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Appenzeller's music shows a range of stylistic influences, as would be expected in a composer working over many decades, and subject to influences from musicians coming and going from distant parts of an empire. His sacred music is typical of the
Netherlandish style of the 1540s, with dense
62:, and his approximate birthdate is inferred from a document late in his life, dated July 1558, in which he gave his age as "over 70". Appenzeller is first mentioned in cathedral records in 1518, when he is a singer, and in 1519, when he became choirmaster at the cathedral of St. Jacob in
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was a German composer and
Protestant cleric (1492–1544), and Benedictus de Opitiis was an organist from the same region as Appenzeller. All of the works simply attributed "Benedictus" are now considered to be the work of Appenzeller.
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chapel as a singer. By the next year he had become the master of the choirboys – the one responsible for teaching them music, and caring for them – and he was to hold this position, or its equivalent, until either 1551 or 1555.
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Edited with an
Introduction by Glenda Goss Thompson. Monumenta Musical Neerlandica Vol. 14. Amsterdam: Vereniging voor Nederlandse Muziekgeschiedenis, 1982. On the printers of this collection, see
66:. His several publications during the following years show that he was active then as a composer, but nothing is known of his actual whereabouts or employment until 1536, when Dowager Queen
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lands, as it was common for the singers of the musical chapels to accompany monarchs and members of royal families. Some of the places he is known to have visited include
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Appenzeller has sometimes been confused with two other musicians named "Benedictus", since many of his works are attributed in their sources simply to "Benedictus".
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in
Brussels, a post he held until the end of 1558. No records survive of his life from after that year, and he may have died shortly thereafter.
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Transforming the motet: Sigmund
Salminger and the adaptation and reuse of Franco-Flemish polyphony in Reformation Augsburg
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for much of his career, and was a prolific composer of vocal music, both sacred and secular, throughout his long career.
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While he spent most of this time in
Brussels, he also occasionally travelled with Mary through the
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Thompson, Glenda Goss (1982). "Henry Loys and Lehan de Buys, Printers of Music in
Antwerp".
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Thompson, Glenda G. (1978). "Archival
Accounts of Appenzeller, the Brussels Benedictus".
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Revue belge de
Musicologie / Belgisch Tijdschrift voor Muziekwetenschap
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Tijdschrift van de
Vereniging voor Nederlandse Muziekgeschiedenis
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Thomayer, Klaus (2001). "Benedictus Ducis". In L. Macy (ed.).
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Jas, Eric (2001). "Benedictus Appenzeller". In L. Macy (ed.).
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50:in Brussels, as choirmaster from 1555 to 1558
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22:(between 1480 and 1488 – after 1558) was a
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133:which have survived, as well as numerous
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205:(PhD thesis). University of Rochester.
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141:settings. He also left over 40
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233:Appenzeller, Benedictus
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139:Magnificat
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171:imitation
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