Alisha Sabrowsky

12/3/12
Moore
Henrich Isaac: Bridge of European Music
Basic History
Henrich Isaac (birth name Arrigo d'Ugo or Arrigo Ysac), has little known about his early
life. He was thought to be born somewhere in the south Netherlands, probably in Barbant of
Flanders, circa 1450. He lived a very long and successful life until his death in Florence, Italy on
March 26, 1517. Throughout his lifetime, Isaac wrote 39 mass ordinaries, almost 100 proper
mass cycles, 100 other secular songs, and nearly 50 motets. Of these works, many were in the
Germanic language and style-monophonic plainsong-and many were also influenced by Isaacs
native Netherlandic polyphony. Isaac was also regularly employed as a cathedral singer and court
composer- most notably for Emporer Maximillian I of Austria, and the Medici family of Italy,
with whom he was very close. On his first stay in Italy, Isaac married a Florence woman,
Bartolomea Bello.
After doing extensive research on Isaac, I am amazed that he is not given more credit for
being a phenomenal composer and musician. Perhaps over time he has been overshadowed by
other great composers of the Renaissance, noted for more specific accomplishments, such as de
Prez, Josquin and Obrect. Henricus Isaacs acheivements were much different than theirs.
Although Isaac is credited with bringing and developing the influence of polyphonic music in
Germany, I believe that was only one of many accomplishments throughout his life. Isaacs
musical style was a conglomeration of different experiences throughout Europe, having spent
years in Flanders, Italy, Germany and Austria. Not only was he skilled as a musician and

composer, he was skilled in personal, people skills- which I believe to be rare in the world of
musicians. Zanovello states in his first article that
Contemporary witnesses describe Isaac as a friendly and congenial person
Pitti observes, Arrigo is loved by everyone. Twelve years before, dEste agent
Gian dArtiganova expressed a similar opinion about the composer, he is goodnatured and easy to get along with, and, he is of a better disposition [than
Josquin] among his companions.
His warm personality and openness to all different styles and people allowed him to be
appreciated by those who employed him. Isaacs large following is further expounded by the
studying of his will documents and the long list of witnesses that verified the editing of Isaacs
will throughout the later years of his life. These lists reaffirm that Isaac was a part of many
different circles throughout Europe- including the musical Santa Barbra confraternity, chapel
singers, the convent of Santissima Annunziata, singers of San Giovanni, and also the Medici
family. Zanvonello also states in his second article that
Isaac owned a house in Florence, made provisions for himself and his wife on
various occasions, and even entertained business relationships with individuals
and institutions in Florence all this while he was formally employed in
Innsbruck or Vienna.
These records serve as a fascinating view of Isaacs circle of friends and respected colleagues. I
believe that this kind of composer is essential to the development and spread of music across the
world. Isaac was truly a versatile musician and had the talent and personality needed to spread
his works as far as they could go; thus creating an important bridge for the spread of polyphonic
music throughout Europe.

Rob Wegman's keynote lecture discussed Isaac's pioneering role in the newly emerging concept
of the composer as businessman and musical compositions as commercial products. Unlike many
of his more eccentric contemporaries, Isaac was a married man who is not known to have been
involved in any personal or professional scandals. He was one of the first musicians to have been
hired as a composer, rather than as a performer or chaplain who also happened to write music,
and he produced works on commission for negotiated fees. His role in the social history of music
has not been fully appreciated.
Analysis of Innsbruck, ich muss dich lassen
Italian apostolic secretary and music aficionado Paolo Cortesi famously wrote,
" . . . Heinrich Isaac of France is judged to be most apt to compose such
precentorial songs [motets]; for, in addition to being much quicker than all the
others in pouring forth this genre, his style of composition brightens the singing
so floridly that it more than satiates the ordinary capacity of the ear."
Although my chosen piece by Henrich Issac was technically a lied, not a motet, I believe
this quote speaks leagues about the novelty of Isaacs compositional style.

Chorale Prelude Op. 122 No. 11 'O Welt, ich mu dich lassen', by Johannes Brahms
Bach Cantata: BWV 97 In allen meinen Taten, a cantata without liturgical designation
first performed in 1734.

http://www.bach-cantatas.com/Lib/Isaac-Heinrich.htm