View source for Michael Praetorius

{{Use dmy dates|date=April 2022}}
{{short description|German composer, organist, and music theorist (c. 1571–1621)}}
{{Not to be confused with|Hieronymus Praetorius}}
{{Infobox person
<!-- ATTENTION EDITORS: Before making changes to this infobox please consider the discussion on the talk page. Per Talk:Ludwig van Beethoven/Archive 6#Infobox, it is intentionally concise and the result of community consensus. Your changes to this infobox may be immediately reverted if they have not received consensus. -->| name               = Michael Praetorius
| image              = Michael Praetorius.jpg
| alt                = Woodcut of Michael Praetorious
| birth_date         = 28 September 1571 (most likely)
| birth_place        = [[Creuzburg]]
| death_date         = {{death date and age|1621|2|15|1571|9|28|df=y}}
| death_place        = [[Wolfenbüttel]]
| burial_place       = [[Marienkirche, Wolfenbüttel]]
| occupation         = {{hlist|Composer|organist|music theorist}}
}}

'''Michael Praetorius''' (probably 28 September 1571<ref>Praetorius's birthdate (and even to a certain extent, birth-year) has long been shrouded in uncertainty. However, Appendix II of {{harvnb|Vogelsänger|2020}} establishes for certain that Praetorius was born in 1571 and not prior to 16 February. It also provides strong evidence that he was born on 27 or 28 September, the day before St. Michael's Day. He was then most likely baptized on St. Michael's Day and named after the saint of the day. The often erroneously cited 15 February birthdate is based on an encyclopedic resource published in 1721, whose information appears to have stemmed from a misunderstanding of Praetorius's epitaph.</ref> – 15 February 1621) was a German composer, organist, and [[Music theory|music theorist]].<ref>[http://www.oxfordmusiconline.com/subscriber/article/grove/music/22253 Walter Blankenburg and Cletus Gottwald, "Praetorius, Michael. In Grove Music Online. Oxford Music Online, (accessed September 11, 2011)]</ref> He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on [[Protestant Reformation|Protestant]] [[hymn]]s.

==Life==
Praetorius was born '''Michael Schultze''', the youngest son of a Lutheran pastor, in [[Creuzburg]], in present-day [[Thuringia]]. After attending school in [[Torgau]] and [[Zerbst]], he studied [[divinity]] and philosophy at the [[University of Frankfurt (Oder)]]. He was fluent in a number of languages. After receiving his musical education, from 1587 he served as organist at the Marienkirche in Frankfurt. From 1592/3 he served at the court in [[Wolfenbüttel]], under the employ of [[Henry Julius, Duke of Brunswick-Lüneburg]]. He served in the duke's [[Staatsorchester Braunschweig|State Orchestra]], first as organist and later (from 1604) as ''[[Kapellmeister]]'' (court music director).<ref name=kennedy>[https://archive.today/20140622204433/http://www.kennedy-center.org/explorer/artists/?entity_id=21220&source_type=C "Michael Praetorius", The Kennedy Center] (archive from 3 February 2013. Retrieved 22 June 2016)</ref>

His first compositions appeared around 1602/3. Their publication primarily reflects the care for music at the court of [[Gröningen]]. The [[motet]]s of this collection were the first in Germany to make use of the new Italian performance practices; as a result, they established him as a proficient composer.

These "modern" pieces mark the end of his middle creative period. The nine parts of his ''Musae Sioniae'' (1605–10) and the 1611 published collections of liturgical music ([[mass (music)|masses]], [[hymn]]s, [[magnificat]]s) follow the German Protestant [[chorale]] style. With these, at the behest of a circle of orthodox Lutherans, he followed the [[Elizabeth of Denmark, Duchess of Brunswick-Wolfenbüttel|Duchess Elizabeth]], who ruled the duchy in the duke's absence.

