Choralis Constantinus
Encyclopedia
The Choralis Constantinus is a collection of over 375 Gregorian chant-based polyphonic motets for the proper
of the mass
composed by Heinrich Isaac
and his pupil Ludwig Senfl
. The genesis of the collection is a commission by the cathedral of Constance
for Isaac, at that time the official court composer for the Holy Roman Emperor Maximilian I, to compose a set of motets for the special holy days celebrated in the diocese of Constance. Isaac was in Constance at the time (April 1508) with the Imperial court as Maximilian had called a meeting of the German nobility (Reichstag) there. The music was delivered to the Constance cathedral in late 1508 and early 1509.
After Isaac's death in 1517 his pupil Ludwig Senfl, who had been a member of the Imperial chapel choir, compiled music composed for Constance and for the Habsburg Imperial court into the collection which was published by Hieronymous Formschneider in Nuremberg in three volumes from 1550–1555 and titled the Choralis Constantinus. Gerhard Pätzig, in his dissertation for the University of Tübingen in 1956 compared available manuscripts with the Formschneider print and determined that the music written for the Constance cathedral was most of that contained in Volume II and parts of Volume III of the Formschneider publication. The remainder of the Choralis Constantinus is from Maximilian's court repertory.
A modern edition appeared in Volumes 10 and 32 of Denkmäler der Tonkunst in Österreich
, the latter edited by Anton Webern
, the famous composer, who was a composition student of Arnold Schoenberg. He prepared this volume as part of his dissertation for the University of Vienna, where he received his PhD in 1906. Volume III, edited by Louise Cuyler, was published by the University of Michigan Press in 1950. Facsimiles of the original Formschneider prints are published by Alamire Publishers (Postbus 45, B-3990 Peer, Belgium) with a foreword by Edward R. Lerner. They can be obtained through OMI (Old Music and Incunabula).
Each Feast contains a polyphonic motet, based on the corresponding Gregorian chant for the Introit
, Alleluia
(or Tract
) and Communion
. Volume II contains most of the Solemn Feasts. Those Propers all include alternate verses of the Sequence
hymn, set thus so as to allow for alternatim performance between the choir and the organist. The medieval Sequence was of particular interest to the Constance diocese, which included the monasteries of Reichenau and St. Gall where many Sequences originated.
Choralis Constantinus I (Denkmäler der Tonkunst in Österreich
, Volume 10):
Choralis Constantinus II (Denkmäler der Tonkunst in Österreich
, Volume 32):
Choralis Constantinus III (University of Michigan Press, 1950)
together with La Caccia, Schola Cantorum Cantate Domino, Schola Gregoriana Lovaniensis and Joris Verdin, 2001 (Orf CD 265). Contains proper chants from the Choralis Constantinus along with several pieces of secular music.
Proper (liturgy)
The Proper is a part of the Christian liturgy that varies according to the date, either representing an observance within the Liturgical Year, or of a particular saint or significant event...
of the mass
Mass (liturgy)
"Mass" is one of the names by which the sacrament of the Eucharist is called in the Roman Catholic Church: others are "Eucharist", the "Lord's Supper", the "Breaking of Bread", the "Eucharistic assembly ", the "memorial of the Lord's Passion and Resurrection", the "Holy Sacrifice", the "Holy and...
composed by Heinrich Isaac
Heinrich Isaac
Heinrich Isaac was a Franco-Flemish Renaissance composer of south Netherlandish origin. He wrote masses, motets, songs , and instrumental music. A significant contemporary of Josquin des Prez, Isaac influenced the development of music in Germany...
and his pupil Ludwig Senfl
Ludwig Senfl
Ludwig Senfl was a Swiss composer of the Renaissance, active in Germany. He was the most famous pupil of Heinrich Isaac, was music director to the court of Maximilian I, Holy Roman Emperor, and was an influential figure in the development of the Franco-Flemish polyphonic style in...
. The genesis of the collection is a commission by the cathedral of Constance
Constance
Constance is a female given name that derives from Latin and means "constant." Variations of the name include Connie, Constancia, Constanze, Constanza, Stanzy, and Konstanze.Constance may refer to:-People:*Constance Bennett , American actress...
for Isaac, at that time the official court composer for the Holy Roman Emperor Maximilian I, to compose a set of motets for the special holy days celebrated in the diocese of Constance. Isaac was in Constance at the time (April 1508) with the Imperial court as Maximilian had called a meeting of the German nobility (Reichstag) there. The music was delivered to the Constance cathedral in late 1508 and early 1509.
