ow is it that a man who did not travel
beyond a small number of cities in his native Germany should
write so prolifically and in so many different national styles?
How could it be that one of the foremost theorists of his time
would manage not to publish a tome devoted to theory? And how is
it that a man who is known best for a (voluminous, it must be
admitted) collection of dances should go all but unrecognized for
his immense output of sacred works which spanned the Church from
pre-reformational liturgy and styles to the foundation and
structure of Protestant music?
Michael Praetorius is this man, not only pillar of Lutheran music
over the turning of the 17th century, but also a solid and
traceable link in a chain that runs from Isaac to Brahms,
spanning four centuries. These pages are devoted to his story and
his accomplishments.
Michael Praetorius, born Schulteis, came into the world in
Creuzberg or Kreuzberg, in Thuringia, in February of 1571. He
left this world, Kapellmeister to the Duke of
Braunschweig-Luneberg, renowned for both his performances and
publications, both compositions and writings, exactly fifty years
later, in 1621.
His father was a former pupil of Martin Luther, and an associate
to Johann Walter (who, with Luther, drew up the original Lutheran
Hymnbook). At the age of 12, he was at the University of
Frankfurt, although he was not allowed to study there because he
was so young. He stayed instead with his sisters in Zerbst, and
continued his education there. However, by 16, he was appointed
the organist to the University and St. Mary's in Frankfurt,
succeeding his brother, who had died. Two years later, in 1589,
we find him as chapel organist to the Duke, and except for a
period during 1589-90, he seems to have stayed put in
Wolfenbuttel until his death.
In 1603, at the age of 33, he was made Chapel-Meister at
Wolfenbuttel, and it seems to be at this point that he actually
began to write. Like J.S. Bach, who was to come into the world
just under 65 years after Praetorius left it, he did not travel
widely, but because of his prodigious output, in variety,
quality, and quantity, and because of his reputation as an
organ-building consultant, a conductor and arranger, and a person
of connsumate knowledge of everything musical, his reputation far
outdistanced him.
Michael Praetorius' name-change was a common thing amongst those
involved in the artistic side of German life. Inasmuch as music
was expressed and discussed in Latin, it was desirable to be
possessed of a Latinate name. Praetorius and Schulteis carry the
same connotation of a leader, and thus his name change was really
no change at all.
It seems that Praetorius wanted to make up for lost time. Between
his appointement as chapelmeister and his death, he published no
less than 35 works, ranging from works without titlepages through
the nine volumes of the Muses of Sion, which comprises over 1200
sacred works. Additionally, he published three volumes of his
compendium of all musical knowledge as of his time, the Syntagnum Musicum, with a promised fourth
that was never produced.
It is strange beyond all reconning that Praetorius is best known
today for his Terpsichore, a
collection of over 300 french dance tunes that he arranged. This
is odd, mostly, because this is the only secular work we have of
Praetorius. All the rest of his output was aimed at furthering
and supporting the worship of God in Services.