When the duke died in 1613 and was succeeded by [[Frederick Ulrich, Duke of Brunswick-Lüneburg|Frederick Ulrich]], Praetorius retained his post in Wolfenbüttel. But he also began working at the court of [[John George I, Elector of Saxony]] at [[Dresden]] as ''Kapellmeister von Haus aus'' (nonresident music director). There he was responsible for festive music and was exposed to the latest Italian music, including the [[Venetian polychoral style|polychoral]] works of the [[Venetian School (music)|Venetian School]].<ref name=Watanabe>[http://rbscp.lib.rochester.edu/2470 Ruth Watanabe, "Michael Praetorius and His ''Syntagma Musicum''", ''University of Rochester Library Bulletin'', Vol. X. Spring 1955. Number 3]</ref> His subsequent development of the form of the [[chorale concerto]], particularly the polychoral variety, resulted directly from his familiarity with the music of such [[Venetian School (music)|Venetians]] as [[Giovanni Gabrieli]]. The solo-voice, polychoral, and instrumental compositions Praetorius prepared for these events mark the high period of his artistic creativity. Gottfried Staffel's detailed eyewitness account of Praetorius's music directing at the 1614 Princes’ Convention (''Fürstentag'') in Naumburg<ref>Siegfried Vogelsänger, [https://www.amazon.com/Heaven-My-Fatherland-Siegfried-Vogelsänger/dp/1532684312/ ''Heaven Is My Fatherland: The Life and Work of Michael Praetorius''], translated and edited by Nathaniel J. Biebert (Eugene, OR: Resource Publications, 2020), 201–217.</ref> and [[Matthias Hoë von Hoënegg]]’s epigram describing the impression Praetorius's music made on Emperor [[Matthias, Holy Roman Emperor|Matthias]] and other princes during a visit to Dresden in the summer of 1617<ref>''Ibid.'', 100.</ref> provide some sense of Praetorius's fame at the time. In Dresden Praetorius also worked and consulted with [[Heinrich Schütz]] from 1615 to 1619.

It seems that Praetorius's appointment in Wolfenbüttel was no longer being renewed by Trinity Sunday of 1620.<ref>Arno Forchert, "Praetorius, Michael," in ''Die Musik in Geschichte und Gegenwart'' Personenteil, 13:886.</ref> He was probably already lying sick in bed in Wolfenbüttel by that time. There he died on 15 February, 1621, at age forty-nine. His body was entombed in a vault beneath the organ of the [[Marienkirche, Wolfenbüttel|Marienkirche]] on 23 February.<ref>Vogelsänger, ''op. cit.'', 108–9, 169–70. See also n. 1.</ref>

==Name==
His family name in German appears in various forms including '''Schultze, Schulte, Schultheiss, Schulz''' and '''Schulteis'''. '''[[Praetorius]]''' was the conventional Latinized form of this family name,<ref name=kennedy/> ''Schultze'' meaning "village judge ''or'' magistrate" in German. The Latin ''Praetorius'' means "magistrate-related ''or'' one with the rank of a magistrate."<ref>''Ibid.'', 1.</ref>

==Works==
{{listen
 | image = none
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 | header = From ''[[Terpsichore (1612)]]:''
 | filename    = Praetorius - Terpsichore - Entree - Courante.ogg
 | title       = "Entree – Courante"
 | description = A more commonly known Praetorius piece, for [[courante]] (French for "running"), a court dance for couples fashionable in aristocratic European ballrooms.<ref>{{cite web |title=Courante |url=https://www.britannica.com/art/courante |website=Encyclopædia Britannica |access-date=27 September 2019}}</ref>
 | format      = [[Ogg]]
}}
[[File:Strohfiddel.jpg|right|thumb|220px|An illustration of several musical instruments from ''[[Syntagma Musicum]]'']]

