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The 'Swiss Orpheus' - Ludwig Sennfl

Chapter headings of book

This is the subject matter which the book contains:

Chapter 1

The historical, social, political and musical background into which Sennfl was born; Maximilian I, his personal life, musical life in Germany

 

Chapter 2

The plans for and the beginnings of Maximilian’s Hofkapelle; Sennfl’s birth and early years

 

Chapter 3

 The Hofkapelle on the road; a-hunting we shall go; Sennfl trains as a priest; Maximilian’s plans continue

 

Chapter 4

Sennfl studies with Isaac and begins his musical career; Isaac’s Constanz commission which was to become Choralis Constantinus; Sennfl’s first compositions and lieder publications; Maximilian for Pope?

 

Chapter 5

Sennfl returns to the Hofkapelle; he takes up classical studies; Isaac retires to Italy and Sennfl becomes de facto Court Composer to the Imperial Chapel; the Triumphs of Maximilian; an unhappy accident; the death of Isaac; more on the Choralis Constantinus; Maximilian’s last Reichstag and a possible meeting of Sennfl and Luther

 

Chapter 6

The death of Maximilian; Charles V makes Sennfl and others redundant; four years of job-seeking; the Liber Selectarum Cantionum; the diet of Worms

 

Chapter 7

Sennfl becomes court Composer to Wilhelm IV of Munich; Opus musicum; more settled times for a while; new songs

 

Chapter 8

Sennfl questions his own beliefs whilst remaining at least outwardly a Roman Catholic; correspondence with Luther and the Prussian court; transport problems

 

Chapter 9

More on the Choralis Constantinus; a change of lifestyle; more about the question of faith; the Munich choirbooks and Marian compositions; an amazing ode; influence on the next generation; a different kind of court

 

Chapter 10

The last years; did Sennfl resign? the final publications; the religious question never fully resolved; his death

 

Chapter 11

Post script: The grave inscription speaks; Choralis Constantinus finally published; Sennfl’s successors

 

Chapter 12

The music: the lied as an art form; Lust hab ich g’habt zuer Musica

 

Chapter 13

Sennfl’s secular lieder output

 

Chapter 14

The so-called instrumental music

 

Chapter 15

The Latin odes; the Italian, French and Latin songs

 

Chapter 16

The masses, proper and ordinary; the Vespers

 

Chapter 17

The religious lieder

 

Chapter 18

The motets

 

Chapter 19

Personal and musical evaluation of Sennfl; his position in musical history; speculation as to where he stood on religious matters; did it matter? legacy for immediate generations; legacy for later generations; position today

 

 

Chapter headings