HMR Project: History of Music & Modern Recording

Jacob Obrecht & the Black Death

Jacob Obrecht

Jacob Obrecht Age 38

Probably painted by Quinten Metsys 1496

Source: JHNA

One evidence in Europe of success on Earth was to have one's portrait painted, the image above commissioned by Jacob Obrecht in 1496 when he was 38 years old. Obrecht was a Belgian Renaissance composer who died in its heydays. Dive to about 1505 and you land in the High Renaissance with some room fore and aft. Constantinople had fallen to the Ottoman Empire in 1453 shortly before Obrecht's birth. That now Muslim Istanbul, the Eastern Orthodox Church would then find refuge in Russia where Ivan III the Great became Prince of Moscow at age 12 in 1462 until his death in 1505. Other contemporaries of Obrecht made distance as explorers, Columbus glad to arrive to the "New World" in 1492, Vasco da Gama the first to sail to India around the Horn of Africa in 1497–1498. The Columbus voyage had been financed by Catholic monarchs of Spain, Queen Isabella I and King Ferdinand II. John II of Portugal, with an already robust trade route to India through the Suez Canal, was interested to discover what was on the east coast of Africa.

Powerful contemporaries of Obrecht closer to home included such as the first Habsburg Holy Roman Emperor, Frederick III, who reigned from 19 March 1452 until his death on 19 August 1493. Holy Roman Emperors would be Habsburgs, among the most powerful houses of Europe, for the next few centuries. Both a son and daughter of Ferdinand and Isabella married into the Habsburgs, and Obrecht would compose at least one Mass for Maximilian I, son of Frederick, in 1503. Maximilian would have been King of the Romans at that time, becoming Emperor in 1508.

The Holy Roman Empire had been a working alliance between the Papacy and France (Charlemagne the first in 800) until it passed to German kings upon the parceling of Charlemagne's empire which would bring about the big rift between Catholic France and Catholic Italy. Catholic France and Catholic Italy were yet "duking it out" during Obrecht's lifetime, and the Holy Roman Empire would continue until 1806 (see Napoleon), after which the fortunes of the Habsburgs became bound to Austria, then Austria-Hungary (1867). Other European houses fared not so well, the Sforza family to die out about the same time as the High Renaissance was passing into the rearview mirror.

Such as duchies (comparable to states in the United States) ever in dispute throughout medieval and future Europe, there were yet other troubles contemporaneous with Obrecht, such as the bubonic plague, aka Black Death, which had first visited Genoa from central Asia along the Silk Road in 1347. The first recorded pandemic is the Plague of Justinian starting in 541 to continue for above two centuries until 750 or so, that affecting the Mediterranean to travel to areas east and north. Also called the First Plague, the Second Plague is the Black Death which yet threatened Obrecht's Europe a century after it had begun. Obrecht's contemporary, Agricola, whom he might have known in younger years, would die of plague in Spain on 15 August 1506. The Black Death which didn't give a whit about the Renaissance continued to sicken Europe variously, including Russia, until the 19th century. One source has it devastating a third of the globe's population of about 450 million to perhaps 150 million.

Other less than happy events during Obrecht's lifetime included the combustion of the Spanish Inquisition in 1478. The Inquisition was the project of Ferdinand, Isabella and Pope Sixtus IV to the purpose of maintaining orthodoxy in the Roman Catholic Church against heresies, superstitions, Islam and Judaism. It made itself felt for another few centuries until expiration in 1834. Among less dangerous contemporaries of Obrecht was German Renaissance artist, Albrecht Dürer (1471–1528).

Adam & Eve by Albrecht Durer

Adam and Eve

Engraving by Albrecht Durer 1504

Source: Wikipedia

Even closer to Obrecht in terms of the High Renaissance is Octavio Petrucci who published compositions by Obrecht in 'Canti A', 'Canti B' and 'Canti C' of 'Harmonice Musices Odhecaton' from 1501 to 1504. The Renaissance would have been hard-put to occur without the printing press to circulate its humanist literature, that invented by Johannes Gutenberg about 1440 in Mainz, Germany. Petrucci's 'Harmonice Musices Odhecaton' published in Venice was the first book of polyphonic scores printed by process of movable type. What once required one scribe to transpose one copy for one patron now required one printer to make as many copies as may for as many as might, sheet music for the masses to follow.

