Music at the Court

of Innsbruck

Duke Friedrich (1382-1439), the first ruler of the Tyrol to reside in Innsbruck, had already kept trumpeters, trombonists, timpanists, pipers, lutenists and harpists at his court. His son and heir to the throne, Duke Sigmund (1427-1496), institutionalized a court choir and instrumental ensemble (Hofkantorei). As documented from 1463 on, it was the focus of the cultivation of music at court, first under the direction of the organist Niklas Krombsdorfer, and from 1478 on under Paul Hofhaimer (1459-1537), who was lauded already by his contemporaries as the “monarcha organistarum.”[1]
Duke Sigmund may have disbanded this court ensemble towards the end of his reign, for in March 1490 King Maximilian (1459-1519) took over from his cousin, along with regency of the land of Tyrol and the retinue of attendants that went with it, only a few instrumentalists in the way of court musicians: six trumpeters, one trombonist and timpanist each, and the organist Hofhaimer. These musicians were at the disposal of both King Maximilian and the abdicated Duke Sigmund until 1594.[2] Maximilian apparently soon set up a smaller choir and instrumental ensemble in Innsbruck again. They replaced the Latin schoolmaster and his singers to provide a liturgical musical setting for the court’s divine services at the parish church. However, hardly any documentary evidence of this ensemble has survived.
Through his first marriage to Mary of Burgundy in 1477, while sojourning in the Low Countries for several years, Maximilian had learned to appreciate the world-famous ensemble of singers and instrumentalists at the Burgundian court, where the refinement of the arts and intellectual life was an example to all of Europe. The most respected musicians of the day were in service there and lent Burgundian court music that extraordinary splendor that Maximilian was always intent on impressing upon his own court ensemble of singers and instrumentalists (Hofkapelle) later. Maximilian’s second wife, Maria Bianca Sforza was also of art-loving lineage and must have had an influence on the abundant musical activity at the imperial court as a patroness. Despite the knowledge of considerable detail on Maximilian’s court ensemble, the extent of her influence is not completely clear. This lack of information is mainly due to the fact that the royal household moved frequently. From time to time the Hofkapelle would be divided up into ensembles in Augsburg, Vienna or Innsbruck. Furthermore, a number of musicians were on the road with Maximilian’s entourage during his travels. Several musicians were only casually employed at court, which also makes it difficult to get clear on the court ensemble’s circumstances.[3] After Maximilian handed over the regency of the Low Countries along with the Burgundian court music ensemble to his son Philipp in 1494, he began building up a new group for himself, for which some singers and instrumentalists were transferred to Innsbruck.[4] One of these was again Paul Hofhaimer. Maximilian had already met him in 1486 in Frankfurt am Main as Duke Sigmund’s envoy at the Princes’ Diet (Fürstentag) when he was elected Roman King.
Having Hofhaimer in Innsbruck meant having the most renowned organist of his day in town until after 1500. Based there, Hofhaimer cultivated his connections to the day’s authoritative players and patrons of music at home and abroad, and became the model for a whole new generation of important organists. Maximilian was well aware of the uniqueness of the artist in his service: he doubled Hofhaimer’s salary that had originally been chartered by Duke Sigmund for his lifetime; in Innsbruck in 1494 he decreed that Hofhaimer was to accompany him to the Imperial Diets (Reichstage), granting him an extra all-inclusive travel fee, and thus presenting the extraordinary standard of his court music to the public; he raised Hofhaimer to the nobility in 1515 and allowed him to keep his “head organist” status when he moved to Passau, Augsburg and Salzburg in the service of others.[5] Hofhaimer’s high rank as a musician is also indicated by the unusually large number of portraits made of him by Albrecht Dürer, Lukas Cranach, Hans Burgkmair and Hans Weiditz. Music at the Innsbruck court profited not only from his genius in practical organ playing and composition but also from his expertise in building organs. Of the three organs that Maximilian had built for the Innsbruck parish church, the first was built under Hofhaimer’s direction in 1491/92 and the third by Jan Behaim of Dubrau with Hofhaimer’s collaboration in 1512-1515.[6]
Maximilian visited Innsbruck repeatedly, accompanied by his imperial ensemble of singers and instrumentalists. It was directed in Vienna by Hans Kerner as the “head curate and choirmaster (Cantor)” from 1496 on, and after his death by Georg Slatkonia as the “head choirmaster” and “director of music” (Capellenmeister). This ensemble followed the monarch around on his political travels and other representational undertakings. Their itinerary lists the following sojourns in the Tyrol: in the fall of 1500 in Tyrol, on 30 November in Bruneck; in Innsbruck in 1501, again in September-October 1503, from the fall to December 1511, and from October 1518 on.[7] In Innsbruck and its surroundings in the fall of 1503, Maximilian’s court singers and orchestra and Philipp’s Burgundian court singers and orchestra came together when Philipp and his wife Johanna stopped in the Tyrol to visit his father from 12 September to 5 October on their way home from Spain to Brussels. Performing not only alone but also together, both court ensembles provided resonant splendor, as described repeatedly in the travel diary of Philipp’s chamberlain, Antoine de Lalaing, for instance on 17 September 1503: “The singers of the king [Maximilian’s court orchestra] and of my lord [Philipp’s court orchestra]sang the mass and played the organ resounding with all the instruments [...] It is the most melodious music you could ever hear.”[8] On 26 September 1503 two masses were sung in the Innsbruck parish church for Maximilian’s deceased brother-in-law Hermes of Milan: “The first, the Requiem mass,was sung by the above-mentionedBishop [of Bethlehem] and the singers of my lord [...]The second mass was [...] sung by the king’s singers [...] the king’s trombone players began the Graduale and played the Deo gratias and Ite missa est, and my lord’s singers sang the Offertorium.”[9] Perhaps the masses (for the dead) by Pierre de la Rue or Heinrich Isaac (ca. 1450-1517) were played on that occasion.[10]
