Album insights
Michael Praetorius, the son of a Lutheran pastor, was born on February 15, 1571 in Creuzburg near Eisenach. Although his family later moved to Torgau, he identified with Creuzburg his entire life as "M.P.C." Praetorius received his education in Frankfurt an der Oder and Zerbst, becoming the organist of St. Marien in Frankfurt in 1587. By 1596, he served under Duke Heinrich Julius of Braunschweig in Wolfenbüttel, later becoming the Kapellmeister in 1604. During his illustrious career, Praetorius also worked for Landgrave Moritz of Hesse in Kassel, the Saxon Elector in Dresden, and various other prominent locations across Germany, solidifying his reputation as one of the country's foremost musicians. His tenure as Kapellmeister in Wolfenbüttel continued until his passing on his fiftieth birthday in 1621.
Throughout his life, Praetorius devoted much of his efforts to church music, publishing over twenty collections primarily featuring Lutheran chorale settings. He also intricately planned anthologies of secular music, named after the Greek Muses, such as Euterpe (Italian and English dances), Thalia (toccata and canzona), and Erato (German secular songs), although only "Terpsichore" was completed and published in 1612. This collection of 312 dances for four, five, and six voices attributed some compositions to Praetorius, Antoine Emeraud, and Pierre Francisque Caroubel. Despite being known for its French dance influence, Terpsichore encompassed a wider array of genres, including Bransle Suites, Courantes, Voltes, Ballets, Passamezzos, and Galliards. Additionally, Praetorius incorporated English tunes into his works, showcasing his diverse musical influences.
Notably, Praetorius's approach to instrumentation in Terpsichore emphasizes violins and lutes over wind instruments. While the collection draws from the French court's traditions, Praetorius intended these pieces for proficient violinists and lutenists. Engaging with Renaissance instrumental sounds, Praetorius’s compositions often feature string ensembles, resembling the orchestral style of the "Vingt-quatre Violons." For this interpretation, a diverse ensemble of violins, viols, and bass viols was utilized. Furthermore, distinct ensembles were employed for various pieces, like a domestic string ensemble and a consort of lutes.
Praetorius’s meticulous arrangements, particularly evident in the Bransle Suites, highlight the evolution of courtly dance forms during his time. The suites' structured progressions showcase a blend of traditional elements and innovative melodies. Notably, Praetorius’s focus on diverse regional dances and instrumental nuances enhances the authenticity of his compositions, offering a rich tapestry of Renaissance music for modern audiences to appreciate.