Born either c 1450-51 or c 1457-58 (aligning with his portrait above and more likely) in Ghent (Belgium), Jacob Obrecht's father was employed as a city trumpeter. His mother, Lysbette, died in July of 1460 at about age twenty. Obrecht may himself have played trumpet, but he more certainly learned to compose amidst the Dutch or Franco-Flemish School. Composing largely masses (30) and motets (28), Obrecht wrote profane (secular) chansons as well. He may have matriculated into the University of Louvain as early as 1470 but his movements during the seventies are largely speculation, such as a possible first visit to Italy in 1474. Thought to have acquired his magister degree in 1479-80, he was ordained about that time and became a choirmaster in his home town of Bergen op Zoom. He became choirmaster at the cathedral of Cambrai in France in 1484, at Bruges (Brugg at the time) in Belgium in 1485. It was probably either Cambrai or Bruges where he completed his (alleged) first Mass, 'Missa Petrus apostolus', circa 1485, perhaps in the earlier eighties. Obrecht was a young associate of Antoine Busnois, a generation older, and whose influence is apparent in Obrecht's composing at this early stage.

'Missa Petrus apostolus' is No. 1 of Period I in Rob Wegman's 'Born for the Muses', the most thorough endeavor thus far to lend Obrecht's Masses a chronology, approaching the matter on stylistic grounds due to just enough documentation of Obrecht to make his numerous regional movements confusing. Unlike other composers who rather tended to glue to positions obtained, Obrecht moved about frequently back and forth. Though Wegman's 'Born for the Muses' is a monumental work, the attempt to date Obrecht via style doesn't everywhere lend certainty, such yet left to debate. Those are only the Masses, for which Obrecht is known. Dating chansons for which he (currently) isn't is probably an impossible task.

Period II in Wegman's chronology of Masses is classified as "Critical" to the shaping of Obrecht's own mold as a composer, beginning with 'Missa de Sancto Martino' of probably 1485 or '86 in Bruges. Obrecht's 2nd period reveals him taking after Johannes Ockeghem, perhaps a couple generations older than he.

Obrecht arrives to his own in Wegman's Period III classified "Mature" and beginning with 'Missa Caput' possibly appearing as early as 1487-88 in Ferrara, Italy. Though mature works stretch onward, Wegman places 'Missa Fortuna Desperata' at the end of Period III as No. 13. This might have been composed in 1488 in either Ferrara or at the church of St. Sauveur in Bruges in connection with Busnois. Other works of 1487-88 are strongly associated with Duke Ercole I d'Este in Ferrara, whose court Obrecht attended for several brief months during his first of two trips to Italy (his earlier of 1474 uncertain).

Period IV of Wegman is classified "Beyond Fortuna" of which No. 1 is 'Missa Maria zart'. This is thought to have been composed for Maximilian in 1503, preceding his trip to Innsbruck on his way to Italy for the second and last time. No. 4 and listed last of Period IV is 'Missa Sub tuum presidium', a strong candidate for having been written at the Court of Maximilian I in 1503. Though this is another masterwork favored like 'Missa Maria zart', it didn't see publishing until 1510 nor inclusion into a codice until 1530 (both posthumously).

Since the dates of many of Obrecht's works can't even be reliably approximated, and Jacob Masses Obrecht might as well as been his name, I commence samples of his work with a Mass unique insofar that an exact date is attached to it, being its premiere on 14 October 1487 at the church of Sint Jacobskerk in Bruges, commissioned by Adriane de Vos. This is the 'Mass for St. Donatian' ('Missa De Sancto Donatiano') in which he takes after Ockeghem. "NOE" herein refers to the 'New Obrecht Edition' edited by Chris Maas 1983-99.

