Michael Praetorius

Mixed chorus
Religious music
Sacred songs
Sacred hymns
by popularity


A solis ortus cardineAlvus tumescit virginisAngeles ad pastores aitAus tiefer Not schrei ich zu dir


Ballet Anglois, TMA 272Ballet de Bouteile, TMA 257Ballet de filou, TMA 261Ballet de Grenoville, TMA 252Ballet de la comedie, TMA 255Ballet de la Royne, TMA 251Ballet de la Royne, TMA 263Ballet de Maistre Guillaume, TMA 250Ballet de Monseigneur le Prince de Brunswieg, TMA 246Ballet de Monsieur de Navarre, TMA 282Ballet de Monsieur de Nemours, TMA 253Ballet de Monsieur de Vendosme, TMA 247Ballet de Trois ages, TMA 256Ballet dernier de Monsieur de Nemours, TMA 249Ballet des Amazones, TMA 270Ballet des Anglois, TMA 271Ballet des Aveugles, TMA 281Ballet des coqs, TMA 254Ballet des feus, TMA 279Ballet des Matelotz, TMA 280Ballet des Princesses, TMA 277Ballet des sorciers qu'il fault sonner devant le Ballet du Roy, TMA 262Ballet du Roy pour sonner après, TMA 269Ballet, TMA 258Ballet, TMA 259Ballet, TMA 260Ballet, TMA 264Ballet, TMA 265Ballet, TMA 266Ballet, TMA 267Ballet, TMA 268Ballet, TMA 273Ballet, TMA 274Ballet, TMA 275Ballet, TMA 276Ballett de Baccan, TMA 278Benedicam Dominum in omni temporeBenedicamus DominoBransle de la Grenee, TMA 20Bransle de la Royne, TMA 17Bransle de la Schappe, TMA 19Bransle de la Torche, TMA 15Bransle de Picardie, TMA 21Bransle de Villages, TMA 14Bransle Gentil, TMA 13Bransle la Bohemiene, TMA 16Bransle Loraine, TMA 18Bransle simple de novelle, TMA 2Bransle simple, TMA 12Bransles en forme de Ballet, TMA 248


Canticum trium puerorumChriste der du bist Tag und Licht à 2Courante de la Motte, TMA 79Courante de M.M. Wüstrow, TMA 131Courante de M.M. Wüstrow, TMA 150Courante de Perichou, TMA 174Courante, TMA 101Courante, TMA 102Courante, TMA 110Courante, TMA 111Courante, TMA 112Courante, TMA 113Courante, TMA 114Courante, TMA 115Courante, TMA 116Courante, TMA 117Courante, TMA 118Courante, TMA 119Courante, TMA 120Courante, TMA 121Courante, TMA 122Courante, TMA 123Courante, TMA 124Courante, TMA 125Courante, TMA 126Courante, TMA 127Courante, TMA 128Courante, TMA 129Courante, TMA 130Courante, TMA 132Courante, TMA 133Courante, TMA 134Courante, TMA 135Courante, TMA 136Courante, TMA 137Courante, TMA 138Courante, TMA 139Courante, TMA 140Courante, TMA 141Courante, TMA 142Courante, TMA 143Courante, TMA 144Courante, TMA 145Courante, TMA 146Courante, TMA 147Courante, TMA 148Courante, TMA 149Courante, TMA 151Courante, TMA 152Courante, TMA 153Courante, TMA 154Courante, TMA 155Courante, TMA 156Courante, TMA 157Courante, TMA 158Courante, TMA 159Courante, TMA 160Courante, TMA 161Courante, TMA 162Courante, TMA 163Courante, TMA 164Courante, TMA 165Courante, TMA 166Courante, TMA 167Courante, TMA 168Courante, TMA 169Courante, TMA 170Courante, TMA 171Courante, TMA 172Courante, TMA 173Courante, TMA 175Courante, TMA 176Courante, TMA 177Courante, TMA 178Courante, TMA 179Courante, TMA 180Courante, TMA 181Courante, TMA 182Courante, TMA 183Courante, TMA 184Courante, TMA 186Courante, TMA 187Courante, TMA 188Courante, TMA 189Courante, TMA 190Courante, TMA 191Courante, TMA 192Courante, TMA 193Courante, TMA 194Courante, TMA 195Courante, TMA 196Courante, TMA 197Courante, TMA 45Courante, TMA 46Courante, TMA 49Courante, TMA 50Courante, TMA 53Courante, TMA 54Courante, TMA 55Courante, TMA 56Courante, TMA 57Courante, TMA 58Courante, TMA 59Courante, TMA 62Courante, TMA 63Courante, TMA 64Courante, TMA 65Courante, TMA 66Courante, TMA 67Courante, TMA 68Courante, TMA 69Courante, TMA 70Courante, TMA 71Courante, TMA 72Courante, TMA 73Courante, TMA 75Courante, TMA 76Courante, TMA 77Courante, TMA 78Courante, TMA 80Courante, TMA 81Courante, TMA 82Courante, TMA 83Courante, TMA 84Courante, TMA 85Courante, TMA 87Courante, TMA 88Courante, TMA 89Courante, TMA 90Courante, TMA 91Courante, TMA 97Courante, TMA 98Courante, TMA 99Courrant de Bataglia, TMA 48Courrant de la Guerre, TMA 47Courrant de la Royne, TMA 51Courrant de la Royne, TMA 52Courrant de la Volte, TMA 100Courrant de Perichou, TMA 60Courrant de Perichou, TMA 61Courrant Sarabande, TMA 104Courrant Sarabande, TMA 105Courrant Sarabande, TMA 106Courrant Sarabande, TMA 38Courrant Sarabande, TMA 39Courrant Sarabande, TMA 40Courrant, TMA 35Courrante de Monsieur de Terme, TMA 36


