distinguished German Musicians, whose true patronymic was Schultz.[1]
Of the numerous Composers whose works are published under this name, the most celebrated Michael Prætorius, a learned and industrious writer, of whose personal history very little is known, beyond the facts, that he was born at Creutzberg in Thuringia, on Feb. 15, 1571; that he began his artistic career, in the character of Kapellmeister, at Luneburg; that he afterwards entered the service of the Duke of Brunswick, first as Organist, and then as Kapellmeister and Secretary; was appointed Prior of the Monastery of Ringelheim, near Gozlar, without necessity of residence; and died at Wolfenbüttel, on his fiftieth birthday, Feb. 15, 1621.
The Compositions of Michael Prætorius are very voluminous. He himself has left us, at the end of his 'Syntagma Musicum,' a catalogue, the most important items of which are, 15 volumes 'Polyhymnia,' adapted partly to Latin, and partly to German words; 16 volumes of 'Musæ Sioniæ,' of which the first five are in Latin, and remainder in German; 9 volumes of a sæcular work, called 'Musa Aonia,' of which the several books are entitled 'Terpsichore' (2 vols.), 'Caliope' (2 vols.), 'Thalia' (2 vols.), 'Erato' (1 vol.), 'Diana Teutonica' (1 vol.), and 'Regensburgische Echo' (1 vol.); and a long list of other works, 'partly printed, and partly, through God's mercy, to be printed.' The first of these is the 'Syntagma Musicum' (Musical Treatise) itself—a book the exccessive rarity and great historical value of which entitle it to a special notice.
The full title of this remarkable work is, 'Syntagma Musicum; ex veterum et recentiorum Ecclesiasticorum autorum lectione, Polyhistorum consignatione, Variarum linguarum notatione, Hodierni seculi usurpatione, ipsius denique Musicæ artis observatione: in Cantorum, Organistarum, Organopœorum, ceterorumque Musicam scientiam amantium & tractantium gratiam collectum; et Secundum generalem Indicem toti Operi præfixum, In Quatuor Tomos distributum, a Michaële Prætorio Creutzbergensi, Cœnobii Ringelheimensis Priori, & in aula Brunsvicensi Chori Musici Magistro. [V Vittebergæ (sic), Anno 1615.]' Notwithstanding this distinct mention of four volumes, it is morally certain that no more than three were ever printed, and that the much coveted copy of the fourth, noticed in Forkel's catalogue, was nothing more than the separate cahier of plates attached to the second.
Tom. I. (Wittenberg, 1615), written chiefly in Latin, but with frequent interpolations in German, is arranged in two principal Parts, each subdivided into innumerable minor sections. Part I. is entirely devoted to the consideration of Ecclesiastical Music; and its four sections treat, respectively, (1) of Choral Music and Psalmody, as practised in the Jewish, Ægyptian, Asiatic,[2] Greek, and Latin Churches; (2) of the Music of the Mass; (3) of the Music of the Antiphons, Psalms, Tones, Responsoria, Hymns, and Canticles, as sung at Matins and Vespers, and the Greater and Lesser Litanies; and (4), of Instrumental Music, as used in the Jewish and early Christian Churches, including a detailed description of all the Musical Instruments mentioned either in the Old, or the New Testament. Part II. treats of the Sæcular Music of the Antients, including, (1) Dissertations on the Invention and Inventors of the Art of Music, its most eminent Teachers, its Modes, and Melodies, its connection with Dancing and the Theatre, its use at Funeral Ceremonies, and many other kindred matters; and (2), Descriptions of all the Instruments used in antient Specular Music, on the forms and peculiarities of some of which much light is thrown by copious quotations from the works of Classical Authors.
Tom. II., printed at Wolfenbüttel in 1518 [App. p.751 "1618"],[3] and written wholly in German, is called Organographia, and divided into five principal sections. Part I. treats of the nomenclature and classification of all the Musical Instruments in use at the beginning of the 17th century—that critical period in the History of Instrumental Music which witnessed the first development of the Operatic Orchestra, and concerning which we are here furnished with much invaluable information. Part II. contains descriptions of the form, compass, quality of tone, and other peculiarities of all these Instruments, seriatim; including, among Wind Instruments, Trombones of four different sizes, the various kinds of Trumpet, Horns (Jäger Trommetten), Flutes, both of the old and the transverse forms, Cornets, Hautboys, both Treble and Bass (here called Pommern, Bombardoni, and Schalmeyen), Bassoons and Dolcians, Double Bassoons and Sordoni, Doppioni, Racketten, and the different kinds of Krumhorn (or Lituus), Corna-muse, Bassanello, Schreyerpfeiffe, and Sackpfeiffe, or Bagpipes. These are followed by the Stringed Instruments, divided into two classes—Viole da Gamba, or Viols played between the knees, and Viole da Brazzo, played upon the arm. In the former class are comprised several different kinds of the ordinary Viol da Gamba, the Viol-bastarda, and the Violone, or Double Bass: in the latter, the ordinary Viola da Braccio, the Violino da Braccio, the Violetta picciola, and the Tenor Viola da Braccio. The Lyres, Lutes, Theorbas (sic), Mandolins, Guitars, Harps, and other Instruments in which the strings are plucked by the fingers or by a Plectrum, are classed by themselves; as are the Keyed Instruments, including the Harpsichord (Clavicymbalum), Spinet (Virginall),Clavicythenum, Claviorganum, Arpichordum, the 'Nürmbergisch Geigenwerck,' and Organs of all kinds, beginning with the antient Regall, and Positieff. Part III., carrying on the subject with which the former division ended, treats of antient Organs, in detail, giving much valuable information concerning their form and construction. Part IV. gives a minute description of modern Organs—i.e. Organs which were considered modern 260 years ago—with details of