'Gloria' of 'Missa de Sancto Donatiano' Jacob Obrecht

Premiere: Church of Sint Jacobskerk in Bruges 14 October 1487

Wegman Period II No. 3 NOE vol. 3 p 17

The Cappella Pratensis

Following Wegman to Period II No. 4 is 'Missa Salve diva parens'. This work, however, has since been associated with the coronation of Habsburg, Maximilian I, as King of the Romans, on 9 April 1486 in Achen, Germany, placing it well before 'Sancto Donatiano' [Gallagher / Lodes]. This would have been composed in Bruges near the beginning of the period between Frederick III and Maximilian I when there was no Holy Roman Emperor, Maximilian splitting power, though not title, upon Frederick's death in 1493 with his son, Philip the Handsome of Burgundy, until the latter's death in 1506 (before Maximilian). Problems German and Austrian were enough for Maximilian, satisfied to become and remain a German King of the Romans so long as Philip dealt with the headaches of Burgundy. He likely accepted the title of Holy Roman Emperor in 1508 in reluctance to take on a job too big to handle. Nightmares flaring up here, a thousand dead over there, and you're the boss. Great. To be the Pope's right-hand man in northern Europe was probably more an unattractive situation with which Maximilian got stuck of perceived necessity than an ambition. A pope was no small power to count for a friend, but such could send you up in flames as well. Perhaps being an "emperor" has meant glory for some, but it would seem that for Maximilian it wasn't a title nor position to envy. The earlier 'Missa Salve diva parens' suspicious herein is thought to have been added to 'V-CVbav MS Capp. Sist. 51' in Rome in 1487 or '88. 'V- VCbav MS Capp. Sist. 51' is a book of manuscripts compiled in various locations from 1472 to 1491 and is presently housed at the Sistine Chapel.

'Credo' of 'Missa Salve diva parens' Jacob Obrecht

Wegman Period II No. 4 NOE vol. 11 p 1

Possibly composed for coronation of Maximilian as King of Romans on 9 April 1496

Included in V-CVbav MS Capp. Sist. 51 in 1487 or 1488

Meiji Gakuin University Glee Club directed by Tetsuro Hanai 2005

Obrecht entered into the service of Duke Ercole I d'Este in Ferrara, Italy, in 1487 and remained for perhaps half a year. Among titles associated with this period are his Masses, 'Missa Caput' and 'Missa Fortuna Desperata'. The cantus firmus of 'Missa Caput' is based on the English 'Missa Caput' by anonymous sometime prior in the forties. Ockeghem used that in his own 'Missa Caput' sometime in the fifties. The cantus firmus of 'Missa Fortuna Desperata' is Antoine Busnois' secular chanson, 'Fortuna Desperata'. This was written either in Ferrara or afterward in Bruges. Wegman has this copied in manuscript in Ferrara, perhaps later compiled in Bruges in the latter eighties. Stacking below follows Wegman numbers now in Obrecht's mature period, introduced by the Marian motet, 'Beata Es, Maria', also thought completed in Ferrara.

'Beata Es, Maria' Marian motet for AATB by Jacob Obrecht

Probably Ferrara 1487-88

Published in Petrucci's 'Motetti liber 4' of 1505

The Capella Sancti Michaelis

'Kyrie' of the 'Missa Caput' Jacob Obrecht

Probably Ferrara 1487-88

Wegman Period III No. 1 NOE vol. 2 p 33

Oxford Camerata directed by Jeremy Summerly

'Kyrie' of the 'Missa Fortuna Desperata' Jacob Obrecht

Ferrara or Bruges 1488 or so

Wegman Period III No. 13 NOE vol. 4 p 49

Published in Petrucci's 'Misse Obrecht' of 1503

The Sound and The Fury

Having returned from Italy to Bruges, several months later on 22 November 1488 Obrecht lost his father, Willem, occasioning the lament, 'Mille quingentis / Requiem aeternam', 'Requiem aeternam' ('Eternal Rest') the title of the cantus firmus chant for the tenor part. The incipit for SAB is 'Mílle quingéntis vérum bis sex mínus ánnis' or 'After fifteen hundred minus twice six years'. CPDL has this in an unidentified manuscript as early as 1488. It was otherwise included in the Segovia Codex (E-SE) of 1500-03, put together in Toledo for Queen Isabella of Castile (above).