Isaac belonged to Maximilian’s court orchestra from 1496 to 1517; the outstanding composer had already stayed at the Innsbruck court briefly as early as 1484. It was from Innsbruck that Maximilian appointed this former singer (Kapellsänger), who had been summoned from Augsburg to Vienna in 1496, to be his court composer on 3 April 1497. Isaac perpetuated the memory of the city of Innsbruck by arranging an Alpine folk-tune twice for several parts: his polyphonic social song (Gesellschaftslied) “Innsbruck ich muss dich lassen” (Innsbruck I must forsake thee) is one of the best known of this genre.[11]
In October 1518 upon its return from the Imperial Diet in Augsburg, Maximilian’s court ensemble of singers and instrumentalists moved to its winter quarters in Innsbruck and stayed on after the death of their lord in Wels in January 1519. After the initial decision to keep the trumpeters in Innsbruck, Emperor Charles V gave orders to disband the court ensemble in September 1520. Finally, in Innsbruck in 1523, came the dismissal of all the singers and instrumentalists.[12]
During the reign of Maximilian’s grandson and successor Ferdinand I (1503-1564), which was shaken by constant crises, there was no court music ensemble in Innsbruck; the principal royal residence was in Vienna. The parish choir and instrumentalists (Pfarrkantorei) sang at court masses in Innsbruck, sometimes reinforced by singers from Hall, Schwaz or Imst. The government in Innsbruck continued to appoint nothing but the organists of the parish church. However, it also commissioned the organ builder Jörg Ebert († before 1582) of Ravensburg in 1555 to set up an organ for the new court church under construction since 1553. Completed in 1558, this instrument in a mean-tone temperament (with eight perfect thirds), a tuning pitch of a = 445 Herz (at 11° C) and 15 stops, after being altered and restored several times, has been playable again since 1976. It is the oldest surviving medium-large-sized church organ north of the Alps. Innsbruck thus possesses a unique musical monument of the Renaissance.[13]
When Archduke Ferdinand II (1529-1595) moved his royal residence from Bohemia to Innsbruck in 1567, the city developed into a musical center of international European stature. Wilhelm Hofhaimer, the organist at St Jakob until 1540, and Hans Schachinger the Younger had taught the son of Emperor Ferdinand I music in his youth; his relatives being the dukes of Bavaria, Mantua, Ferrara and Tuscany, all of them excellent art lovers, also contributed to making Ferdinand II develop the full splendor of a perfect Renaissance prince at his court in Innsbruck. As the governor of Prague, Ferdinand had taken musicians into his service from 1548 on: a court music ensemble with the singers, the organist and a lute player, as well as a court orchestra (Hofmusik) with the instrumentalists under the direction of a “head musician” (Obristmusicus). He took both ensembles with him to the Tyrol. Internationally renowned virtuosos with the best backgrounds assembled at the Innsbruck court in those days. The singers came mainly from the Netherlands and southern Germany, the instrumentalists from Italy. For example, the court music directors Wilhelm Bruneau (†1584) and Jakob Regnart (in office 1585-1596), the singer and later assistant music director Alexander Utendal (in office 1566-1581), and the assistant music director
Georg Flori (from 1584) were from the Low Countries, the “head musician” Orfeo de Cornay (until 1568) and his successor Peter Maria de Losij (until 1596) were from Milan.
Several choirboys in the court ensemble were later professional musicians and composers, e.g. Simon Kolb (until 1572, tenor singer 1577-1591), Melchior Schramm and Blasius Amon (both until 1577). Blasius Amon (* about 1560 at Hall in the Tyrol, †1590 in Vienna) was ultimately the first Austrian to go to Venice to study, in particular the technique of polychoral music. The Vienna necrology of 15 August 1590 speaks highly of him as“such a distinguished musician that Germany had no one comparable.”
Besides the court music directors, several members of the ensemble were composers of repute themselves, including Michel Charles Du Buisson (about 1565), Christian Hollander (1565-1569), Johann Flori (1573-1580), Antoine de La Court (1574-1590), Nikolaus Sales (1581), Franz Sales (1580-1587), Melchior Neusiedler (1580/81), Tiburtio Massaini (1589/90), Sebastian Hasenknopf (1590/91) and Johann Faber (I) (in office 1564-1595). The court organist Servatius Rorif (1566-1587) was also active as an organ builder.
Under Jakob Regnart (about 1540-1599), who had already been appointed assistant court music director after Utendal’s death in 1581, the number of members of the court ensemble in Innsbruck increased to 32, excluding the court chaplains, with an additional 15 members of the trumpeter corps. Musical life at court acquired its glory not only from the resident artists but also from foreign musicians with court connections, including Rudolf di Lasso, Annibale Padovano, and Antonio Scandello. Orlando di Lasso, Cyprian de Rore, Jakobus Vaet, Philipp de Monte and Andrea Gabrieli dedicated compositions to the court of Innsbruck, some of them commissioned and some at their own request. Andrea Gabrieli’s six-part madrigals (RISM A/I G 72) are dedicated to Archduke Ferdinand and must also have been heard in Innsbruck. Thus Innsbruck court musicians interpreted works in the most modern musical genre of the day. Connections and even the exchange of musicians were kept up with the court singers and orchestras of Vienna, Munich and the Swabian Hohenzollern court of Hechingen. Several Munich court musicians stayed in Innsbruck between 1581 and 1588, this time without their director of music Orlando di Lasso, who was there at least briefly in 1582 and 1584.[14]