Der Tag der ist so freudenreich à 2Der Tag der ist so freudenreich à 3


Ein feste Burg à 8Ein Kindelein so löbelichEin Kindelein so löbelich à 2Es ist ein Ros entsprungenEulogodia Sionia


Gaillarde, TMA 293Gaillarde, TMA 294Gaillarde, TMA 295Gaillarde, TMA 296Gaillarde, TMA 297Gaillarde, TMA 298Gaillarde, TMA 299Gaillarde, TMA 300Gaillarde, TMA 301Gaillarde, TMA 302Gaillarde, TMA 303Gaillarde, TMA 304Gaillarde, TMA 305Gaillarde, TMA 306Gaillarde, TMA 307Gaillarde, TMA 308Galliarde de la guerre, TMA 290Galliarde de Monsieur Wustrow, TMA 289Galliarde, TMA 291Galliarde, TMA 292Gelobet seist du, Jesu Christ I à 2Gesamtausgabe der musikalischen WerkeGläubige Seel, schau, dein Herr und König will kommen


Herr kehre dich wieder zu unsHosianna in der HöheHymnodia Sionia


In dulci jubiloIn dulci jubilo I à 2In dulci jubilo II à 2In natali Domini


Jetzt sproßt herfürJubilate DeoJubilate Deo à 5


La Bourée, TMA 32La Canarie, TMA 31La Durette, TMA 103La Durette, TMA 37La Moresque, TMA 108La Moresque, TMA 42La Mouline, TMA 107La Mouline, TMA 41La Robine, TMA 23La Rosette, TMA 109La Sarabande, TMA 33La Sarabande, TMA 34La Volte du Roy, TMA 203La Volte du Roy, TMA 207La Volte du Roy, TMA 208Les Passepiedz de Bretaigne, TMA 25


Magnum Nomen DominiMegalynodia SioniaMissodia SioniaMusae Sioniae, Theil 1Musae Sioniae, Theil 2Musae Sioniae, Theil 3Musae Sioniae, Theil 4Musae Sioniae, Theil 5Musae Sioniae, Theil 6Musae Sioniae, Theil 7Musae Sioniae, Theil 8Musae Sioniae, Theil 9Musarum Sioniarum


Nu komm der Heiden HeilandNu schall und sih zuNun bitten wir den Heiligen GeistNun bitten wir den Heiligen Geist à 8Nun bitten wir den Heiligen Geist I à 2Nun bitten wir den Heiligen Geist I à 3Nun bitten wir den Heiligen Geist I à 4Nun bitten wir den Heiligen Geist I à 6Nun bitten wir den Heiligen Geist II à 2Nun bitten wir den heiligen Geist II à 3Nun bitten wir den Heiligen Geist II à 4Nun bitten wir den Heiligen Geist II à 6Nun komm der Heiden Heiland à 4Nun lob, mein Seel, den Herren


O Lux beata Trinitas


Pavane de Spaigne, TMA 30Philov, TMA 22Polyhymnia Caduceatrix et PanegyricaPolyhymnia exercitatrisPostludiumPuer natus in BethlehemPuer natus in Bethlehem à 2


