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elaborate duets and the full six-voice sections. These full sections evoke the massive sonorities of his German Mass
Ordinaries set in alternation with plainsong or organ. To achieve such effects, he sets the cantus firmus largely in perfect breves, following a German tradition observable, for example, in the prose settings of Trent 91. Further, in the passages for six voices, particularly in the prima pars, the bassus 2, which is quite active rhythmically in the duets, also shifts largely to motion in perfect breves".
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483:'coronation' anthems. When the chant or chants enter (always in the middle two of the six voice parts), they do so with such solemnity that all the surrounding activity is quietened; and when they cease, the four outer voices immediately readopt faster-moving music. By alternating these two textures Isaac could build up to the final statements of the chant with an irresistible momentum."
494:), "beautiful as the moon", "excellent as the sun" and "glowing brightly as the dawn", was crowned as Queen of Heaven and united with Christ, her bridegroom and son, at the highest place in Heaven. Rothenberg notes that, "In Isaac’s compositions Mary becomes the figurative mother who crowns Maximilian, just as King Solomon's mother had crowned him." The antiphon and the motet evoke the
548:, and most prominently by Iohannes Regis" and "an extraordinarily impressive work with a seemingly inexhaustible amount of invention". The motet makes use of "an interplay of two basic textures and two kinds of motivic construction that are exposed in the first few sections of each pars and then fused in the concluding section, and to a judicious choice of which phrases of the
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3:11: "Egredimini et videte filiae Sion regem
Salomonem in diademate quo coronavit eum mater sua in die disponsionis illius et in die laetitiae cordis eius" ("Go forth, ye daughters of Sion, and see King Solomon in the diadem, where with his mother crowned him in the day of his espousals, and in the
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have a grandeur that no other
Renaissance composer could rival. The spaciousness is achieved partly by the wide overall scoring of the voices, and partly by Isaac's habit of holding the chant parts back for special moments, rather as Handel later rationed the use of the trumpets and timpani in his
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in his
Benedicta es caelorum regina, which involved an elaborate scaffolding of polyphonic textures and a canonic cantus firmus between the cantus and the tenor accompanied by four elaborately figural voices, Isaac aims for a sharp contrast, particularly in the prima pars between the rhythmically
516:, mentioned below), "The most prudent Virgin thus crowns the Wise King with a rose garland at the very moment when she herself is about to be crowned Queen of Heaven." Bubenik agrees with Rothenberg's assessment and points out that in the painting one can also see a lute.
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Isaac cultivated for
Maximilian. Rothenberg opines that they are works, which remain incomplete, produced under the direction of Maximilian's “imperial ideology” and “bold artistic vision”.
552:—an antiphon for vespers of the Assumption—he chooses to paraphrase in the free voices". Planchart also criticizes modern performances for ignoring the motet's mensural structure.
256:(1464) as the precedent, the motet is composed of two sections with a single cursus of the tenor. Influence might also have come from five-voice motets composed by Jehan le Roy, or
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Rothenberg opines that the motet affiliates the reigns of two sovereign monarchs – the Virgin Mary of Heaven and
Maximilian of the Holy Roman Empire. The motet describes the
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is "one of the composer’s most complex and extended works. It is also a self-consciously constructivist piece that looks back to the repertoire of tenor motets pioneered by
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The conductor Peter
Philips notes that, "Further illustration of this is provided by the two ceremonial motets which frame the remaining pieces on this recording.
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is one of the noblest compositions of its type written during the early
Renaissance and it is the epitome of the paraliturgical motet."
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172:) of Maximilian I as Holy Roman Emperor. According to Franz Körndle, the motet was performed at the memorial services for
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The
Pursuit of Holiness in Late Medieval and Renaissance Religion: Papers from the University of Michigan Conference
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of that year, which was organized to prepare for the coronation (which would happen in 1508 in
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Virgin most wise, where are you going, shining out as brightly as the dawn, Daughter of Sion?