After Isaac's death in 1517 his pupil Ludwig Senfl, who had been a member of the Imperial chapel choir, compiled music composed for Constance and for the Habsburg Imperial court into the collection which was published by Hieronymous Formschneider in Nuremberg in three volumes from 1550–1555 and titled the Choralis Constantinus. Gerhard Pätzig, in his dissertation for the University of Tübingen in 1956 compared available manuscripts with the Formschneider print and determined that the music written for the Constance cathedral was most of that contained in Volume II and parts of Volume III of the Formschneider publication. The remainder of the Choralis Constantinus is from Maximilian's court repertory.
A modern edition appeared in Volumes 10 and 32 of Denkmäler der Tonkunst in Österreich
Denkmäler der Tonkunst in Österreich
The Denkmäler der Tonkunst in Österreich is a historical edition of music from Austria covering the Baroque and Classical periods. It was published in installments from 1894 to 1952.# Fux, masses# Muffat, Florillegium Primum...
, the latter edited by Anton Webern
Anton Webern
Anton Webern was an Austrian composer and conductor. He was a member of the Second Viennese School. As a student and significant follower of Arnold Schoenberg, he became one of the best-known exponents of the twelve-tone technique; in addition, his innovations regarding schematic organization of...
, the famous composer, who was a composition student of Arnold Schoenberg. He prepared this volume as part of his dissertation for the University of Vienna, where he received his PhD in 1906. Volume III, edited by Louise Cuyler, was published by the University of Michigan Press in 1950. Facsimiles of the original Formschneider prints are published by Alamire Publishers (Postbus 45, B-3990 Peer, Belgium) with a foreword by Edward R. Lerner. They can be obtained through OMI (Old Music and Incunabula).
Each Feast contains a polyphonic motet, based on the corresponding Gregorian chant for the Introit
Introit
The Introit is part of the opening of the liturgical celebration of the Eucharist for many Christian denominations. In its most complete version, it consists of an antiphon, psalm verse and Gloria Patri that is spoken or sung at the beginning of the celebration...
, Alleluia
Alleluia
The word "Alleluia" or "Hallelujah" , which at its most literal means "Praise Yah", is used in different ways in Christian liturgies....
(or Tract
Tract (liturgy)
The tract is part of the proper of the liturgical celebration of the Eucharist for many Christian denominations, which is used instead of the Alleluia during Lenten or pre-Lenten seasons, in a Requiem Mass, and on a few other penitential occasions, when the joyousness of an Alleluia is deemed...
) and Communion
Antiphon
An antiphon in Christian music and ritual, is a "responsory" by a choir or congregation, usually in Gregorian chant, to a psalm or other text in a religious service or musical work....
. Volume II contains most of the Solemn Feasts. Those Propers all include alternate verses of the Sequence
Sequence (poetry)
A sequence is a chant or hymn sung or recited during the liturgical celebration of the Eucharist for many Christian denominations, before the proclamation of the Gospel. By the time of the Council of Trent there were sequences for many feasts in the Church's year.The sequence has always been sung...
hymn, set thus so as to allow for alternatim performance between the choir and the organist. The medieval Sequence was of particular interest to the Constance diocese, which included the monasteries of Reichenau and St. Gall where many Sequences originated.
Choralis Constantinus I (Denkmäler der Tonkunst in Österreich
Denkmäler der Tonkunst in Österreich
The Denkmäler der Tonkunst in Österreich is a historical edition of music from Austria covering the Baroque and Classical periods. It was published in installments from 1894 to 1952.# Fux, masses# Muffat, Florillegium Primum...