Archduke Ferdinand II also collected rare and unusual kinds of musical instruments according to museum principles for his Kunstkammer, or cabinet of art. His collection included not only bowed stringed instruments, e.g. by Gerolamo de Virchi, Gasparo da Salò, Georg Gerle, but also “Turkish shawms,”“Persian army drums,” and mechanical musical instruments. Although Ferdinand had disposed by will that the collection should remain at Ambras Castle “not divided up and for all time,” Emperor Franz I gave orders for it to be moved to Vienna because he thought it endangered by the Bavarian occupation. Most of the surviving instruments have been kept in the Kunsthistorisches Museum in Vienna since the end of the 19th century.[15] Emperor Rudolf had an inventory of all the instruments made after Ferdinand’s death. It also lists the written and printed music in the Kunstkammer, to which the Archduke had added manuscript choir-books and splendid printed music from Italy, France, Germany, and the Low Countries.[16] The musical repertoire at the Innsbruck court at the time of Ferdinand II consisted of liturgical music for the church and madrigals, canzonettes, villanellas, chansons, as well as songs to be sung at table and in the chamber. Theatrical performances took place at the royal residence (Hofburg) and at Ambras Castle, for which famous singers and theater companies from Italy such as the Comici Gelosi were engaged. Ferdinand’s predilection for the theater also shows in the “Schöne Comoedi Speculum Vitae Humanae” (A Pretty Play on the Mirror of Human Life)that he wrote in 1584, for which his court music director Regnart composed “motets and song.”[17] The ruler always kept salaried “dancers and acrobats” at his court, most of them Italians, who also gave dancing lessons to court society.[18] After Archduke Ferdinand II died in 1595, the court ensemble of singers and instrumentalists was disbanded along with the royal household in 1596.
Sixteen musicians followed the new governor Archduke Maximilian (1558-1618, known as the “Deutschmeister,” i.e. German Master of the Teutonic Order) from his residence in Mergentheim to Innsbruck in 1602. Johann Pettauer, the music director taken along with them, was replaced in 1603 by Johannes de Fossa the Younger and in 1607 by Johann Stadlmayr (ca. 1575-1648). At what was now a rather modest royal household, the court singers’ and orchestra’s duties primarily concerned church music. In addition, German songs and Italian madrigals were performed at mealtimes and in the guests’ honor, as evidenced by a list dated 1619 of the court orchestra’s music. After the death of the regent, the Innsbruck court ensemble was once again fated to disband in 1618.[19]
Archduke Leopold V (1586-1632) resided in Innsbruck periodically from 1619 on and had most of his court musicians follow him there from his bishop’s residence in Zabern (Alsace). In 1624 Johann Stadlmayr was able to regain his position as the court music director of what was by now an enlarged court ensemble of singers and orchestra. Thus the leading representative of south German and Austrian early Baroque sacred music was committed to Innsbruck. He even preferred his post there to his appointment by the imperial court to Vienna. Stadlmayr’s fame had already spread far beyond the Tyrol during his lifetime. Two famous contemporary music theorists paid tribute to him by name: Michael Praetorius termed Stadlmayr an “excellent contrapuntist and musician” and Abraham Megerle (1607-1680), once a choir boy under Stadlmayr around 1620, later a treble singer and organist with the court music ensemble at Innsbruck, called his teacher “an eternal distinction and honor for all composers” in his autobiography of 1672.[20]
The marriage of Archduke Leopold to Claudia de Medici 1626 in Innsbruck was the occasion for grand festivities accompanied by music both at the church ceremonies and at mealtimes, where 40 “musical artists” entertained the guests, or at balls, where there was dancing in “French, Italian and German styles.” Italian songs provided the music for a ballet.
Leopold had been most impressed by Italian musical drama in Florence. In 1628 he therefore decided to replace the hitherto improvised stages in the royal residence (Hofburg) and in Ambras Castle with a fixed theater. The court architect Christoph Gumpp was sent to Italy to draw theater plans in Parma, Mantua and Florence. Finally, the building used for recreation north of the Hofburg in Innsbruck, built around 1584 by Archduke Ferdinand, was converted from 1629 to 1631 into a theater with an auditorium. This opera house (Comedihaus) was one of the first in the entire German-speaking world. The building survived until its destruction in 1944, albeit serving other purposes over the course of time, e.g. as a tollhouse (Dogana) in the 19th century. The singer, conductor, composer and choreographer Francesco Compagnolo (†1630) summoned by Leopold to Innsbruck was one of the day’s leading figures of international musical drama, but he did not live to see the completion of the new venue. In 1632 the Archduke died as well, probably even before a regular theater program had begun. During her solo reign, the prince’s widow economized at court because of the Thirty Years’ War and dismissed most of the musicians, including all the Italians except the one who was also the court chaplain. Nevertheless, the ensemble comprising only thirteen singers and instrumentalists as well as four choirboys had an excellent reputation under Stadlmayr.[21]
To Archduke Ferdinand Karl (1628-1662) the arts and their patronage were more important than state affairs. Almost obsessed by music, he spared no expense to hire the best virtuosos even when this meant financial ruin for the country. The court singers and orchestra used for church services were reinforced by instrumentalists who also performed in the chamber and in the theater. Succeeding Stadlmayr as the musical director in 1648 was the court organist Ambrosius Reiner (1604-1672). The largely German independent group of court trumpeters provided mainly outdoor musical entertainment. The chamber musicians, the virtuoso singers including castrati and the instrumentalists, were all Italians except for the English gamba virtuoso William Young (ca. 1610-1662) and the bassoonist Siegmund Albrecht Händl. They formed the core of the opera company. They included the singers Antonio Melani, Giovanni Antonio Pandolfo Mealli, the future Viennese court music director Antonio Pancotti, and the violinists Roberto Sabbatini and Antonio Maria Viviani, the latter also being the “superintendent” of this ensemble and court chaplain. He did have a superior, however, who was Pietro Antonio (Marc’Antonio) Cesti (1623-1669), already a “musical miracle” in his day and still considered one of the most important opera composers of the 17th century. It was through him that opera spread from Italy to Vienna and southern Germany. He composed many magnificent operas in and for Innsbruck and helped raise musical drama in Innsbruck to what was a unique flowering for a German-speaking ducal court.