Regina coeli jubilaReprinse secundam inferiorem, TMA 310Reprinse, TMA 309Reprinse, TMA 311Reprinse, TMA 312Resonet in laudibus, ES 29Resonet in laudibus, ES 30Resonet in laudibus, MS-5.092


Sämtliche OrgelwerkeSpagnoletta, TMA 27Spagnoletta, TMA 28Suite in F majorSummo Parenti gloriaSyntagma Musicum


Te mane laudum carmineTerpsichore, Musarum AoniarumTeutsche LiedleinTu septiformis munere


Variationen über 'Nun Lob mein Seel den Herrn'Veni Redemptor GentiumVita sanctorumVolte du Philou, TMA 198Volte du Tambour, TMA 199Volte du Tambour, TMA 245Volte, TMA 200Volte, TMA 201Volte, TMA 204Volte, TMA 210Volte, TMA 211Volte, TMA 212Volte, TMA 213Volte, TMA 214Volte, TMA 215Volte, TMA 216Volte, TMA 217Volte, TMA 218Volte, TMA 219Volte, TMA 222Volte, TMA 226Volte, TMA 227Volte, TMA 228Volte, TMA 229Volte, TMA 230Volte, TMA 231Volte, TMA 232Volte, TMA 233Volte, TMA 234Volte, TMA 235Volte, TMA 236Volte, TMA 237Volte, TMA 238Volte, TMA 239Volte, TMA 240Volte, TMA 241Volte, TMA 242Volte, TMA 243Volte, TMA 244Vom Himmel hoch da komm ich her à 3Vom Himmel hoch da komm ich her à 5Vom Himmel hoch da komm ich her I à 2Vom Himmel hoch da komm ich her II à 2


Wie schön leuchtet der MorgensternWilhelm Von Naff, TMA 185
Michael Praetorius (probably 28 September 1571 – 15 February 1621) was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns.
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 State Orchestra, first as organist and later (from 1604) as Kapellmeister (court music director).
His first compositions appeared around 1602/3. Their publication primarily reflects the care for music at the court of Gröningen. The motets 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 (masses, hymns, magnificats) follow the German Protestant chorale style. With these, at the behest of a circle of orthodox Lutherans, he followed the Duchess Elizabeth, who ruled the duchy in the duke's absence.
When the duke died in 1613 and was succeeded by 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 polychoral works of the Venetian School. His subsequent development of the form of the chorale concerto, particularly the polychoral variety, resulted directly from his familiarity with the music of such 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 and Matthias Hoë von Hoënegg’s epigram describing the impression Praetorius’s music made on Emperor Matthias and other princes during a visit to Dresden in the summer of 1617 provide some sense of Praetorius’s fame at the time. In Dresden Praetorius also worked and consulted with Heinrich Schütz from 1615–1619.
It seems that Praetorius’s appointment in Wolfenbüttel was no longer being renewed by Trinity Sunday of 1620. He was probably already lying sick in bed in Wolfenbüttel by that time. There he died on February 15, 1621, at age forty-nine. His body was entombed in a vault beneath the organ of the Marienkirche on February 23.
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, Schultze meaning "village judge or magistrate" in German. The Latin Praetorius means "magistrate-related or one with the rank of a magistrate."
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. The most significant of these publications is the nine-part Musae Sioniae (1605–10), a collection of chorale and song arrangements for 2 to 16 voices. He wrote many other works for the Lutheran church; and Terpsichore, a compendium of more than 300 instrumental dances, which is both his most widely known work, and his sole surviving secular work.
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 music of Gabrieli.
Praetorius composed the familiar harmonization of Es ist ein Ros entsprungen (Lo, How a Rose E'er Blooming) in 1609.
Praetorius was the greatest musical academic of his day and the Germanic writer on music best known to other 17th-century musicians. Although his original theoretical contributions were relatively few, with nowhere near the long-range impact of 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 and to 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 modal, metrical, and fugal theory. His meticulous documentation of 17th-century practice was of inestimable value to the early-music revival of the 20th century.
His expansive but unfinished treatise, Syntagma Musicum, appeared in three volumes (with appendix) between 1614 and 1620. 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. 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 beautifully drawn 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 said that the Syntagma Musicum was one of the most important sources of seventeenth century musical history.
Praetorius wrote in a florid style, replete with long asides, polemics, and word-puzzles – all typical of 17th-century scholarly prose. As a lifelong committed Christian, he often regretted not taking holy orders but did write several theological tracts, which are now lost. As a Lutheran from a militantly Protestant family, he contributed greatly to the development of the vernacular liturgy, but also favored Italian compositional methods, performance practice and figured-bass notation.