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notes that the motet is "monumental and unmistakably imperial in effect" while the work
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The Latin text, as written by
Zlatkonia, expanding on the antiphon, is as the following:
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Rothenberg, David J. (Winter 2011). "The Most Prudent Virgin and the Wise King: Isaac's
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A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries
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every Spirit and every human being rightly praises and adores her divine majesty.
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You are most comely and merciful, beautiful as the moon, excellent as the sun.
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Virgo prudentissima, quo progrederis, quasi aurora valde rutilans? Filia Sion.
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long after the deaths of Isaac and his pupil Senfl, together with the masses
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The motet was composed by Isaac in 1507 while he was in Constance for the
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the emperor's Precentor and Kapellmeister, rehearses this anthem for you.
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May the all-powerful Virgin grant that he may conquer his wicked enemies
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She, the friend of suppliants, stood before the face of the supreme God.
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as when you saw the assembly of the Mother of the everlasting Almighty.
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The highest place, however, belongs to Him by whom you were taken up,
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919:"Pierre de la Rues Trauermotetten und die 'Quis dabit'-Tradition"
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The Governor of the Province of Austria, diligent in all things,
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so that you shine beautiful as the moon, excellent as the sun.
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When the most wise Virgin, who brought holy joy to the world,
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Tota formosa et suavis es: pulchra ut luna, electa ut sol.
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say whether such a feeling of joy has ever overwhelmed you
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earnestly commends himself to your holy pleasure, mother.
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and restore peace to the nations and safety to the lands.
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to pour out to her chaste ears our prayers and entreaties
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She is the queen, powerful in Heaven, on land and at sea;
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Compositions in the Imperial Ideology of Maximilian I".
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Berlin Book of hours of Mary of Burgundy and Maximilian
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You who inhabit eternally the dazzling lights of Heaven
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for the sacred Empire and for Maximilian the Emperor.
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and you dominions of Heaven, and you fiery Cherubim,
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beneath her shining feet in gleaming, radiant light,
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and sustaining virtues, and you thrones of princes,
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Virtutesque throni, vos principum et agmina sancta,
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807:The Persistence of Melancholia in Arts and Culture
346:Vos, Michael, Gabriel, Raphael, testamur, ad aures
366:Quo tu pulchra ut luna micas electa es et ut sol.
324:Spirituum proceres, Archangeli et Angeli et almae
322:Dicite, qui colitis splendentia columina Olympi,
1440:A la Verge SantĂssima: Dues Lletretes a Una Veu
398:Archangels, leaders of the spirits, and Angels,
364:Praecipuum tamen est illi, quo assumpta fuisti,
352:Det Virgo omnipotens hostes superare malignos;
312:Attulit et sphaeras omnes transcendit et astra
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420:You, Michael, Gabriel and Raphael, we beg you
386:rose above all the spheres and left the stars
362:Se in tua commendat studio pia gaudia, mater.
330:Flammantes Cherubin verbo Seraphinque creati,
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884:Boston Early Music Festival & Exhibition
633:Weaver, Andrew H., ed. (25 September 2020).
360:Sclatkonius praesul Petinensis, sedulus omni
316:Liquit et ordinibus iam circumsaepta novenis
16:Six-voice motet dedicated to the Virgin Mary
925:. Tutzing: Hans Schneider. pp. 189–244
318:Ter tribus atque ierarchiis excepta supremi
314:Sub nitidis pedibus radiis et luce chorusca
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358:Ordinat Augusti cantor rectorque Capellae,
354:Restituat populis pacem terrisque salutem.
350:Pro sacro Imperio, pro Caesare Maximilano;
340:Et genus humanum merito veneratur, adorat?
336:Consessum, coelo terraque marique potentem
310:Virgo prudentissima, quae pia gaudia mundo
260:(circa 1425–96). Planchart notes, "Unlike
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1053:International Music Score Library Project
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334:Sensus ut aeterni matrem vidisse tonantis
332:An vos laetitiae tantus perfuderit umquam
179:The motet was first published in 1520 in
1267:Maria, dich lieben ist allzeit mein Sinn
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406:and you Seraphim, created from the Word,
390:she was surrounded by the ninefold Ranks
348:Illius ut castas fundetis vota precesque
338:Reginam, cuius numen modo spiritus omnis
328:Vosque potestates et tu dominatio coeli,
320:Ante Dei faciem steterat patrona reorum.