, Volume 10):
| Asperges me Domine/Gloria Patri | |||||
| Introit | Alleluia | Tract | Sequence | Communion | |
|---|---|---|---|---|---|
| De Sanctissima Trinitate | Benedicta sit sancta Trinitas | Benedictus es, Domine | Benedicta semper sancta sit Trinitas | Benedicite Deum | |
| Domenica I p. Pentecosten | Domine in tua | Domine Deus salutis | Narrabo omnia mirabili | ||
| Domenica II p. Pentecosten | Factus est Dominus | Deus judex justus | Cantabo Domino | ||
| Domenica III p. Pentecosten | Respice in me | Diligam te virtus | Ego clamavi | ||
| Domenica IV p. Pentecosten | Dominus illuminatio | Domine in virtu te | Dominus firmamentum | ||
| Domenica V p. Pentecosten | Exaudi Domine | In te Domine | Unam petii | ||
| Domenica VI p. Pentecosten | Dominus fortitudo | Omnes gentes plaudite | Circuibo et immolabo | ||
| Domenica VII p. Pentecosten | Omnes gentes plaudite | Eripe me de inimicis | Inclina aurem | ||
| Domenica VIII p. Pentecosten | Suscepimus Deus | Te decet hymnus | Gustate et videte | ||
| Domenica IX p. Pentecosten | Ecce Deus | Attendite populo | Primum regnum | ||
| Domenica X p. Pentecosten | Dum clamarum | Exultate Deo | Acceptabis sacrificium | ||
| Domenica XI p. Pentecosten | Deus in loco | Honora de tua | |||
| Domenica XII p. Pentecosten | Deus meus | Domine refugium | De fructu saciabitur | ||
| Domenica XIII p. Pentecosten | Respice in te | Venite exultemus | Panem dedisti | ||
| Domenica XIV p. Pentecosten | Protector et respice | Quoniam magnus | Panis quem ego | ||
| Domenica XV p. Pentecosten | Inclina Domine | Paratum cor | Qui manducat | ||
| Domenica XVI p. Pentecosten | Miserere nostri Domine | In exitu | Domine memora | ||
| Domenica XVII p. Pentecosten | Justus es Domine | Dilexi quoniam | Vovete Domino | ||
| Domenica XVIII p. Pentecosten | Da pacem Domine | Laudate Dominum | Tollite et introite | ||
| Domenica XIX p. Pentecosten | Salus populi | Dextera Dei | Tu mandisti | ||
| Domenica XX p. Pentecosten | Omnia quae | Deus judex | Memento servo tua | ||
| Domenica XXI p. Pentecosten | In voluntate | De profundis | In salutari anima mea | ||
| Domenica XXII p. Pentecosten | Si iniquitates | Confiteor tibi | Dico vobis | ||
| Domenica XXIII p. Pentecosten | Dixit Dominum | Qui posuit | Amen Dico vobis | ||
| Adventus I | Ad te levavi | Ostende nobis | Dominus dabit | ||
| Adventus II | Popule Sion | Laetatus Sion | Jerusalem surge | ||
| Adventus III | Gaudete in Domino | Excita Domine | Dicite confortamini | ||
| Adventus IV | Memento nostri | Veni Domine | Ecce virgo | ||
| Domenica intra oct. Epiphaniae | In excelso | Jubilate Deo | Fili quid ego | ||
| Domenica I p. Epiphaniae | Omnis terra | Laudate Deum | Dicit Dominum | ||
| Domenica II p. Epiphaniae | Adorate Deum | Dominus regnavit | Mirabantur omnes | ||
| Septuagesima | Circumdederunt me | De profundis | Illumina faciem | ||
| Sexagesima | Exurge quare | Commovisti Domine | Introibo adalta | ||
| Quinquagesima | Esto mihi | Jubilate Domino | Manducaverunt et | ||
| Cinerum | Misereris omnium | Domine non secundum | Qui mediatur | ||
| Invocavit | Invocabit et ego | Qui habitat | Scapulis suis | ||
| Reminiscere | Reminiscere miserationum | Dixit Dominus | Intelligite clamorem | ||
| Oculi | Oculi mei | Ad te levavi | Passer invenit | ||
| Laetare | Laetare Jerusalem | Qui confidunt | Jerusalem quae | ||
| Judica | Judica me Deus | Saepe expugnaverunt | Hoc corpus | ||
| Palmarum | Domine ne longa | Deus meus | Pater si non | ||
| Quasimodo geniti | Quasimodo geniti | Mitte manum | |||
| Misericordia Domini | Misericordia Domini | Surrexit pastor | Ego sum pastor | ||
| Jubilate | Jubilate omnis terra | Surrexit Christus | Modicum et non | ||
| Cantate | Cantate Domino | Cum venerit | |||
| Vocem Jucunditatis | Vocem jucunditatis | Benedictus es | Cantate Domino | ||
| Exaudi | Exaudi Domine | Pater cum |
Choralis Constantinus II (Denkmäler der Tonkunst in Österreich
Denkmäler der Tonkunst in Österreich
The Denkmäler der Tonkunst in Österreich is a historical edition of music from Austria covering the Baroque and Classical periods. It was published in installments from 1894 to 1952.# Fux, masses# Muffat, Florillegium Primum...
