It has long been known that Henricus Isaac (ca. 1450––1517) wrote mass-propers for Constance cathedral. These are preserved in his posthumously printed, three-volume collection entitled Choralis Constantinus. Yet the first generation of postwar Isaac researchers showed that the Choralis contains music not only for Constance but for the Imperial court as well. Since then several theories have been advanced regarding the intended recipients of parts of the Choralis repertory. The present paper assesses these conflicting theories. It concludes that with one small possible alteration, the original division advanced by Gerhard Päätzig can stand, and that more recent proposals are not compelling. In addition, the new suggestion that Constance cathedral would have expected not only mass-propers in their commission but also mass-ordinaries is put forward, and a specific ordinary-setting which could have served this role is identified. The evaluation of the conflicting theories for how the Choralis divides leads, in the process, to a new model for the transmission of CCIII.
- ©© 2003 by The Regents of the University of California. All rights reserved.