Praetorius was a prolific composer; his compositions show the influence of Italian composers and his younger contemporary [[Heinrich Schütz]]. His works include the 17 volumes of music published during his time as Kapellmeister to Duke Heinrich Julius of Wolfenbüttel, between 1605 and 1613. His nine-part ''Musae Sioniae'' (1605–10) was a collection of chorales and vernacular music for the Lutheran service for 2 to 16 voices; he also published an extensive collection of Latin music for the church service (''Liturgodiae Sioniae'').<ref name="SioniaeGent">{{Cite book|last=Praetorius|first=Michael|title=Gesamtausgabe der musikalischen Werke|publisher=Georg Kallmeyer Verlag|year=1928–1956|editor-last=Blume|editor-first=Friedrich|location=Wolfenbuttel}}</ref> <!--unsourced and incoherent with what is now sourced above: volume eleven of twenty is called ''[[Missodia Sionia]]'' and contains sacred music in [[Latin]] for church services for two to eight voices.--> [[Terpsichore (Praetorius)|''Terpsichore'']], a compendium of more than 300 instrumental dances is his most widely known and recorded work today; it is his sole surviving secular work from a projected multi-volume collection (''Musae Aioniae'').<ref>{{Cite book|last=Holman|first=Peter|title=Michael Praetorius: Vermittler europaischer Musiktraditionen um 1600|publisher=Olms Verlag|year=2011|editor-last=Rode-Breymann|editor-first=Susanne|location=Hildesheim|pages=145–166|chapter=Michael Praetorius as a Collector of Dance Music|editor-last2=Spohr|editor-first2=Arne}}</ref>

Many of Praetorius' choral compositions were scored for several smaller choirs situated in several locations in the church, in the style of the [[Venetian polychoral style|Venetian polychoral music]] of Gabrieli.<ref>{{Cite web|url=http://www.newhopelc.org/#!lutheran-musical-heritage/c961|title=New Hope Lutheran Church|date=27 August 2020 }}</ref>

Praetorius composed the familiar harmonization of ''[[Es ist ein Ros entsprungen]]'' (''Lo, How a Rose E'er Blooming'') <ref>[http://www.hymnsandcarolsofchristmas.com/Hymns_and_Carols/Notes_On_Carols/lo_how_a_rose_eer_blooming.htm Historical Notes, and additional English versions, from The Hymns and Carols of Christmas]</ref> and the motet "[[En natus est Emanuel]]", both published in 1609 in Musae Sioniae VI.

=== Published works ===

* Musae Sioniae I (Lutheran chorales, 8 voices, 1605)
* Motectae et Psalmi Latini (Latin motets and psalms, 8 voices, 1607)
* Musae Sioniae II (Lutheran chorales, 8 voices, 1607)
* Musae Sioniae III (Lutheran chorales, 8–12 voices, 1607)
* Musae Sioniae IV (Lutheran chorales, 8 voices, 1607)
* Musae Sioniae V (Lutheran chorales, 2–8 voices, 1607)
* Musae Sioniae VI (Lutheran chorales for church festivals, cantionale style hymnal, 4 voices, 1609)
* Musae Sioniae VII (Lutheran chorales for everyday use, including four organ chorales, cantionale style, 4 voices, 1609)
* Musae Sioniae VIII (Lutheran chorales for the Christian life including chorales suitable for death and ''Tischgesange'' for use at home, cantionale style, 4 voices, 1609)
* Musae Sioniae IX (Lutheran chorales for use in church or home, 2–4 voices, 1610)
* Missodia Sionia (Latin mass settings, 1611)
* Hymnodia Sionia (Latin hymn settings, 2–8 voices, several organ verses, 1611)
* Eulogodia Sionia (Latin settings, including the Salve Regina, Rex Christe etc., 2–8 voices, 1611)
* Megalynodia Sionia (Magnificat settings, Latin with some vernacular interpolation, 1611)
* Terpsichore (Courtly dances, 1612)<ref>{{Cite web |title=Terpsichore, Musarum Aoniarum (Praetorius, Michael) - IMSLP: Free Sheet Music PDF Download |url=https://imslp.org/wiki/Terpsichore,_Musarum_Aoniarum_(Praetorius,_Michael) |access-date=2022-10-28 |website=imslp.org}}</ref>
* Urania (chorales set for congregation and up to 4 choirs, 1613)
* Polyhymnia caduceatrix (Lutheran chorales for choir, soloists and instrumentalists in the new Italianate style; 1619)
* Polyhymnia exercitatrix (Latin Halelujah settings and Lutheran chorales for choir, soloists and instrumentalists in the Italianate style, 1620)
* Puericinium (settings for children, 1621)

