300:
depending on their importance, whilst the frame and other inner movements are set polyphonically. In this way, Michael's narrative compositions form an important link between the narrative works of
Scandello and of Heinrich SchĂĽtz. In an inventory of the Dresden Court Church from 1666, a "Handbuchlein von der Begnis, gebuhrt, Leiden und Auferstehung Jesu Christi in schwarzes Leder gebunden" is listed, which could have served Scandello, Michael and SchĂĽtz could all have used as a model for their works' libretti.
700:
688:
244:
When Sarah, the composer's second wife, died and was buried in
January 1623, the sermon did not mention Michael's death, and the author Burckhard Grossmann mentioned him as being alive in the preface to his publication "Angst der Hellen" (Fear of the Light Ones), published in 1623. In March 1624,
299:
and
Christmas, Michael consciously built upon Scandello's St John Passion and Resurrection Story. Michael also composed two passions of his own based on Matthew's Gospel and possibly Luke's Gospel, but both are now lost. In these narrative works, characters' words are set as solos or polyphony
217:
succeeded to the
Electorate in 1611, most of the court orchestra was dismissed before it was then reconstructed without Michael's input. When Elector Johann Georg travelled to Frankfurt with his entourage in 1612 for the election and coronation of Emperor
253:
Despite his many years of activity as a musician at the
Dresden court (1575-1612), his complete musical oeuvre is not very extensive. In contrast to his predecessors Scandello and Pinello, known as composers, he cultivated the
237:, though Rogier continued to be active at the Saxon court. His salary was temporarily supplemented by funds to support the choir boys who lived with him. There is also evidence of the quarterly payment of 75 gulden on
124:, Simon, Samuel, Christian, Georg and Daniel. Samuel Michael, Daniel and Christian all studied under their father and four of the sons later became composers, particularly Tobias, who was kantor at the Thomaskirche in
97:
58:
Michael came to Vienna as a child with his father Simon
Michael (†after 1566); his father was "probably the best mechanic and musician" during the reign of Emperor
725:
116:, Michael became a singer and musician at the Dresden court orchestra on 1 February 1575. The Elector listened to him himself, and the old Kapellmeister
475:
245:
however, he was no longer listed as a member of the chapel. From this the music-historical researchers conclude that the composer died after mid-1623.
571:
163:
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This was because
Michael had been largely relieved of his position as Kapellmeister from 1612 onwards, with a full annual salary of 300
735:
611:
580:
550:
513:
63:
170:). His sons Tobias, Simon and Samuel also became choir boys in Dresden. From 1599 to 1603 Michael's pupils were the later Leipzig
214:
660:
730:
181:
67:
59:
120:
also tested
Michael's skills. The composer married in Dresden in 1578, and in the following years they had seven sons Rogier,
720:
457:
159:
66:
from 1564 to 1566. Rogier presumably spent time as a choirboy in Vienna and in 1564 he joined the court chapel of
Archduke
219:
265:
style, which was articulated in short quarter and eighth notes. This style was then largely adopted by his students.
