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, 1571 in 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 Syntagma

Musicum.

List of Works

1602-03 First compositions of motets. These motets used the new Italian performance practice.

1605-10 Musae Sioniae in 9 parts; somewhat modern pieces for the time includes 1,200 chorale

and song arrangements

1609 Es ist ein Ros entsprungen

1611 Published collections of liturgical music (masses, hymns, magnificats in chorale style)

1612 Psallite; motet

1612 Terpsichore; more than 300 instrumental dances

1614-1620 Syntagma Musicum; 3 volumes and and appendixVol. 1 (1614) Musicae Artis analecta, Vol. 2 (1618) De Organographia and appendix of instruments, Vol. 3 (1618) Termini Musicali

List of Choral Works from www.cpdl.org Accende lumen sensibus ( )

Ach Gott im Himmel ( Finale 2008 )

Aeterne gratias tibi ( )

Aequalis aeterno patri a 4 ( )

Allein Gott in der Höh sei Ehr a 4 ( )

Allein Gott in der Höh sei Ehr a 5 ( )

Allein Gott in der Höh sei Ehr a 8 ( )

Alleluia ( )

Amen ( Encore )

An Wasserflüssen Babylon a 4 ( )Angelus ad pastores ait (3 editions available)

Anima mea ( Finale 2008 )

Auf bleibet Treu und haltet fest ( Capella )

Aus tiefer Not schrei ich zu dir a 3 ( )

Aus tiefer Not schrei ich zu dir a 8 ( )

Beati omnes a 8 ( )Benedicamus Domino (2 editions available)

Jesus Christus, unser HeilandJubilate Deo (prima pars) (multiple editions available)Jubilieret fröhlich und mit SchallLaetemur in ChristoLaudate DominumLaudate pueri a 8Lobet den Herren alle HeidenLobt Gott, ihr Christen, all zugleich German and Dutch text availableLucis creatorMagnificat a 8Magnificat super Surrexit Pastor bonus

Magnificat super Ut re mi fa sol la ( )Magnum nomen Domini (2 editions available)

Maria Magdalena (prima pars) ( )

Mein Seel erhebt den Herren mein ( )

Miserere mei Deus a 12 (prima pars)

Misericordia Domini

Bleib bei uns, Herr ( )

Cantate Domino ( )Canticum trium puerorum (2 editions available)

Christ ist erstanden a 3 ( )

Christ ist erstanden 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 und Licht IV ( )

Christe, du Lamm Gottes ( )

Christe, du Lamm Gottes a 8 ( )Christe qui lux es et dies (14 editions available)

Christus, der uns selig macht a 6 ( )

Cito euntes (secunda pars) ( )Conditor alme siderum (2 editions available)Confitemini Domino a 8 (2 editions available)

Confitemini Domino a 16 ( )

Da Jesus an dem Kreuze stund ( )

Das alte Jahr ist nun dahin ( )

Das alte Jahr vergangen ist ( )

Dem neugebornen Kindelein ( )

Deo patri sit gloria a 7 ( )

Der du bist drei in Einigkeit ( )

Der Morgenstern ist aufgedrungen ( )

Der Tag der ist so freudenreich ( )

Die Sonn verbirget ihren Schein ( )

Docebo iniquos a 12 (secunda pars) ( )

Missa a 8KyrieGloriaCredoSanctus & BenedictusAgnus Dei

Missa brevisKyrieGloria

Nigra sum sed formosa (2 editions available)Nu bitten wirNun danket alle GottNun komm, der Heiden HeilandNunc dimittis servum tuumO lux beata TrinitasO Welt, ich muß dich lassenOmnis mundus jocundetur (3 editions available)Parvulus nobis nascitur - Uns ist ein Kindlein

heut geborn ( )

Pater noster ( )Pater peccavi (prima pars) ( )Pax ergo vestras (secunda pars) ( )Peccavi fateor (3 editions available)

Per te sciamus, da, Patrem ( )

Populus ejus (secunda pars) ( )

Praesepe jam fulget tuum a 2 ( )Psallite, unigenito (Singt und klingt) 2 editions, a cappella and orchestral version availablePuer natus in Bethlehem Finale 2003

)

Puer natus in Bethlehem a12 ( (score) (string parts) )Puer natus in Bethlehem - Ein Kind geborn zu Bethlehem available in Latin or GermanPuer natus in Bethlehem / Ein Kind geborn zu Bethlehem a 6 ( )

Puer natus in Bethleem in hoc anno

Dum surgit tumulo 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 ( )

Egressus ejus a patre ( )

