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Composers

Ludwig Senfl

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2 Marian Motets

A

Ach Jupiter hätt'st du GewaltAlso heilig ist der TagAsperges meAus gutem Grund

B

Beati omnes qui timent IBeati omnes qui timent II

C

Christ der ist erstandenChriste qui lux esCollegerunt PontificesCum egrotasset Iob fleuit

D

Da Jakob nu das Kleid ansahDer ehlich Stand ist billig g'nanntDeus in adiutorium IDeus in adiutorium IIDich meiden zwingtDort oben auf dem Berge

E

E schön und zart, von edler ArtEgo ipse consolabor vosEin Abt den wöll wir weihenEin alt bös Weib, runzelt am LeibEin Jungfrau mir gefallen thätEin meidlein zu dem brunnen gingElend bringt Pein dem Herzen meinEntlaubet ist der WaldeEs het ein biderman ein weibEs ist nit alles GoldeEs jagt ein Jäger g'schwinde dortEs taget vor dem WaldeEs wolt ein fraw zum weine ganEwiger Gott, aus des Gebot

F

Freundlicher Held, ich hab erwählt

G

Gar oft sich schickt, dasz eim gelücktGelobet seist du, Christe

H

Hans Beutler der wollt reiten ausHat uns der Teufel gen Teiningen bracht

I

Ich armes Keuzlein kleineIch armes Meidlein klag mich sehrIch hab mich redlich ghaltenIch hat ein newe sach auf dratIch hätt mir ein Endlein fürgenommenIch kenn des Klaffers EigenschaftIch klag den Tag und alle StundIch scheid dahinIch schell mein HornIch soll und musz ein Bulen habenIch weisz ein stolze MullerinIch will mich Glücks betragenIm meyen hört man die hanen kreen

J

Jetzt bringt Sanct Martin Gsellschaft vielJetzt merk ich wol, dasz ich mich soll zum GlückJetzt Scheiden bringt mir Schwer

K

Kein Adler in der Welt so schönKein Höhers lebt, noch schwebtKlein ist mein Trost auf dieser Erd

L

Laudate Dominum omnes gentesLieb, üb dein Heil! eil!

M

Man sing, man sag, hab Freud all TagMein freundlichs BMir ist ein rot GoldfingerleinMit Lust thät ich ausreitenMit Lust trit ich an diesen Tanz

N

Non moriar

O

O allmächtiger Gott, dich lobt der Christen RottO du armer JudasO Herr, ich klagO Herr, ich ruf dein Namen anO Herre Gott, begnade michO ho! So geb der Mann ein Pfenning

Q

Quinque Salutationes Domini nostri Hiesu ChristiQuis dabit oculis

R

Rosina, wo was dein Gestalt

T

Tag, Zeit noch StundTheur, hoch erleucht sein Nam

V

Vergebens ist all Müh und KostVor Leid und Schmerz

W

Wann ich lang such der Gsellschaft vielWie das Glück will, bin ich im SpielWie ist dein TrostWiewol viel herter Orden sind a 5Wiewol viel herter Orden sind a 6
Wikipedia
Ludwig Senfl (born around 1486, died between December 2, 1542 and August 10, 1543) 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 Germany.
Senfl was probably born in Basel around 1486, and lived in Zürich from 1488 until 1496, when he joined the choir of the Hofkapelle of Emperor Maximilian I in Augsburg. Apart from one brief visit in 1504 he appears never again to have lived in Switzerland.
In 1497 he followed the Hofkapelle to Vienna, and between 1500 and 1504 he probably studied in Vienna for three years, the standard practice for choirboys whose voices had broken, as part of the normal training for the priesthood. During this period he studied with Heinrich Isaac, serving as his copyist by 1509; he is known to have copied much of the older composer's Choralis Constantinus, an enormous work which he was later to complete after Isaac's death.
After a trip to Italy sometime between 1508 and 1510, Senfl returned to the Hofkapelle; the Emperor appointed him to fill Isaac's position as court composer when Isaac died in 1517. In 1518 Senfl lost a toe in a hunting accident; evidently the injury disabled him for up to a year. When the Emperor died in 1519, Senfl was out of a job, and his circumstances altered for the worse: Charles V dismissed most of Maximilian's musicians, and even refused to pay Senfl the annual stipend which had been promised to him in the event of the emperor's death. During the next few years he traveled widely, mainly job-seeking, but he was also active as a composer. He is known to have attended the Diet of Worms in 1521, and, while he never officially became a Protestant, his sympathies evidently were with Luther, and he was later examined by the Inquisition and voluntarily gave up his priesthood. Senfl carried on an extensive correspondence both with Lutheran Duke Albrecht of Prussia and with Martin Luther himself, beginning in 1530.
Eventually Senfl acquired a post in Munich, a place which had high musical standards, a strong need for new music, and which was relatively tolerant of those with Protestant sympathies; he was to remain there for the rest of his life. By 1540 he was ill, judging from his correspondence with Duke Albrecht, and he probably died in early 1543.
Senfl was an eclectic composer, at home both in the worlds of sacred and secular music, and he modeled his style carefully on models provided by the Franco-Flemish composers of the previous generation, especially Josquin des Prez. In particular, he was a gifted melodist, and his lines are warmly lyrical; his music remained popular and influential in Germany through the 17th century.
His sacred music includes masses, motets, vespers settings, and a Magnificat. Technically his music has many archaic features, such as the use of cantus firmus technique, which was more in vogue in the 15th century; he even occasionally employs isorhythm. However he also has a typically Germanic liking for singable melodic passages in parallel imperfect intervals (3rds and 6ths).
Senfl also wrote numerous German lieder, most of them secular (the handful on sacred texts were written for Duke Albrecht of Prussia). They vary widely in character, from extremely simple settings of a cantus firmus to contrapuntal tours-de-force such as elaborate canons and quodlibets.