Hieronymus Praetorius

If Michael Praetorius was so important, how does Hieronymous Praetorius fit in?

Hieronymus Praetorius (10 August 1560 – 27 January 1629) was a north German composer and organist of the late Renaissance and very early Baroque eras. He was not related to the much more famous Michael Praetorius, though the Praetorius family had many distinguished musicians throughout the 16th and 17th centuries.

He was born in Hamburg, and spent most of his life there. Praetorius studied organ early with his father (Jacob Praetorius, the elder (1520-1586), also a composer), afterwards going to Cologne for further study. In 1580 he became organist in Erfurt, but only remained there two years, returning to Hamburg in 1582. Back in Hamburg he worked with his father as assistant organist at St. Jacobi, becoming principal organist in 1586 when his father died. His son, Jacob, was born that same year, and was also destined to become a composer.

In 1596 he went to Gröningen where he met Michael Praetorius and Hans Leo Hassler; presumably he became acquainted with their music, and through them the music of the contemporary Italian Venetian School, at this time.

Hieronymus Praetorius (10 August 1560 - 27 January 1629) was a north German composer and organist of the late Renaissance and very early Baroque eras. He was not related to the much more famous Michael Praetorius, though the Praetorius family had many distinguished musicians throughout the 16th and 17th centuries.

Michael Praetorius

Why is Michael Praetorius so significant for early music theory? And how did a German end up with a Latin last name?

Michael Praetorius (probably 15 February 1571 – 15 February 1621) was a German composer, organist, and music theorist.[1] He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns, many of which reflect an effort to improve the relationship between Protestants and Catholics.

Praetorius was born Michael Schultze, Schultheis, or Schultz, 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.[2]

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.

Michael Praetorius (probably 15 February 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, many of which reflect an effort to improve the relationship between Protestants and Catholics.

Vibrato or no vibrato?

I generally live somewhere between the “straight-tone only” and “vibrato always” worlds, believing that the best singers do both, according to the needs and styles of the repertoire being performed. But what do the treatises say? Early Music Sources does an excellent job exploring the options (with special shout-outs to organ treatises and my perennial fav, Praetorius)!

Resonet in Laudibus

Michael Praetorius is a familiar name at this time of year, mainly for the carol “Lo how a rose e’re blooming”. His setting of Resonet in Laudibus for 4 soprano parts is on the program I’m singing tonight! Can’t come? Have a listen to Westminster Abbey’s version instead!