, Volume 32):
| Introit | Alleluia | Sequence | Communion | Other | |
|---|---|---|---|---|---|
| Natalis Domini | Puer natus | Dies sanctificatus | Natus ante saecula | Viderunt omnes | |
| Circumcisionis | Vultum tuum | Post partum | Laetabundus exsultet | Simile homini | |
| Epiphanie (6 Dec.) | Ecce advenit | Vidimus stellam | Festa Christi | Vidimus stellam | |
| Purificationis Mariae (2 Feb.) | Suscepimus Deus | Post partum | Concentu parilli | Responsum Simeon | Gaude Maria (tract) |
| Anunciationis Mariae (25 Mar.) | Rorate coeli | Ecce virgo | Ave Maria (tract) | ||
| Resurrectione Domini | Resurrexi et adhuc | Pascha nostrum | Laudes Salvatori | Pascha nostrum | Haec Dies (gradual) |
| Ascensionis Domini | Viri Galilei | Dominus in sina | Summi Triumphum | Psallite qui ascendit | |
| Sancto Spiritus | Spiritus Domini | Veni sancte Spiritus | Sancti Spiritus | Factus est | |
| Corpore Christi | Cibavit eos | Caro mea | Lauda Sion | Qui manducat | |
| Johannis Baptistae | De ventre | Internatos mulierum | Sancti baptistae | Tu puer propheta | |
| Johannes et Pauli | Multae et dehis | Isti sunt | Haec die veneranda | Et sicoram tormenta | |
| Petri et Pauli | Nunc scio | Tu es Petrus | Petre summi Christi | Tu es Petrus | |
| Visitationis Mariae (31 May, formerly July) | Gaudeamus omnes | Magnificat | Lauda sponsa | Beata viscera | |
| Mariae Magdalena | Gaudeamus omnes | Maria haec | Laus tibi Christe | Dico vobis | |
| Assumptio Mariae (15 August) | Gaudeamus omnes | Assumpta est Maria | Congaudent angelorum | Dilexisti justi | |
| Sancto Geberhardo | Sacerdotes Domine | O Geberhardo | Sancti Spiritus assit nobis | Beatus servus | |
| Sancta Pelagio | Laetabitur justus | O Pelagio | Omnes devota mente | Qui vult ab neget | |
| Nativitatis Mariae (8 Sep.) | Gaudeamus omnes | Nativitatis gloriosae | Stirpe Maria regis | Diffusa est | |
| Dedicatione Templi | Terribilis est | Vox exultationis | Ecclesiae desponsato | Domus mea | |
| Sancta Cruce | Nos autem | Dulce lignum | Laudes crucis | Nos autem | |
| Omnia Sanctorum | Gaudeamus omnes | Vox exultationis | Omnes sancti Seraphim | Amen dico vobis | |
| Sancto Martino | Sacerdotes | Martinus episcobus | Sacerdotem Christi | Beatus servus | |
| Presentationis Mariae | Gaudeamus omnes | Felix virgo | Altissima providente | Beata viscera | |
| Sancto Conrado | Sacerdotes | Ecce sacerdos | Adornata laudibus | Beatus servus | |
| Conceptionis Mariae (8 Dec.) | Gaudeamus omnes | Conceptionis gloriosae | Conceptio Mariae virginis | Diffusa est |
Choralis Constantinus III (University of Michigan Press, 1950)
| Introit | Alleluia | Sequence | Communion | Other | |
|---|---|---|---|---|---|
| In Vigilia un. Apostoli | Ego autem sicut | Dorsa eorum | Plausu chorus laetabundo | Ego vos elegi | Justus et palma (gradual) |
| Commune Apostolorum | Mihi autem honorati | Non vos me elegisti Per manus autem Iam no estis |
Clare sanctorum | Vos qui secuti Amen dico ego |
|
| Commune Martyrum | Multae tribulationis Induant sancti tui Justi epulentur Sancti tui Domine Sapientiam sanctorum Salus autem justorum Intret in conspectu |