From 1652 to 1654 Archduke Ferdinand Karl had a new opera house (Komödienhaus) built next to the royal residence on the site of today’s Tiroler Landestheater. It was designed according to Venetian models but eventually outdid them. Italian skilled craftsmen equipped it with every possible kind of artistic and technical furnishings. With a seating capacity of about a thousand, it was the first detached opera house in the German-speaking world and the first German stage that employed salaried personnel. The building was inaugurated in 1654 with “
La Cleopatra,” Cesti’s adaptation of “Il Cesare Amante” for Innsbruck. Itinerant actors from the Low Countries, Italy and Germany later also played there. One of them, Laurentius von Schnüffis (1633-1702), was even granted the title of poet laureate. Archduke Ferdinand Karl decided around 1660 to convert the opera house into a riding school with an attached theater. It featured the most sophisticated technical equipment allowing, for instance, ships to float in water on stage. Overwhelming musical experiences were provided in the late fall of 1655 for guests attending the visit of Queen Christina of Sweden: she was led into the city by eighteen trumpeters and two timpanists and, after making her profession of the Catholic faith in the court church, she attended a mass accompanied by “choice music.” Among other entertainments, Archduke Ferdinand Karl hosted a grand theatrical spectacle in her honor: the performance of the opera “L’Argia” by Cesti, based on a text by the Innsbruck court poet Johann Philipp Apollonio. It comprised eight acts and four ballets executed by the best and most expensive performers. Queen Christina’s second sojourn in Innsbruck in 1662 was another occasion for the composition and performance of a magnificent opera. This time Cesti set “La Magnanimità d’Alessandro” to music.[22]
When Archduke Sigmund Franz (1630-1665) took office in 1663 he put an end to the luxury of his brother’s household in order to rehabilitate the state budget. He reduced the number of court and chamber musicians and dismissed actors, but kept Cesti in his service. While the inventory of Archduke Sigmund Franz’s estate lists a wealth of musical instruments, music, and portraits of composers, reasons of economy would hardly have allowed him to expand the collection himself. Cesti had already composed a new opera for the marriage of his lord (“Semiramis ossia la schiava fortunata”), but the latter died before the wedding celebration.
The Tyrol then fell to Emperor Leopold I. He abolished the royal household in Innsbruck in 1665. Once again the Innsbruck court musicians lost their jobs; only a few were taken over by Vienna. However, as early as the next year Leopold engaged a few musicians in Innsbruck to provide music in the court church and for the prince’s widow Anna de Medici and princely guests.[23] The 18 musicians originally comprising this “imperial court orchestra” (kaiserliche Hofmusik) were subordinate to the Viennese court via the Innsbruck officials of the treasury. After the death of Ambrosius Reiner, Giovanni Buonaventura Viviani (1638-after 1692) took over the musical direction of the ensemble from 1672 to 1676, followed by Severin Schwaighofer (†1700), who had hitherto been the court organist and became well known through his compositions for Jesuit dramas.[24]
Eleonore of Austria, the wife of Duke Karl of Lorraine who was appointed governor of the Tyrol in 1678, appreciated music of quality and distinction at her Innsbruck residence. She not only had musicians in her personal service but even a court composer of her own, Carlo Agostino Badia (ca. 1672-1738). Opera and oratorio performances and the promotion of Jesuit drama demonstrated the duchess’s appreciation for the arts (†1697).[25]
A new governor did not come to the Tyrol until 1707. Duke Karl Philipp von der Pfalz-Neuburg (1661-1742) had his Silesian orchestra accompany him to Innsbruck; his director of music Johann Jakob Greber (before 1700-1731) joined his players up with the “imperial court orchestra” in Innsbruck to form an ensemble numbering over 40. Duke Karl Philipp, his wife Theresa and his daughter Elisabeth were each able to play an instrument or sing excellently themselves. Family festivities at court and the visits of ducal guests were once again given a festive setting with musical drama, ballet, and Jesuit drama. During Holy Week they listened to oratorios (“Sepolcri”). The opera house was renovated in 1709. After the death of his brother Johann Wilhelm, Duke Karl Philipp took over the government of the Palatine patrimonial lands. He moved his royal household to Neuburg and Heidelberg in 1717, to Mannheim in 1720. The most able performers of Innsbruck court orchestra moved with him, forming the basis of the Mannheim Orchestra that was to play a decisive part in the development of the classical style of music under Johann Stamitz and his successors.[26] For the musicians who remained in Innsbruck, now only responsible for the music at divine services in the court church, Emperor Leopold I appointed Bernardo d’Aprile (ca. 1687-1781) as the director of music in 1720. In the course of imperial efforts at centralization, however, the latter was relieved of his post again in 1724. From then on Johann Heinrich Hörmann (1694-1763) served as the director of the court orchestra whose dissolution had been officially decreed in 1724. Positions becoming vacant were no longer filled. In 1748 the last four surviving Innsbruck court musicians either retired or took over an office in the government chancellery.[27]