===Organ works===
# Christ, unser Herr, zum Jordan kam – Fantasia (''Musæ Sioniæ'' VII, 1609)
# Ein' feste Burg ist unser Gott – Fantasia (''Musæ Sioniæ'' VII, 1609)
# Wir glauben all an einen Gott – Fantasia (''Musæ Sioniæ'' VII, 1609)
# Nun lob, mein Seel, den Herren – 2 Variationen (''Musæ Sioniæ'' VII, 1609)
# Alvus tumescit virginis – Advent-Hymnus « Veni redemptor gentium » (''Hymnodia Sionia'', 1611)
# A solis ortus cardine – Weihnachts-Hymnus (''Hymnodia Sionia'', 1611)
# Summo Parenti gloria – (v8. A solis ortus cardine) (''Hymnodia Sionia'', 1611)
# Vita sanctorum – Oster-Hymnus (''Hymnodia Sionia'', 1611)
# O lux beata Trinitas – Dreifaltigkeits-Hymnus (''Hymnodia Sionia'', 1611)
# Te mane laudum carmine – (v2. O lux beata Trinitas) (''Hymnodia Sionia'', 1611)

==Musical writings==
Praetorius was a music academic whose writings were well known to other 17th-century musicians.<ref>George J. Buelow, "Symposium on Seventeenth-Century Music Theory: Germany”, ''Journal of Music Theory''16 (1972): 36–49.</ref> Although his original theoretical contributions were relatively few compared to other 17th-century German writers, like [[Johannes Lippius]], [[Christoph Bernhard]] or [[Joachim Burmeister]], he compiled an encyclopedic record of contemporary musical practices.  While Praetorius made some refinements to figured-bass practice<ref>[[Hermann Keller]], ''Schule des Generalbass-Spiels'' (1931); appeared in English translation, by Carl Parrish, as ''Thoroughbass Method'' (1965).</ref> and tuning practice, his importance to scholars of the 17th century derives from his discussions of the normal use of instruments and voices in ensembles, the standard pitch of the time, and the state of [[Mode (music)|modal]], [[Metre (music)|metrical]], and [[Fugue|fugal]] theory. His meticulous documentation of 17th-century practice was of inestimable value to the early-music revival of the 20th century.{{Citation needed|date=February 2023}}

His expansive but unfinished treatise, ''[[Syntagma Musicum]]'', appeared in three volumes (with appendix) between 1614 and 1620.<ref>Facsimile edition, edited by [[Wilibald Gurlitt]], published by [[Bärenreiter]] in 1959.</ref> The first volume (1614), titled ''Musicae Artis Analecta'', was written mostly in Latin, and regarded the music of the ancients and of the church. The second (''De Organographia'', 1618) regarded the musical instruments of the day, especially the organ; it was one of the first theoretical treatises written in the vernacular.<ref>See the translation of the first two parts of this volume, by David Z. Crookes, published by Oxford University Press in 1986.</ref> The third (''Termini Musicali'', 1618), also in German, regarded the genres of composition and the technical essentials for professional musicians. An appendix to the second volume (''Theatrum Instrumentorum seu Sciagraphia'', 1620) consisted of 42 woodcuts depicting instruments of the early 17th century, all grouped in families and shown to scale. A fourth volume on composition was planned, with the help of Baryphonus, but was left incomplete at his death. [[Gustave Reese]], an American musicologist specializing in [[Medieval music|medieval]] and [[Renaissance music]], said that the ''Syntagma Musicum'' was one of the most important sources of seventeenth century musical history.<ref name=Watanabe/>

Praetorius wrote in a florid style, replete with long asides, polemics, and word-puzzles – all typical of 17th-century scholarly prose.{{Citation needed|date=February 2023}} As a lifelong committed [[Christians|Christian]], he often regretted not taking holy orders but did write several theological tracts, which are now lost. As a devout Lutheran, he contributed greatly to the development of the vernacular liturgy, but also favored Italian compositional methods, performance practice
and figured-bass notation.