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502:Rothenberg notes that, in the painting
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942:Planchart, Alejandro Enrique (2011).
392:and received by the nine Hierarchies.
294:Daughter of Zion, you are wholly fair
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1166:Hail Queen of Heaven, the Ocean Star
356:Hoc tibi devota carmen Georgius arte
402:and you holy armies and you powers,
292:going glowing brightly as the dawn?
699:, pp. 36, 40, 45, 46, 67, 79.
290:Most prudent Virgin, where are you
219:that also serves as the model for
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296:and sweet, beautiful as the moon,
281:rutilans? Filia Syon tota formosa
273:The antiphon of the motet reads:
136:in 1507. The motet describes the
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1038:by Ensemble Gilles Binchois and
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1282:Nun, BrĂĽder, sind wir frohgemut
804:Bubenik, Andrea (4 July 2019).
499:day of the joy of his heart.")
204:to be rededicated to Christ as
1470:Noi vogliam Dio, Vergine Maria
279:progrederis quasi aurora valde
1:
1272:Maria durch ein Dornwald ging
430:With faithful skill Georgius,
283:et suavis es, pulchra ut luna
230:. Both were published in the
212:, then the reigning emperor.
1242:Freu dich, du Himmelskönigin
1237:Es kommt ein Schiff, geladen
1211:Ye Watchers and Ye Holy Ones
863:. Brill Archive. p. 490
754:Choral Public Domain Library
215:The lyrics are based on the
1262:Maria, breit den Mantel aus
1161:Bring Flowers of the Rarest
944:"Notes on Heinrich Isaac's
889:Boston Early Music Festival
768:"Isaac: Missa De Apostolis"
581:Boston Early Music Festival
189:. Later, around 1537–1538,
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1419:Vespro della Beata Vergine
1397:Quem terra, pontus, sidera
1247:Gegrüßet seist du, Königin
1232:Es ist ein Ros entsprungen
810:. Routledge. p. 129.
492:Parable of the Ten Virgins
186:Liber selectarum cantionum
83:Liber selectarum cantionum
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1227:Den Herren will ich loben
1035:Missa Virgo prudentissima
998:The Journal of Musicology
956:The Journal of Musicology
855:Oberman, Heiko Augustinus
228:Missa Virgo prudentissima
140:, calling on her and the
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1573:Christian hymns in Latin
851:Trinkaus, Charles Edward
766:Phillips, Peter (1991).
488:Assumption of the Virgin
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277:Virgo prudentissima, quo
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1019:10.1525/jm.2011.28.1.34
1011:10.1525/jm.2011.28.1.34
969:10.1525/jm.2011.28.1.81
923:Tod in Musik und Kultur
556:Charles Edward Trinkaus
527:scene of the Assumption
226:s closely related mass
1360:Missa de Beata Virgine
1201:The Seven Joys of Mary
1120:Alma Redemptoris Mater
639:. BRILL. p. 408.
587:O Maria, mater Christi
471:
298:excellent as the sun.
25:
1513:Catholic Marian music
1407:Stabat Mater speciosa
1252:Glauben können wie du
1196:The Holly and the Ivy
536:Planchart notes that
460:
233:Choralis Constantinus
142:nine orders of angels
59:"Most prudent Virgin"
1455:Deus ti salvet Maria
750:a 6 (Heinrich Isaac)
146:Emperor Maximilian I
128:), dedicated to the
1500:VaggsĂĄng till Jesus
1424:Virgo Prudentissima
1298:Angelus ad virginem
1206:What Child Is This?
1186:Mary, Did You Know?
