of musical connections between the work of Isaac and Cornyshe, as evident in pieces such as those from Henry VIII's Book-in particular, techniques employed by the composers to extend the structures of their "songs without words"-sheds fresh light on the reception in England of Isaac's music and that of his continental contemporary Agricola. Relevant considerations include the context in which these pieces were anthologized together and the introduction into England of viols similar to those Isaac may have known in Ferrara in 1502, when La my was composed. Such pieces are representative of a typical courtly repertoire that developed into the riches of the later Tudor instrumental consort music.

LanguageEnglish
Pages118-141
Number of pages24
JournalJournal of Musicology
Volume28
Issue number1
DOIs
Publication statusPublished - Dec 2011

Fingerprint

Composer
Music
England
Henry VIII
Consort
Song
Repertoire
British Library
Continental
Ferrara
Nuremberg
Manuscripts
Alexander Agricola
Benedictus
Reception

Cite this

@article{a8988268821f4448aa61af137e398db9,
title = "Extended play: Reflections of Heinrich Isaac's music in early Tudor England",
abstract = "The so-called Henry VIII's Book (London, British Library Add. MS 31922) contains two textless pieces by Isaac-his three-part Benedictus and the four-part La my-together with a number of other Franco-Flemish {"}songs without words{"} typical of the contents of manuscripts copied for the North Italian courts where the earliest viol consorts were being developed in the 1490s and early 1500s. Alongside these pieces are works by native English composers, including William Cornyshe, whose extended three-part Fa la sol has a number of stylistic traits in common with some works by Isaac (for example, his three-part Der Hundt) and Alexander Agricola (his three-part Cecus non judicat de coloribus) that were also transmitted in textless format. The fact that these latter two pieces were published in Hieronymus Formschneider's Trium vocum carmina (Nuremberg, 1538) while Cornyshe's Fa la sol was published in XX Songes (London, 1530) shows that this type of repertoire was still prized several years after the composers' deaths. Analysis of musical connections between the work of Isaac and Cornyshe, as evident in pieces such as those from Henry VIII's Book-in particular, techniques employed by the composers to extend the structures of their {"}songs without words{"}-sheds fresh light on the reception in England of Isaac's music and that of his continental contemporary Agricola. Relevant considerations include the context in which these pieces were anthologized together and the introduction into England of viols similar to those Isaac may have known in Ferrara in 1502, when La my was composed. Such pieces are representative of a typical courtly repertoire that developed into the riches of the later Tudor instrumental consort music.",
keywords = "Alexander Agricola, England, Heinrich Isaac, Viol consort, William Cornyshe",
author = "John Bryan",
year = "2011",
month = "12",
doi = "10.1525/jm.2011.28.1.118",
language = "English",
volume = "28",
pages = "118--141",
journal = "Journal of Musicology",
issn = "0277-9269",
publisher = "University of California Press",
number = "1",

}

Extended play : Reflections of Heinrich Isaac's music in early Tudor England. / Bryan, John.

In: Journal of Musicology, Vol. 28, No. 1, 12.2011, p. 118-141.

Research output: Contribution to journalArticle

TY - JOUR

T1 - Extended play

T2 - Journal of Musicology

AU - Bryan, John

PY - 2011/12

Y1 - 2011/12

N2 - The so-called Henry VIII's Book (London, British Library Add. MS 31922) contains two textless pieces by Isaac-his three-part Benedictus and the four-part La my-together with a number of other Franco-Flemish "songs without words" typical of the contents of manuscripts copied for the North Italian courts where the earliest viol consorts were being developed in the 1490s and early 1500s. Alongside these pieces are works by native English composers, including William Cornyshe, whose extended three-part Fa la sol has a number of stylistic traits in common with some works by Isaac (for example, his three-part Der Hundt) and Alexander Agricola (his three-part Cecus non judicat de coloribus) that were also transmitted in textless format. The fact that these latter two pieces were published in Hieronymus Formschneider's Trium vocum carmina (Nuremberg, 1538) while Cornyshe's Fa la sol was published in XX Songes (London, 1530) shows that this type of repertoire was still prized several years after the composers' deaths. Analysis of musical connections between the work of Isaac and Cornyshe, as evident in pieces such as those from Henry VIII's Book-in particular, techniques employed by the composers to extend the structures of their "songs without words"-sheds fresh light on the reception in England of Isaac's music and that of his continental contemporary Agricola. Relevant considerations include the context in which these pieces were anthologized together and the introduction into England of viols similar to those Isaac may have known in Ferrara in 1502, when La my was composed. Such pieces are representative of a typical courtly repertoire that developed into the riches of the later Tudor instrumental consort music.

AB - The so-called Henry VIII's Book (London, British Library Add. MS 31922) contains two textless pieces by Isaac-his three-part Benedictus and the four-part La my-together with a number of other Franco-Flemish "songs without words" typical of the contents of manuscripts copied for the North Italian courts where the earliest viol consorts were being developed in the 1490s and early 1500s. Alongside these pieces are works by native English composers, including William Cornyshe, whose extended three-part Fa la sol has a number of stylistic traits in common with some works by Isaac (for example, his three-part Der Hundt) and Alexander Agricola (his three-part Cecus non judicat de coloribus) that were also transmitted in textless format. The fact that these latter two pieces were published in Hieronymus Formschneider's Trium vocum carmina (Nuremberg, 1538) while Cornyshe's Fa la sol was published in XX Songes (London, 1530) shows that this type of repertoire was still prized several years after the composers' deaths. Analysis of musical connections between the work of Isaac and Cornyshe, as evident in pieces such as those from Henry VIII's Book-in particular, techniques employed by the composers to extend the structures of their "songs without words"-sheds fresh light on the reception in England of Isaac's music and that of his continental contemporary Agricola. Relevant considerations include the context in which these pieces were anthologized together and the introduction into England of viols similar to those Isaac may have known in Ferrara in 1502, when La my was composed. Such pieces are representative of a typical courtly repertoire that developed into the riches of the later Tudor instrumental consort music.

KW - Alexander Agricola

KW - England

KW - Heinrich Isaac

KW - Viol consort

KW - William Cornyshe

UR - http://www.scopus.com/inward/record.url?scp=79955700189&partnerID=8YFLogxK

U2 - 10.1525/jm.2011.28.1.118

DO - 10.1525/jm.2011.28.1.118

M3 - Article

VL - 28

SP - 118

EP - 141

JO - Journal of Musicology

JF - Journal of Musicology

SN - 0277-9269

IS - 1

ER -