Laetabitur justus Beatus vir Justus germinabit Justus ut palma |
O beata beatorum Agone triumphali |
Laetabitur justus Qui mihi ministrat Posuisti Domine Qui vult venire Magna est gloria |
|
| Commune un. Martyris | Laetabitur justus In virtute tua Gloria et honore Protexisti me Deus Justus non conturbabitur Justus ut palma |
Laetabitur justus Beatus vir Justus germinabit Justus ut palma |
Spe mercedis et coronae Haec est sanctus |
Laetabitur justus Qui mihi ministrat Posuisti Domine Qui vult venire Magna est gloria |
|
| Commune Confessoribus | Stauit ei Dominus Os justi Sacerdotes Dei Sacerdotes ejus |
Invravit Dominus Elegit te Inveni David Iste est qui ante Amavit eum Fulgebunt |
Dilectus Deo Ad laudes salvatoris |
Beatus servus Domine quinque talenta Fidelis servus |
|
| Commune Virginibus | Gaudeamus omnes Me exspectaverunt Loquaebar de testimonis Dilexisti justitiam |
Diffus est Specie tua Omnis gloria |
Exultent filiae Sion | Simile est regnum Quinque prudentes Diffusa est gratia Dilexisti justitiam |
|
| Commune Apostolis | (tracts) Qui seminant Desiderium animae Beatus vir Audi filia Audi filia |
||||
| Annunciatiatione beate Virginis | Rorate coeli | Prophetae sancti | Mittet ad Virginem | ||
| Beata Virgine p. Nativitatis Christi | Vultum tuum | Post partum | Regem regnum | ||
| Commune de Beata Virgine | Salva sancta | Sancta Dei | Verbum bonum | Beata viscera | |
| Philippi et Jacobi | Exclamaverunt | Tanto tempore | |||
| Sancta Cruce | Nos autem | Dulce lignum | Laudes crucis | Nos autem | |
| In Vigilia Johannis Baptistae | Ne timeas | ||||
| Natalis Johannis Baptistae | De ventre matris | Erat Johannis | Sancti Baptistae | Tu puer propheta | |
| Vigilia Petri et Pauli | Dicit Dominus | Simon Johannis | |||
| Festo de Petri et Paili | Nunc scio vere | Tu es Petrus | Tu es Petrus | ||
| Sancti Pauli | Scio cui credidi | Tu es vas electionis | |||
| Visitationis Mariae Virginis | In Maria benignitas | Veni praecelsa | |||
| In Divisione Apostolorum | Coeli enarrant | ||||
| Maria Magdalenae | Laus tibi Christi | Dico vobis | |||
| Vigilia Sancta Laurentii | Dispersit dedit | ||||
| Sancta Laurentii Martyris | Confessio et pulchritudo | Levita Laurentius | Laurentii, David | ||
| Assumptio Maria Virgine | Assumpta est Maria | Congaudent Angelorum | |||
| Navitatis Mariae | Nativitatis gloriosae | Stirpe Maria | |||
| Sancta Michaele | Benedicite omnes | Concussum est mare | Ad celebres Rex | Benedicite omnes | |
| S. Ursula ac Sociarum Virginum | Virginalis turma sexus |
Recordings
Margaretha-Maximilian I, Capilla FlamencaCapilla Flamenca
Capilla Flamenca is a vocal and instrumental early music consort based in Leuven, Belgium. The group specialises in 14th to 16th Century music from Flanders and takes its name from the choir of the court chapel of Emperor Charles V...
together with La Caccia, Schola Cantorum Cantate Domino, Schola Gregoriana Lovaniensis and Joris Verdin, 2001 (Orf CD 265). Contains proper chants from the Choralis Constantinus along with several pieces of secular music.