Fussnoten

[1] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 1ff;
Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 659;
Manfred SCHNEIDER, “Vom Musikleben am Hof Herzog Sigmunds des Münzreichen,” Der Herzog und sein Taler: Erzherzog Sigmund der Münzreiche - Politik, Münzwesen, Kunst, exh. cat. Tiroler Landesausstellung in Hall, Tirol 1986, Innsbruck 1986, p. 57ff;
Hans Joachim MOSER, Paul Hofhaimer, Stuttgart, Berlin 1929, p. 14ff.

[2] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 18ff;
Walter SENN, “Maximilian und die Musik,” Ausstellung Maximilian I. Innsbruck, exh. cat., Innsbruck 1969, p. 76;
Gernot GRUBER, “Beginn der Neuzeit,” Musikgeschichte Österreichs, vol. 1, ed. Rudolf Flotzinger and Gernot Gruber, Graz etc. 1977, p. 196. -
Cf. Uta HENNING, Musica Maximiliana: Die Musikgraphiken in den bibliophilen Unternehmungen Kaiser Maximilians I., Neu-Ulm 1987.

[3] Gernot GRUBER, “Beginn der Neuzeit,” Musikgeschichte Österreichs, vol. 1, ed. Rudolf Flotzinger and Gernot Gruber, Graz etc. 1977, p. 190ff.

[4] Walter SENN, “Maximilian und die Musik,” Ausstellung Maximilian I. Innsbruck, exh. cat., Innsbruck 1969, p. 77;
Franz WALDNER, “Heinrich Ysaac,” Zeitschrift des Ferdinandeums, 3rd series, no. 48 (1904) p. 189;
Louise CUYLER, The Emperor Maximilian I and Music, London etc. 1973, p. 47ff.

[5] Walter SENN, “Maximilian und die Musik,” Ausstellung Maximilian I. Innsbruck, exh. cat., Innsbruck 1969, p. 76, 80f.;
Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 659;
Walter SENN, “Musik in Tirol: Älteste Nachrichten-Heldenlieder-Minnesänger-Spielleute,” Erläuterungen zur Kulturkarte von Tirol: Historische Stätten und Kulturdenkmale, ed. Ernest Troger, Vienna 1967, p. 25;
Louise CUYLER, The Emperor Maximilian I and Music, London etc. 1973, p. 49;
Gernot GRUBER, “Beginn der Neuzeit,” Musikgeschichte Österreichs, vol. 1, ed. Rudolf Flotzinger and Gernot Gruber, Graz etc. 1977, p. 198;
Otto ZUR NEDDEN, “Zur Geschichte der Musik am Hofe Kaiser Maximilians I.,” Zeitschrift für Musikwissenschaft 15 (1932/33) p. 27.

[6] Walter SENN, “Maximilian und die Musik,” exh. cat. Maximilian I. Innsbruck, Innsbruck 1969, p. 84;
Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 30;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 14.

[7] Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 660;
Walter SENN, “Maximilian und die Musik,” exh. cat. Maximilian I. Innsbruck, Innsbruck 1969, p. 77;
Cf. Gernot GRUBER, “Beginn der Neuzeit,” Musikgeschichte Österreichs, vol. 1, ed. Rudolf Flotzinger and Gernot Gruber, Graz etc. 1977, p. 198.

[8] Quoted as in Ulrich CRÄMER, “Eine Reise durch Schwaben, Tirol und die Rheinlande im Jahre 1503,” Alemannisches Jahrbuch (1956) p. 383.

[9] Quoted as in Ulrich CRÄMER, “Eine Reise durch Schwaben, Tirol und die Rheinlande im Jahre 1503,” Alemannisches Jahrbuch (1956) p. 385.

[10] Walter SENN, “Maximilian und die Musik,” exh. cat. Maximilian I. Innsbruck, Innsbruck 1969, p. 79;
Gernot GRUBER, “Beginn der Neuzeit,” Musikgeschichte Österreichs, vol. 1, ed. Rudolf Flotzinger and Gernot Gruber, Graz etc. 1977, p. 201;
Cf. also:
Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 660;
Louise CUYLER, The Emperor Maximilian I and Music, London etc. 1973, p. 66f;
Wolfgang PFAUNDLER, Die schönsten Bilder von Innsbruck 1500-1822, Innsbruck n.d., p. 2ff.

