Page:History of the German people at the close of the Middle Ages vol1.djvu/256

244 HISTORY OF TILE GERMAN PEOPLE of Maximilian, and, together with Josquin, was the pride fo the imperial orchestra. Heinrich Isaak ranks among the most renowned musicians, not alone of his own, but of all succeeding- centuries. Among his best-known works were two motetts, in six parts, planned on a grand scheme, com- posed to glorify the highest spiritual and temporal powers, as represented by the Pope and the Emperor. Another motett on a hymn to the Virgin is regarded as one of the best examples of sweetness and purity of style. His principal work, an arrangement of the Offices of the Church for Sundays and Holy Days, con- tains the most instructive models for the study of the Gregorian chorale and figured counterpoint. In this last work his pupil, Louis Senfl of Zurich, a man of deep religious feeling and of brilliant imagination, aided him not a little. Among Senfl's composi- tions, the one commencing 'Eternal God! at whose command the Son came upon the earth ' is a jewel. It belongs to those historical songs, in the widest sense of the word, which embody the spirit of a whole epoch. Another very distinguished composer of religious hymns of the fifteenth century worthy of mention was Heinrich Finck, Capelmeister to the Polish Court at Cracojjv from 1492. The finale of his pilgrim canticle, ' In Thy name we journey on, Lord,' shows all the fire of Handel's great choruses. His numerous arrange- ments of Latin hymns are fine and solemn compositions. His ' Seven Salutations to the Suffering Eedeemer,' motetts for four or six voices, are full of beauty and technical correctness, and breathe the tenderest piety. Contemporary German art can show hardly anything