==References==
{{Reflist}}

==Sources==
*[[Denis Arnold]] (editor), (1983), ''[[New Oxford Companion to Music]]'', [[Oxford University Press]]. (Article by editor.)
*Quentin Faulkner (translator and editor), (2014) [http://digitalcommons.unl.edu/zeabook/24/ ''Syntagma Musicum II: De Organographia, Parts III – V with Index''] (Wolfenbüttel, 1619) Zea Books
*[[Jeffery T. Kite-Powell]] (translator and editor), (2004) ''Syntagma Musicum III: Termini musici'' (Wolfenbüttel, 1619) Oxford University Press.
*[[Stéphan Perreau]] (1996). Liner notes to ''Praetorius: Dances from Terpsichore.'' Naxos 8.553865.

==Further reading==
*{{cite book |last1=Vogelsänger |first1=Siegfried |title=Der Himmel ist mein Vaterland |trans-title=Heaven is my fatherland : the life and work of Michael Praetorius |date=2020 |publisher=Resource Publications |location=Eugene, Oregon |isbn=978-1-5326-8432-6 |translator-last1=Biebert |translator-first1=Nathaniel J. |language=de}}
*{{cite book |last1=Schmidt |first1=Beate Agnes|title=Chapter 20 Angels and the Muses of Zion: Michael Praetorius and Cultural Exchange between the Danish and German Lutheran Courts before the Thirty Years' War. ''In:''Tracing the Jerusalem Code, Vol. 2: The Chosen People Christian Cultures in Early Modern Scandinavia (1536–ca. 1750), ''ed. Eivor Andersen Oftestad, Joar Haga''.|doi=10.1515/9783110639452-021 |date=2021 |publisher=De Gruyter |location=Berlin, Boston}}

==External links==
{{Commons category|Michael Praetorius}}
*{{ChoralWiki}}
*{{IMSLP|id=Praetorius%2C_Michael|cname=Michael Praetorius}}
*[https://imslp.org/wiki/Gesamtausgabe_der_musikalischen_Werke_(Praetorius%2C_Michael) Complete works] by Praetorius in modern edition.
*[https://web.archive.org/web/20070430154432/http://www.goldbergweb.com/en/history/composers/11801.php Michael Praetorius], biography on Goldberg, the Early Music Portal.
*[http://www.kb.dk/en/nb/samling/ma/digmus/pre1700_indices/praetorius.html Michael Pratorius] – facsimiles in The Royal Library, Copenhagen
*Listen to [http://www.acc.umu.se/~akadkor/early/IVC_Praetorius_Michael.html free Vocal Evangelical Church Music by Michael Praetorius] at [http://www.acc.umu.se/~akadkor/theory/Early-Music-Map.html "Early Vocal Music Map"] from [http://www.acc.umu.se/~akadkor/indexENG.html Umeå Akademiska Kör].
*{{Internet Archive author |sname=Michael Praetorius}}
*{{Librivox author |id=3505}}

{{Lutheran hymnody}}
{{Renaissance music}}
{{Baroque music}}

{{Authority control}}

{{DEFAULTSORT:Praetorius, Michael}}
[[Category:Michael Praetorius]]
[[Category:1571 births]]
[[Category:1621 deaths]]
[[Category:16th-century German composers]]
[[Category:17th-century German classical composers]]
[[Category:German classical composers of church music]]
[[Category:German Renaissance composers]]
[[Category:German Baroque composers]]
[[Category:German male classical composers]]
[[Category:German performers of Christian music]]
[[Category:German music theorists]]
[[Category:German Lutherans]]
[[Category:Wolfenbüttel]]
[[Category:People from Wartburgkreis]]
[[Category:European University Viadrina alumni]]
[[Category:Organologists]]
<!-- Per Oberlin, "father of organology" -->
[[Category:17th-century German male musicians]]