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with organ accompaniment, a sound which was to become a standard in
Protestant churches for several centuries. The music in the collection was compiled from four churches in Hamburg; 21 of the 88 settings are of his own composition. Some of his organ compositions survive, including nine settings of
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in addition to the mostly Latin polychoral motets. Much of his music uses voices divided into several groups, probably the first of its kind in
Northern Germany in polychoral style; choir sizes range from 8 to 20, with the voices divided into two, three or four groups. Praetorius must have had
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sophisticated musicians at his disposal, considering both the amount and the difficulty of music he wrote for these ensembles. While progressive in writing in the
Venetian style, he was conservative in using Latin and avoiding the
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motets in 8 to 20 voices are intricate and vividly expressive. Some of his organ music survives in the Visby Orgel-Tabulatur, which dates from 1611. (He was not related to the prolific
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style. In addition to these settings, numerous anonymous pieces in north German collections of the time are now attributed with reasonable certainty to
Hieronymus Praetorius.
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family tree produced many distinguished musicians during the 16th and 17th centuries.)
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Praetorius was also the first composer to compile a collection of four-part German
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and spent most of his life there. He studied organ with his father (
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was also a composer and organist. In 1596 Hieronymus visited
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Organists and composers in the North German tradition
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281:Learn how and when to remove this message
141:Jacob Praetorius, the elder (1520-1586)
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375:Free scores by Hieronymus Praetorius
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415:German Baroque composers
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299:Magnificat
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