[11] Walter SENN, “Maximilian und die Musik,” exh. cat. Maximilian I. Innsbruck, Innsbruck 1969, p. 81;
Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 29f;
Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 659;
Walter SENN, “Musik in Tirol: Älteste Nachrichten-Heldenlieder-Minnesänger-Spielleute,” Erläuterungen zur Kulturkarte von Tirol: Historische Stätten und Kulturdenkmale, ed. Ernest Troger, Vienna 1967, p. 25;
Walter SENN, “Volkslieder in Tirol bis zum 17. Jahrhundert,” Innsbrucker Beiträge zur Kulturwissenschaft 4 (1956) p. 189;
Franz WALDNER, “Heinrich Ysaac,” Zeitschrift des Ferdinandeums, 3rd series, no. 48 (1904) p. 185ff;
Gerhard Rudolf PÄTZIG, Liturgische Grundlagen und handschriftliche Überlieferung von Heinrich Isaacs “Choralis Constantinus,” PhD Tübingen 1956, p. 100, 106;
Gernot GRUBER, “Beginn der Neuzeit,” Musikgeschichte Österreichs, vol. 1, ed. Rudolf Flotzinger and Gernot Gruber, Graz etc. 1977, p. 209, 223;
Cf. Ludwig STEUB, Herbsttage in Tirol, 2nd edn, Munich 1889, p. 43;
Martin PICKER, Henricus Isaac: A Guide to Research (Composer Resource Manuals 35), New York, London 1991, p. 4ff, 115f.
Walter SALMEN, “‘Innsbruck, ich muß dich lassen’: Die Wandlung einer popularen Hofweise vom 16. zum 20. Jahrhundert,” Heinrich Isaac und Paul Hofhaimer im Umfeld von Kaiser Maximilian I., ed. Walter Salmen (Innsbrucker Beiträge zur Musikwissenschaft 16), Innsbruck 1997, p. 245ff;
Andrea LINDMAYR-BRANDL, “‘Innsbruck, ich muß dich lassen’: Eine Rezeptionsgeschichte des Isaakschen Liedsatzes,” Heinrich Isaac und Paul Hofhaimer im Umfeld von Kaiser Maximilian I., ed. Walter Salmen (Innsbrucker Beiträge zur Musikwissenschaft 16), Innsbruck 1997, p. 255ff.

[12] Walter SENN, “Maximilian und die Musik,” exh. cat. Maximilian I. Innsbruck, Innsbruck 1969, p. 80;
Gernot GRUBER, “Beginn der Neuzeit,” Musikgeschichte Österreichs, vol. 1, ed. Rudolf Flotzinger and Gernot Gruber, Graz etc. 1977, p. 208;
Adolf KOCZIRZ, “Die Auflösung der Hofmusikkapelle nach dem Tode Kaiser Maximilians I.,” Zeitschrift für Musikwissenschaft 13 (1931) p. 531ff.

[13] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 59f;
Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 660;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 9;
Hans HEILING, “Historische Orgeln in Tirol: Ein Beitrag zu ihrer Geschichte und Charakteristik,” Ars organi 35 (1969) p. 1323;
Josef MERTIN, “Historische Musikinstrumente Tirols,” Österreichische Musikzeitschrift 25 (1970) p. 686, 688;
Alois FORER, Orgeln in Österreich, Vienna, Munich 1973, p. 176f;
Egon KRAUSS, Die Orgeln Innsbrucks (Innsbrucker Beiträge zur Musikwissenschaft 1), Innsbruck 1977, p. 24ff;
Egon KRAUSS, Die Ebert-Orgel in der Hofkirche zu Innsbruck (1558): Ihre Geschichte und Wiederherstellung, published posthumously, ed. Markus Spielmann (Musikwissenschaftliche Beiträge der Schlägler Musikseminare 2), Innsbruck, Neu-Rum 1989. -
See also several articles on “Die Ebertorgel und ihre Restaurierung,” Orgel und Orgelspiel im 16. Jahrhundert, ed. Walter Salmen (Innsbrucker Beiträge zur Musikwissenschaft 2), Neu-Rum near Innsbruck 1978.

