Heinrich Isaak, who was a member of the choir of the Emperor Maximilian from 1493 to 1519, enjoyed Italian training, and wrote sacred and secular music in the prevailing Flemish style. He won for himself the title of the “German Orpheus.” His contemporary, Heinrich Finck, was likewise famous and beloved. Also Stephan Mahu, a singer in the choir of Ferdinand I., was of the same school, and wrote motets and “lamentations” in a simple but sublime style. The earliest Protestant music was in the style of these masters, and the choral with contrapuntal accompaniment was suggested by their treatment of sacred chants and secular melodies. Under the influence of the Reformation, sacred music was cultivated with renewed fervor. Martin Luther, the head and front of the great movement, took a profound interest in music, which he exemplified by his noble “Ein’ feste Burg,” and other melodies and hymns. Associated with him were the musicians Johann Walther and Louis Senfl. Their labors did not extend beyond the middle of the sixteenth century, and may be said to mark the first period of Protestant Church music. Walther was court musician at Torgau when called by Luther to Wittenberg to collaborate with the singer, Conrad Rupff, concerning the arrangement of the German mass. Walther’s choral book was the first one published. It appeared at Wittenberg in 1524, under the supervision of Luther, who wrote a preface to the work. [Illustration: LUDWIG SENFL. ] The most able musical character of the period was Ludwig Senfl. He was born and educated in Switzerland, and was a pupil of Heinrich Isaak. He became a member of the choir of Emperor Maximilian, and in 1530 was chosen director of church music at the Bavarian court in Munich, a position afterward held by Orlando Lasso. Senfl was not only a composer of motets and other church music, but also, according to the custom of his day, set to music many ancient odes, particularly those of Horace. A collection of these odes was published in 1534 at Nuremberg. Senfl did not compose original chorals, but in his contrapuntal treatment of them displayed a higher degree of skill and taste than his contemporaries, and he was clearly the forerunner of masters like Eccard and Michael Prætorius. A pure, religious spirit animates his works, and the chaste style of his themes and counterpoint renders his music interesting. Among other masters of this period who were influenced by the Flemish school may be mentioned Heinrich Finck, Rahw, Resinarius, Agricola, Duces, Dietrich and Stolzer. Finck is especially noted for his motet-like arrangements of chorals; and Rahw published in 1544 a collection of chorals to which the above-named composers and others contributed.