Ei mein Perle, du werte Kron a 3 ( )

Ein feste Burg ist unser Gott a 4 ( )

Ein Kind geborn zu Bethlehem ( )En natus est Emmanuel (5 editions available)

En trinitatis speculum ( )Erhalt uns Herr bei deinem Wort (2 editions available)

Erhalt uns Herr bei deinem Wort a 3 ( )

Erstanden ist der heilig Christ ( )

Es ist das Heil ( )Es ist ein Ros entsprungen multiple editions available, several languagesExaudi Deus ( )

Exsultemus adiutori nostro ( )

Freu dich, du werte Christenheit ( )

Frolock o Tochter Zion fast ( )

Fuga à 3 ( )Fundamenta tenet mundi (prima pars) (2 editions available)

Geborn ist Gottes Söhnelein ( )

Geh aus, mein Herz, und suche Freud ( )

Gelobet seist du Jesu Christ ( )

Geuß sehr tief in das Herz hinein a 4 ( )

Gott der Vater wohn uns bei ( )

Gott, sei mir genädig nach deiner Güte ( )

Grates nunc omnes I a 8 ( )Grates nunc omnes II a 8 (3 editions available)

Puer nobis nascitur - Uns ist gborn ein

Kindelein ( )

Quanti mercenarii (secunda pars) ( )Quem pastores laudavere a 4 (2 editions available)

Quem pastores laudavere a 11 ( )

Qui Paracletus diceris ( )

Rex Christe omnes ( )

Salve Rex noster ( )

Salve Regina ( )

Sie ist mir lieb die werte Magd ( )

Sit laus Patri cum Filio ( )

Spera in Domino ( )

Surrexit Christus Dominus ( )

Tu septiformis munere ( )Tulerunt Dominum meum (2 editions available)

Übers Gebirg Maria geht ( )

Uns ist ein Kindlein heut geborn ( )

Vater unser in dem Himmel ( )

Vater unser im Himmelreich ( )

Veni creator Spiritus a 4 ( )

Veni redemptor gentium ( )Veni Sancte Spiritus a 12 )

Veni Sancte Spiritus a 4 ( )

Venite, exsultemus a 9 ( Finale 2006

)

Venite exultemus Domino a 9 ( (full score)

(choir parts) MusicXML )

Vergente mundi vespere ( )

Verleih uns Fried genädiglich ( )

Vexilla regis prodeunt ( )

Victimae paschali laudes (10 vocibus) ( )

Vita sanctorum / Christe sanctorum ( )

Vom Himmel hoch da komm ich her a 2 ( )

Vom Himmel hoch da komm ich her, I (

Great and Mighty Wonder, A (2 editions available)

Haec est dies a 12 ( )

Haec est dies quam fecit ( )

Halleluja ist ein fröhlich Gesang ( )

Heilig ist Gott der Vater ( )

Herr Gott, dich loben wir ( )

Herr Jesu Christe, Gottes Sohn ( Capella )

Hostem repellas longius ( )Huic oportet (secunda pars) see Grates nunc omnes IIIn dulci jubilo a 2 ( )In dulci jubilo a 8 (3 editions available)

In dulci jubilo I In dulci jubilo II (2 editions available)

In dulci jubilo III ( )In natali Domini (3 editions available)Ingressus Angelus (2 editions available)

Iubilate Domino a 9 ( )

Sibelius 2 )

Vom Himmel hoch da komm ich her, II ( )

Vom Himmel kam der Engel ( )

Vom Himmel kam der Engel Schar ( )Von Gott kömmt mir ein Freudenschein a 5 (

)

Vor Freuden will ich singen ( )Wachet auf, ruft uns die Stimme (2 editions available)

Wachet auf, ruft uns die Stimme a 2 ( LilyPond )

Was mein Gott will ( )

Wie schön leuchtet der Morgenstern a 2 ( )

Wie schön leuchtet uns der Morgenstern a 9 (3 editions available)

Wir wollen alle fröhlich sein ( )

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). Syntagma Musicum, Volumes 1-3 and supplement. Retrieved from http://imslp.org/wiki/Syntagma_Musicum_%28Praetorius,_Michael%29

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: Puer Natus in Bethlehem [CD]. BIS

Madshenchor Wenigerode & Rundfunk-Jugendchor Wernigerode (2012). Es ist ein ros entsprungen. On Es ist ein ros entsprungen – 25 Advent – und Weihnachtslieder [CD]. BT-Music.

Bourrasque Ensemble; Westra Aros Pipers (1998). Ballet des coqs. On Praetoruius :Dances from Terpsichore [CD]. Naxos.