1125:Ave Regina caelorum
1047:Virgo prudentissima
993:Virgo prudentissima
946:Virgo prudentissima
748:Virgo prudentissima
573:Virgo prudentissima
538:Virgo prudentissima
522:Feast of the Rosary
519:Other than DĂĽrer's
514:Virgo prudentissima
505:Feast of the Rosary
480:Virgo prudentissima
467:Feast of the Rosary
254:Ave regina caelorum
206:Christus filius Dei
191:Virgo prudentissima
154:Georg von Slatkonia
152:. The lyricist was
117:Virgo prudentissima
49:Virgo prudentissima
26:Virgo prudentissima
1485:Queen of the Waves
1475:O Maria, Deu maire
1433:in other languages
1375:O magnum mysterium
1365:Missa Pange lingua
1257:Lasst uns erfreuen
1171:I syng of a mayden
1151:A Virgin Unspotted
915:Fuhrmann, Wolfgang
472:
166:imperial Reichstag
138:Assumption of Mary
1588:Renaissance music
1538:
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1460:Gabriel's Message
1370:Missa sine nomine
1277:Mariae Wiegenlied
1040:Dominique Vellard
817:978-0-429-88776-5
744:Translation from
646:978-90-04-43503-2
546:Johannes Ockeghem
221:Virgo prudentissa
193:was rewritten by
150:Holy Roman Empire
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1191:O Mary of Graces
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1207:
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1199:
1197:
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1189:
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1181:Lady of Knock
1179:
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1156:Avé de Fátima
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978:
974:
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966:
963:(1): 81–117.
962:
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839:
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682:Fuhrmann 2007
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622:
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569:Heiko Oberman
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443:Cantus firmus
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382:
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369:Cantus firmus
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47:Beginning of
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31:
27:
22:
19:
1578:Marian hymns
1528:
1490:RĂu RĂu ChĂu
1423:
1402:Stabat Mater
1345:Evviva Maria
1135:Salve Regina
1130:Regina caeli
1104:Marian hymns
1068:Stile Antico
1046:
1034:
1005:(1): 34–80.
1002:
996:
992:
980:. Retrieved
960:
954:
945:
935:academia.edu
933:– via
927:. Retrieved
922:
893:. Retrieved
883:
877:
865:. Retrieved
859:
845:
833:
821:. Retrieved
806:
799:
787:
775:. Retrieved
761:
756:(ChoralWiki)
747:
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728:
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677:
650:. Retrieved
635:
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529:seen in the
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453:Commentaries
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81:
48:
18:
1450:Bogurodzica
1445:Axion Estin
1308:Bach/Gounod
670:Weaver 2020
559: [
198: [
144:to protect
130:Virgin Mary
34:Renaissance
1567:Categories
1518:Theotokion
1350:Magnificat
1144:in English
982:8 February
929:8 February
895:8 February
867:8 February
823:8 February
777:8 February
652:8 February
593:References
307:Prima pars
1392:O sodales
1380:Lauridsen
1303:Ave Maria
1220:in German
1112:Antiphons
977:0277-9269
578:The book
244:Structure
210:Charles V
1529:Category
1465:MĹŤ Maria
1323:Schubert
1318:Bruckner
1291:in Latin
1033:"Isaac:
917:(2007).
857:(1972).
562:Wikidata
217:antiphon
195:Hans Ott
148:and the
99:Composed
91:Language
1064:YouTube
1049:(Isaac)
908:Sources
752:in the
262:Josquin
248:Having
160:History
104: (
56:English
1583:Motets
1543:Portal
1333:Vierne
1042:(2016)
1017:
975:
891:. 2005
814:
643:
470:, 1506
417:Part 2
381:Part 1
269:Lyrics
238:proper
170:Trento
126:SSAATB
86:(1520)
1412:Verdi
1328:Verdi
1313:Biebl
1015:JSTOR
951:(PDF)
565:]
224:'
202:]
122:motet
94:Latin
72:motet
64:Genre
36:music
984:2022
973:ISSN
931:2022
897:2022
869:2022
825:2022
812:ISBN
779:2022
654:2022
641:ISBN
567:and
478:and
106:1507
102:1507
78:Text
1062:on
1007:doi
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508:by
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