[14] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 63ff;
Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 660f;
Walter SENN, “Musik in Tirol: Älteste Nachrichten-Heldenlieder-Minnesänger-Spielleute,” Erläuterungen zur Kulturkarte von Tirol: Historische Stätten und Kulturdenkmale, ed. Ernest Troger, Vienna 1967, p. 25;
Walter SENN, “Zur Lebensgeschichte von Hans Schächinger d.Ä. und Hans Schächinger d.J. ,” Acta Organologica 7 (1973) p. 191;
Walter SENN, “Zur Lebensgeschichte des Tiroler Komponisten Blasius Amon (um 1560-1590): Mit einem Werkverzeichnis,” Veröffentlichungen des Tiroler Landesmuseum Ferdinandeum 56 (1976) p. 152;
Walter PASS, “Reformation und katholische Erneuerung,” Musikgeschichte Österreichs, vol. 1, ed. Rudolf Flotzinger and Gernot Gruber, Graz etc. 1977, p. 257ff;
Walter PASS, Musik und Musiker am Hof Maximilians II. (Wiener Veröffentlichungen zur Musikwissenschaft 20), Tutzing 1980, p. 117ff;
Alfred EINSTEIN, “Italienische Musik und italienische Musiker am Kaiserhof und an den erzherzoglichen Höfen in Innsbruck und Graz,” Studien zur Musikwissenschaft 21 (1934) p. 8f;
Martin RUHNKE, Beiträge zu einer Geschichte der deutschen Hofmusikkollegien im 16. Jahrhundert, Berlin 1963, p. 243, 304, 307;
Franco COLUSSI, “Prefazione,” ‘Il secondo libro de madrigali a sei voci’ Venezia, Angelo Gardano 1580 (Edizione Nationale delle Opere di Andrea Gabrieli [1533]-1585. Edizione Critica 8), Milano 2001, p. 9f;
Wolfgang BOETTICHER, Aus Orlando di Lassos Wirkungskreis, Kassel etc. 1963, p. 36ff;
Hildegard HERRMANN-SCHNEIDER, “Tiroler Landesfürst verehrte ‘göttlichen’ Orlando,” Tiroler Tageszeitung (04-05.09.1993) p. 8. -
Cf. Jutta HÖPFEL, Innsbruck Residenz der alten Musik, Innsbruck, Vienna 1989, p. 39ff;
cf. Peter TSCHMUK, Die höfische Musikpflege in Tirol im 16. und 17. Jahrhundert: Eine sozioökonomische Untersuchung (Bibliotheca Musicologica Universität Innsbruck 5), Innsbruck etc. 2001, p. 33ff.

[15] Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 661f;
Franz WALDNER, “Zwei Inventarien aus dem XVI. und XVII. Jahrhundert über hinterlassene Musikinstrumente und Musikalien am Innsbrucker Hofe,” Studien zur Musikwissenschaft 4 (1916) p. 129ff;
Alois PRIMISSER, Die kaiserlich-königliche Ambraser Sammlung, Vienna 1819, p. 216ff;
Walter PASS, “Die Instrumentensammlung des Tiroler Landesmuseums Ferdinandeum,” Österreichische Musikzeitschrift 25 (1970) p. 693;
Josef MERTIN, “Historische Musikinstrumente Tirols,” Österreichische Musikzeitschrift 25 (1970) p. 690;
Für Aug’ und Ohr: Musik in Kunst- und Wunderkammern, exh. cat. Kunsthistorisches Museum Vienna in Schloss Ambras 1999, ed. Wilfried Seipel, Vienna 1999.
Other works from Ferdinand’s Kunst- and Wunderkammer that have been preserved include the anonymous six-part motet and Ludwig Senfl’s four-part song “Aus gutem Grund” embroidered on linen and kept in a silk pouch on a belt. For facsimile editions of both, see IMPERIALE Musik von Schloß Ambras aus der Regierungszeit Karls V. und Ferdinands I., ed. Walter Salmen, Innsbruck 1992.
[16] Alois PRIMISSER, Die kaiserlich-königliche Ambraser Sammlung
[16] Alois PRIMISSER, Die kaiserlich-königliche Ambraser Sammlung, Vienna 1819, p. 256ff;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 251;
Wolfgang BOETTICHER, Aus Orlando di Lassos Wirkungskreis, Kassel etc. 1963, p. 37.

[17] Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 662;
Helmuth OSTHOFF, “Eine unbekannte Schauspielmusik Jakob Regnarts,” Festschrift für Johannes Wolf zu seinem sechzigsten Geburtstage, Berlin 1929, repr. Hildesheim, New York 1978, p. 153f.

[18] Josef HIRN, Erzherzog Ferdinand II. von Tirol: Geschichte seiner Regierung und seiner Länder, vol. 2, Innsbruck 1888, p. 476.

[19] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 187ff;
Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 662;
Walter PASS, “Reformation und katholische Erneuerung,” Musikgeschichte Österreichs, vol. 1, ed. Rudolf Flotzinger and Gernot Gruber, Graz etc. 1977, p. 259f;
Othmar WESSELY, “Das Werden der barocken Musikkultur,” Musikgeschichte Österreichs, vol. 1, ed. Rudolf Flotzinger and Gernot Gruber, Graz etc. 1977, p. 285. -
Cf. Peter TSCHMUK, Die höfische Musikpflege in Tirol im 16. und 17. Jahrhundert: Eine sozioökonomische Untersuchung (Bibliotheca Musicologica Universität Innsbruck 5), Innsbruck etc. 2001, p. 189ff.

[20] Quoted as in Walter Senn, “Stadlmayr, Johann,” Die Musik in Geschichte und Gegenwart, vol. 12, Kassel etc. 1965, col. 1130f. -
The excerpt from Megerle’s autobiography “Speculum musico-mortuale, das ist Musicalischer Todtenspiegel” is quoted in a broader context by Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 201. -
Cf. Peter TSCHMUK, Die höfische Musikpflege in Tirol im 16. und 17. Jahrhundert: Eine sozioökonomische Untersuchung (Bibliotheca Musicologica Universität Innsbruck 5), Innsbruck etc. 2001, p. 275, 308, 318f, 369.

