Composer Review – Michael Praetorius
Regina Gorter
Northern State University M.M.E. Program
Summer 2014
I first heard of Michael Praetorius as an undergraduate student in Oklahoma City University. I was a scholarship singer at the All Souls Episcopal Church. Music at this church was very traditional, tended to be a cappella and when sung correctly, was gorgeous in the gigantic santuary where we sang weekly. The motets of Praetorius taught me as a singer/chorister to listen, blend, hohn a choral sound (good vowels and little vibrato), hear and enjoy harmony, and feel rhythm in a dance like way.
Michael Praetorius, born Michael Schultze, was one of the most prolific composers and music theorists of the Renaissance Period (1450-1600) and early Baroque (1600-1675). Praetorius is the Latinized version of his name. Born around February 15, 1571in Creusburg, Germany, he was the son of a Lutheran pastor. Praetorius’s father was actually a pupil of Martin Luther and with such influences as this in his background, it is no surprise that when he entered the University he studied divinity and philosophy. He also received a musical education from the University of Frankfurt and became organist at the Marienkerche in Frankfurt after graduation. He then served at the court in Wolfenbüttel and the Duke of Brunswick-Lüneburg’s State Orchestra as organist and then Kapellmeister (“chapel-master”).
Praetorius was a devout Lutheran Christian who wrote many, many hymns, masses, and other pieces for the church. He began composing around 1602-03 with choral motets that used the new Italian performance practices. Practices such as a fuller sound, use of canons, more ornamentation, refined instrumental techniques, and notation changes. He wrote for polychoral, solo voice, instrumental, and organ. His nine volume Musae Sioniae is a collection of more than 1,200 songs and chorales. Along with his 300 dances in a collection called “Terpsichore”, and his theoretical writings, Praetorius easily becomes one of the most prolific composers/writers of his time. The chorale, or German harmonized hymn, was a form that Praetorius became very good at writing. And while his name is one that I do remember from undergraduate work, especially singing of his motets, I did not realize that he is more known for his theoretical writing. Since this was new to me I thought, “how wonderful!” and searched for his famous three volumes of musical theory called “Syntagma musicum” that he wrote. I thought it would be great to download it from the internet and take a look at it…the first volume is over 500 pages! I did NOT download it. The second volume is very valuable as it gives us a look into instrument past. Praetorius included pictures of 42 instruments used in that time period; woodwinds, some brass, percussion, and strigns. During the Renaissance period, most instrumental music was a copy of the vocal part. For example, one of my listening pieces for this paper is “Psallite”. This piece can be sung a cappella or can be accompanied with instruments doubling on the vocal lines. As Praetorius enters the end of the Renaissance, instruments are beginning to find their own arrangements away from the chorale.
The musical style of this time period is guided by a barless fret. When these chorales are modernized with bar lines, the tendancy is to put emphasis on the wrong part of the text which with bar lines is beat one, right after the bar line. To perform this music correctly, it is important to let the text lead where to put the emphasis. Speaking through a motet and marking emphasis and de-emphasis is important for correct interpretation.
The three listening examples included with this paper are examples of his best work. Example 1: “Psallite, Unigenito” is a Christmas time piece and can be sung a cappella or with accompaniment. Example 2: “Es ist ein Ros entsprungen” is a stunning example of how his music has persevered through the centuries to still be one of Christmas’s most stunning pieces. Example 3: a selection from “Terpsichore” which is a collection of secular dance pieces. This last example really shows what instruments of this time period can do and it is quite exciting music! No wonder the Renaissance Festivals around the country are so popular. The Renaissance dance music always sounds an acoustic party is happening. Terpsichore, by the way, has to do with dance and music and was actually the name of one of the nine muses in Greek Mythology.
Praetorius finally makes his way to Dresden where he is able to work with Heinrich Schütz. He stayed at Dresden until he died on February 15, 1621 (his 50th birthday). I was unable to find out if he ever married however I do not think he as nothing in my research ever mentions a wife or children. His body is entombed under the organ of the Church of St. Mary in Wolfenbüttel, Germany.
Praetorius, perhaps is a little downplayed as many of the music history books only briefly mention him. Maybe not a lot is known about his life and details of composing but his music speaks volumes about his creativity.
Two examples of the pictures of instruments that Praetorius used in his Volume 2 of SyntagmaMusicum.
List of Works
1602-03 First compositions of motets. These motets used the new Italian performance practice.