'Mille quingentis / Requiem aeternam' Motet for SATB by Jacob Obrecht

Probably Bruges 1488

The Clerks' Group 2005

Obrecht remained in Bruges until 1491 and was probably in France in 1492. He might have written the probable carnival chanson, 'Meskin Es Hu', in Bruges. It is, anyway, included in I-Fn MS Banco Rari 229 of 1492-93 and I-Fn MS Magl. XIX.178 of 1492-94. It found its way into Petrucci's 'Canti A' of the 'Harmonice Musices Odhecaton' in 1501.

'Meskin Es Hu' Chanson probably for Carnival by Jacob Obrecht

Included in I-Fn MS Banco Rari 229 of 1492-93

Published in Petrucci's 'Odhecaton' of 1501

Arranged for 2 recorders and 2 treble viols by Daniel Mantey

Obrecht left France for Antwerp sometime between 1492 and 1494 where he remained until 1496. His motet, 'Ave Maris Stella', may be an Antwerp work of about 1495.

'Ave Maris Stella' Motet by Jacob Obrecht

Antwerp c 1495

Included in the Segovia Codex of 1500-1503

Arranged for recorder and 2 treble viols by Ernst Stolz

Obrecht filled out the century to 1503 working variously in Bruges, Bergen op Zoom and Antwerp. In keeping with the situation of his times in Europe, the bubonic pandemic occasioned many a funeral procession, one which Obrecht composed titled 'Parce Domine' for three and four parts. Not known where or when this lament was completed, it finds its place here because it appeared in multiple sources circa 1503. Its 4 part version was transcribed into the LonBL 35087 of circa 1500-09. The 3 part version was included in the Bologna I-Bc Q.17 probably compiled in Florence before 1500 (fascimile). The 4 part version was added to the Bologna I-Bc Q.18 prepared circa 1502-06 (fascimile). Both the 3 and 4 part versions were published in Petrucci's 'Motetti de passione de cruce' in 1503.

'Parce Domine' Funeral procession for SATB by Jacob Obrecht

Included in the Bologna I-Bc Q.18 compiled c 1502-06

Published in Petrucci's 'Motetti B' & 'Motetti de passione de cruce' both in 1503

Speculum Ensemble

Obrecht may or may not have composed 'Missa Salve diva parens' for Habsburg, Maximilian I, back in 1486 (above). But he moved up in the world upon invitation to Maximilian's Innsbruck court in 1503, then King of the Romans and Archduke of Austria to become Holy Roman Emperor in 1508. Among titles proffered as possibly composed for Maximilian are a few of his Missae. The 'Missa Regina celi' is since lost. Others are his masterworks, 'Missa Maria zart' and 'Missa Sub tuum presidium'. 'Missa Maria zart', however, is also given an Antwerp location preceding Innsbruck [Johan van Veen]. A later date circa 1504 is also proffered, Obrecht on his way to Ferrara from Innsbruck by then. In any case, it doesn't seem likely that this was his last work (as somewhere suggested). 'Missa Sub tuum presidium' is also a candidate for Antwerp prior to Innsbruck, but is considered the more likely of the twain, if it must be the one or the other, to have originated in Innsbruck.

'Missa Maria zart' ('Gentle Mary') Jacob Obrecht

Probably begun Antwerp 1503 for Maximilian

Wegman Period IV No. 1 NOE vol. 7 p 39

Published in Basel in Gregor Mewes' 'Concentus harmonici' of 1507

Tallis Scholars directed by Peter Phillips

'Missa Sub tuum praesidium' Jacob Obrecht

Probably Antwerp if not Innsbruck 1503 for Maximilian

Wegman Period IV No. 4 NOE vol. 7 p 51

Published in Basel in Gregor Mewes' 'Concentus harmonici' of 1507

Capella de la Torre directed by Katharina Bäuml

Obrecht left Innsbruck for Italy in 1504 upon request of Duke Ercole I d'Este of Ferrara. He there passed away (shortly after the Duke) in July of 1505, another of the many claimed by bubonic plague. Upon falling ill with the plague one usually died in three to five days. What Obrecht's last compositions might have been in Ferrara are unidentified, so I leave off with an earlier secular chanson for four parts, not known when composed, but included in the Cancionero de Segovia compiled between 1499 and 1503.