[21] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 205ff;
Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 662ff;
Othmar WESSELY, “Das Werden der barocken Musikkultur,” Musikgeschichte Österreichs, vol. 1, ed. Rudolf Flotzinger and Gernot Gruber, Graz etc. 1977, p. 287ff;
Franz Carl ZOLLER, Geschichte und Denkwürdigkeiten der Stadt Innsbruck und der umliegenden Gegend, vol. 1, Innsbruck 1816, p. 316ff.;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 257ff;
“HOFSTAAT, Hofsitte und Hoffestlichkeiten unter Erzherzog Leopold dem Frommen zu Innsbruck,” Neue Zeitschrift des Ferdinandeums fuer Tirol und Vorarlberg 2 (1836) p. 17ff. -
Cf. Peter TSCHMUK, Die höfische Musikpflege in Tirol im 16. und 17. Jahrhundert: Eine sozioökonomische Untersuchun, (Bibliotheca Musicologica Universität Innsbruck 5), Innsbruck etc. 2001, p. 242ff., 323ff.

[22] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 244ff;
Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 665ff;
Walter SENN, “Musik in Tirol: Älteste Nachrichten-Heldenlieder-Minnesänger-Spielleute,” Erläuterungen zur Kulturkarte von Tirol: Historische Stätten und Kulturdenkmale, ed. Ernest Troger, Vienna 1967, p. 25;
Franz Carl ZOLLER, Geschichte und Denkwürdigkeiten der Stadt Innsbruck und der umliegenden Gegend, vol. 1, Innsbruck 1816, p. 370ff;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock. Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 262f;
Adolf SANDBERGER, “Beziehungen der Königin Christine von Schweden zur italienischen Musik, insbesondere zu M.A. Cesti: Mit einem Anhang über Cestis Innsbrucker Aufenthalt,” Bulletin de la société ‘Union Musicologique’ 5 (1925) p. 138ff;
Norbert HÖLZL, “Innsbrucks größtes Theaterfest für Christine von Schweden: Die Festoper ‘L’Argia’ mit 70 Personen, drei Chören und vier Balletten,” Tiroler Heimatblätter 46 (1971) p. 112ff. -
Cf. Jutta HÖPFEL, Innsbruck Residenz der alten Musik, Innsbruck, Vienna 1989, p. 81ff.

[23] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 292ff;
Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 668f;
Franz WALDNER, “Zwei Inventarien aus dem XVI. und XVII. Jahrhundert über hinterlassene Musikinstrumente und Musikalien am Innsbrucker Hofe,” Studien zur Musikwissenschaft 4 (1916) p. 130ff;
Franz Carl ZOLLER, Geschichte und Denkwürdigkeiten der Stadt Innsbruck und der umliegenden Gegend, vol. 1, Innsbruck 1816, p. 383;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 263;
Adolf SANDBERGER, “Beziehungen der Königin Christine von Schweden zur italienischen Musik, insbesondere zu P. A. Cesti: Mit einem Anhang über Cestis Innsbrucker Aufenthalt,” Bulletin de la société ‘Union Musicologique’ 5 (1925) p. 160.

[24] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 295ff;
Herbert SEIFERT, Giovanni Buonaventura Viviani: Leben, Instrumentalwerke, Vokale Kammermusik (Wiener Veröffentlichungen zur Musikwissenschaft 21), Tutzing 1982, p. 20f, 27, 188f. -
A toccata in D and a canzona in D for organ by Severin Schwaighofer played by Ernst Kubitschek are available on CD: “Orgeln in Tirol: Ried im Oberinntal 1733,” Innsbruck: ORF Tirol 1999. -
Two other toccatas and a canzona for organ by Severin Schweighofer played by Peter Waldner are available on CD: “Chororgel im Stift Stams,” Innsbruck: ORF Tirol 1995.

[25] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 305ff;
Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 669.

[26] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 312ff;
Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 669f;
Walter SENN, “Musik in Tirol: Älteste Nachrichten-Heldenlieder-Minnesänger-Spielleute,” Erläuterungen zur Kulturkarte von Tirol: Historische Stätten und Kulturdenkmale, ed. Ernest Troger, Vienna 1967, p. 26;
Walter SENN, “Einleitung,” Tiroler Instrumentalmusik im 18. Jahrhundert, ed. Walter Senn (Denkmäler der Tonkunst in Österreich 86), Vienna 1949, p. VIf;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 263f;
Gerhard CROLL, “Zur Vorgeschichte der ‘Mannheimer’,” Bericht über den siebenten internationalen musikwissenschaftlichen Kongress Köln 1958, Kassel etc. 1959, p. 82f;
Roland WÜRTZ, Verzeichnis und Ikonographie der kurpfälzischen Hofmusiker zu Mannheim nebst darstellendem Theaterpersonal 1723-1803 (Quellenkataloge zur Musikgeschichte 8), Wilhelmshaven 1975, p. 35ff;
Ludwig FINSCHER, “Mannheimer Orchester- und Kammermusik,” Die Mannheimer Hofkapelle im Zeitalter Carl Theodors, ed. Ludwig Finscher, Mannheim 1992, p. 141.

[27] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 324ff;
Walter SENN, “Innsbrucker Hofmusik,” Österreichische Musikzeitschrift 25 (1970) p. 670;
Walter SENN, “Der Innsbrucker Hofmusiker Johann Heinrich Hörmann (1694-1763),” Tiroler Heimatblätter 50 (1975), p. 85.
[28] Lambert STREITER, “Die Pflege der Musik in Südtirol,” Süd-Tirol: Land und Leute vom Brenner bis zur Salurner Klause, ed. Karl von Grabmayr, Berlin 1919, p. 177.