1605-10 MusaeSioniae in 9 parts; somewhat modern pieces for the time includes 1,200 chorale and song arrangements
1609 EsisteinRosentsprungen
1611 Published collections of liturgical music (masses, hymns, magnificats in chorale style)
1612 Psallite; motet
1612 Terpsichore; more than 300 instrumental dances
1614-1620 SyntagmaMusicum; 3 volumes and and appendix
Vol. 1 (1614) MusicaeArtisanalecta, Vol. 2 (1618) De Organographia and appendix of instruments, Vol. 3 (1618) Termini Musicali
List of Choral Works from
Accende lumen sensibus ( )AchGottimHimmel ( Finale 2008)
Aeternegratiastibi ( )
Aequalisaeternopatri a 4 ( )
AlleinGott in der HöhseiEhr a 4 ( )
AlleinGott in der HöhseiEhr a 5 ( )
AlleinGott in der HöhseiEhr a 8 ( )
Alleluia ( )
Amen ( Encore)
An Wasserflüssen Babylon a 4 ( )
Angelus ad pastoresait (3 editions available)
Anima mea ( Finale 2008)
Auf bleibetTreu und haltet fest ( Capella )
Austiefer Not schreiichzudir a 3 ( )
Austiefer Not schreiichzudir a 8 ( )
Beatiomnes a 8 ( )
Benedicamus Domino (2 editions available)
Bleibbeiuns, Herr ( )
Cantate Domino ( )
Canticumtriumpuerorum (2 editions available)
Christ isterstanden a 3 ( )
Christ isterstanden a 4 ( Finale 2011)
Christ lag in Todesbanden I a 5 ( Finale 2011)
Christ lag in Todesbanden II a 5 ( )
Christe der du bist Tag und Licht I ( )
Christe der du bist Tag und Licht II ( )
Christe der du bist Tag und Licht III ( Finale 2000)
Christe der du bist Tag undLicht IV ( )
Christe, du LammGottes ( )
Christe, du LammGottes a 8 ( )
Christe qui lux es et dies (14 editionsavailable)
Christus, der uns seligmacht a 6 ( )
Citoeuntes (secunda pars) ( )
Conditoralmesiderum (2 editionsavailable)
Confitemini Domino a 8 (2 editionsavailable)
Confitemini Domino a 16 ( )
Da Jesus an demKreuzestund ( )
Das alteJahrist nun dahin ( )
Das alteJahrvergangenist ( )
Dem neugebornenKindelein ( )
Deopatri sit gloria a 7 ( )
Der du bistdrei in Einigkeit ( )
Der Morgenstern istaufgedrungen ( )
Der Tag der ist so freudenreich ( )
Die Sonnverbirgetihren Schein ( )
Doceboiniquos a 12 (secunda pars) ( )
Dum surgittumulo a 12 ( )
Ecce Dominus veniet a 5 ( )
Ecce Dominus veniet a 8 (3 editions available)
Ecce Maria genuit a 4 ( )
Ecce Maria genuit a 8 ( )
Egressusejus a patre ( )
Eimein Perle, du werte Kron a 3 ( )
Einfeste Burg istunserGott a 4 ( )
Ein Kind gebornzu Bethlehem ( )
En natus est Emmanuel (5 editionsavailable)
En trinitatis speculum ( )
Erhaltuns Herr beideinemWort (2 editions available)
Erhaltuns Herr beideinemWort a 3 ( )
Erstandenist der heilig Christ ( )
Esist das Heil ( )
EsisteinRosentsprungenmultiple editions available, several languages
Exaudi Deus ( )
Exsultemusadiutorinostro ( )
Freudich, du werteChristenheit ( )
Frolock o Tochter Zion fast ( )
Fuga à 3 ( )
Fundamenta tenet mundi (prima pars) (2 editions available)
GebornistGottesSöhnelein ( )
Gehaus, meinHerz, und suche Freud ( )
Gelobetseist du Jesu Christ ( )
Geußsehrtief in das Herzhinein a 4 ( )
Gott der Vaterwohnunsbei ( )
Gott, seimirgenädignachdeinerGüte ( )
Grates nunc omnes I a 8 ( )
Grates nunc omnes II a 8 (3 editionsavailable)
Great and Mighty Wonder, A (2 editions available)
Haec est dies a 12 ( )
Haec est dies quamfecit ( )
HallelujaisteinfröhlichGesang ( )
HeiligistGott der Vater ( )
Herr Gott, dichlobenwir ( )
Herr JesuChriste, GottesSohn ( Capella)
Hostemrepellaslongius ( )
Huicoportet (secunda pars)see Grates nuncomnes II
In dulcijubilo a 2 ( )
In dulcijubilo a 8 (3 editions available)
In dulcijubilo I
In dulcijubilo II (2 editions available)
In dulcijubilo III ( )
In natali Domini (3 editions available)
Ingressus Angelus (2 editions available)
Iubilate Domino a 9 ( ) / Jesus Christus, unserHeiland
Jubilate Deo (prima pars) (multiple editions available)
Jubilieretfröhlich und mitSchall
Laetemur in Christo
LaudateDominum
Laudatepueri a 8
Lobet den HerrenalleHeiden
LobtGott, ihr Christen, all zugleichGerman and Dutch text available
Lucis creator
Magnificat a 8
Magnificat super Surrexit Pastor bonus
Magnificat super Ut re mi fa sol la ( )
Magnum nomen Domini (2 editions available)
Maria Magdalena (prima pars) ( )
Mein Seelerhebt den Herrenmein ( )
Miserere mei Deus a 12 (prima pars)
Misericordia Domini
Missa a 8
Kyrie
Gloria
Credo
Sanctus & Benedictus
Agnus Dei
Missabrevis
Kyrie
Gloria
Nigra sum sedformosa (2 editions available)
Nu bitten wir
Nun danketalleGott
Nun komm, der HeidenHeiland
Nuncdimittisservumtuum
O lux beataTrinitas
O Welt, ichmußdichlassen
Omnis mundus jocundetur (3 editions available)
Parvulusnobisnascitur - UnsisteinKindleinheutgeborn ( )
Pater noster ( )
Pater peccavi (prima pars) ()
Pax ergo vestras (secunda pars) ( )
Peccavifateor (3 editions available)
Per tesciamus, da, Patrem ( )
Populusejus (secunda pars) ( )
Praesepe jam fulgettuum a 2 ( )
Psallite, unigenito (Singt und klingt)2 editions, a cappella and orchestral version available
Puernatus in BethlehemFinale 2003)
Puernatus in Bethlehem a12 ( (score) (string parts) )
Puernatus in Bethlehem - Ein Kind gebornzu Bethlehemavailable in Latin or German
Puernatus in Bethlehem / Ein Kind gebornzu Bethlehem a 6 ( )
Puernatus in Bethleem in hoc anno
Puer nobisnascitur - Uns istgborneinKindelein ( )
Quanti mercenarii (secunda pars) ( )
Quem pastoreslaudavere a 4 (2 editionsavailable)
Quem pastoreslaudavere a 11 ( )
Qui Paracletusdiceris ( )
Rex Christeomnes ( )
Salve Rex noster ( )
Salve Regina ( )
Sieistmirlieb die werteMagd ( )
Sit lausPatri cum Filio ( )
Spera in Domino ( )
Surrexit Christus Dominus ( )
Tu septiformismunere ( )
TuleruntDominummeum (2 editions available)
ÜbersGebirg Maria geht ( )
UnsisteinKindleinheutgeborn ( )
Vaterunser in demHimmel ( )
VaterunserimHimmelreich ( )
Veni creator Spiritus a 4 ( )
Veniredemptorgentium ( )
VeniSancteSpiritus a 12)
VeniSancteSpiritus a 4 ( )
Venite, exsultemus a 9( Finale 2006)
Veniteexultemus Domino a 9( (full score)(choir parts)MusicXML )
Vergentemundivespere ( )
Verleih uns Friedgenädiglich ( )
Vexillaregisprodeunt ( )
Victimaepaschali laudes (10 vocibus) ( )
Vita sanctorum / Christe sanctorum ( )
VomHimmelhoch da kommich her a 2 ( )
VomHimmelhoch da kommich her, I ( Sibelius 2)
VomHimmelhoch da kommich her, II ( )
VomHimmelkam der Engel ( )
VomHimmelkam der Engel Schar ( )
Von GottkömmtmireinFreudenschein a 5 ( )
VorFreuden will ichsingen ( )
Wachetauf, ruft uns die Stimme (2 editionsavailable)
Wachetauf, ruft uns die Stimme a 2( LilyPond)
Was meinGott will ( )
Wieschönleuchtet der Morgenstern a 2 ( )
Wieschönleuchtet uns der Morgenstern a 9 (3 editionsavailable)
Wirwollenallefröhlichsein ( )
Bibliography
Buchanan, H., Mehaffey, M..W. (Eds.). (2005). Teaching Music Through Performance in Choir. Chicago, IL: GIA Publications.
Garretson, R. (1993). Choral Music: History, Style, and Performance Practice. Englewood Cliffs, NJ: Prentice Hall.
Grout, D.J., Palisca, C.V. (Eds.).(1996). A History of Western Music, 5th Edition.New York, NY: W.W. Norton & Company Inc.
Hindly, A. (1994).The Larousse Encyclopedia of Music.Slovenia: Barnes and Noble Books Inc.
Praetorius, M. (1614).SyntagmaMusicum, Volumes 1-3 and supplement. Retrieved from
Robinson, R. (Ed). (1978). A Norton Historical Anthology of Choral Music.New York, NY: W.W. Norton & Company Inc.
Steighner, M. (1979).Consorting with Establishing an Early Praetorius: Music Ensemble.Music Educators Journal, 66, 50-53 & 80.DIO: 10.2307/3395717
Ulrich, H. (1973). A Survey of Choral Music.USA: Harcourt Brace Jovanovich.
Recording Bibliography
Viva Voce (1999).Psallite, Unigenito. On Praetorius: PuerNatus in Bethlehem [CD]. BIS
MadshenchorWenigerodeRundfunk-JugendchorWernigerode (2012).Esisteinrosentsprungen. On Esisteinrosentsprungen – 25 Advent – und Weihnachtslieder[CD]. BT-Music.
Bourrasque Ensemble; WestraArosPipers (1998). Ballet des coqs. On Praetoruius:Dancesfrom Terpsichore [CD]. Naxos.