113:
195:
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200:
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194:. In 1611 Michael married his second wife Sarah Petermann, the daughter of the Dresden Kapellknabeninspektor
664:
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740:
296:
174:
141:
31:
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92:, which he did from 1569 to 1572. After his return to Germany, he took a position as a tenor singer in
184:
745:
452:
230:
427:, Gratulationsgedicht an Johann Georg I. zur Taufe des Kurprinzen Johann Georg II., Dresden 1613
234:
670:
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576:
546:
521:
Schütz’ Historienkonzeptionen: zum
Projekt einer ›Empfängnishistorie‹ nach Rogier Michael
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81:
77:
146:
480:
109:
623:
89:
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The 53 hymns in the second part of the Dresden hymn book of 1593 are based on simple,
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226:
167:
38:
171:
137:
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Die Dresdner Hofkapelle zwischen Antonio Scandello und Heinrich Schütz (1580–1615)
62:(1556-1564) and was listed as a singer in the list of court chapels under Emperor
289:
42:
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tables. The antiphon is set to music in a wise manner, while the accompanying
158:
Michael became court bandmaster of the Elector of Saxony under the regency of
269:
255:
129:
575:(MGG). Personenteil Band 12. Bärenreiter und Metzler, Kassel / Basel 2004,
461:(in German), vol. 21, Leipzig: Duncker & Humblot, pp. 674–676
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34:
506:
Propyläen Welt der Musik – Die Komponisten – Ein Lexikon in fünf Bänden
273:
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27:
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were in charge of this chapel, with Padovano advising Rogier to go to
85:
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from 1631 to 1657. In the 1580 list of "Cantorey" he is listed as a
285:
281:
162:
on 12 December 1587 (a role previously held by Antonio Scandello,
71:
641:
Die Introitus-Kompositionen von Rogier Michael (ca. 1550-1619).
441:
Rogier Michael, ein deutscher Tonsetzer des 16. Jahrhunderts
313:
Der Gebreuchlichsten und vornembsten Gesenge D. Mart. Luth.
222:, Rogier's name was not on the list of fellow travellers.
467:
Der Dresdener Kapellmeister Rogier Michael, ca. 1550–1619
676:
357:
Introitus dominicorum dierum ac praecipuorum festorum
419:
Di Alessandro Orologio il secondo libro de madrigali
395:
Hochzeitsgesang zu sechs Stimmen, Dresden 1611, lost
479:is available for free viewing and download at the
98:George Frederick, Margrave of Brandenburg-Ansbach
606:Herder, Freiburg im Breisgau among other. 1981,
543:Der Klang der Sächsischen Staatskapelle Dresden.
295:In his two surviving narrative compositions for
292:movement, after which the antiphon is repeated.
490:. Dissertation an der Universität Gießen, 1937.
488:Die Introitus-Kompositionen von Rogier Michael
473:, No. 4, Leipzig 1889, pp. 272–289(
8:
261:in sacred music as well as the new Italian
673:auf der Website des Heinrich-SchĂĽtz-Hauses
628:Geschichte der evangelischen Kirchenmusik.
471:Vierteljahresschrift fĂĽr Musikwissenschaft
402:for five voices, in Burckhard Grossmann's
288:texts appear in four parts in the simple
683:
563:
501:, No. 10, 1953, pp. 221–231.
100:in 1572, where he remained until 1574.
661:Literature by and about Rogier Michael
495:Jugendjahre und Lehrer Rogier Michaels
384:Ich freue mich des, das mir geredt ist
155:(1591) as quite high and very noble.
726:16th-century Franco-Flemish composers
572:Die Musik in Geschichte und Gegenwart
545:Olms, Hildesheim among others. 2001,
344:Die Geburt unsers Herren Jesu Christi
164:Giovanni Battista Pinello di Ghirardi
7:
527:, No. 64, 1994, pp. 5–10.
508:. Volume 4. Propyläen, Berlin 1989,
371:Freue dich des Weibes deiner Jugend
325:Te Deum: Herr Gott, dich loben wir
16:Franco-Flemish composer and singer
14:
447:Nr. 2, 1870, pp. 3–18.
417:for five voices in the anthology
229:. His immediate successors were
140:, and his voice was described by
698:
686:
425:Qualis uvidulis brasilica jugera
233:(1613 and 1614/15), and in 1615
177:. His other pupils included the
445:Monatshefte fĂĽr Musikgeschichte
458:Allgemeine Deutsche Biographie
380:for eight voices, Leipzig 1607
373:for eight voices, Leipzig 1604
330:2 Passionen, before 1601, lost
160:Christian I, Elector of Saxony
1:
671:Lebenslauf von Rogier Michael
392:for six voices (without year)
386:fot six voices (without year)
364:Purpureum ver flores protulit
359:for five voices, Leipzig 1603
272:wisely written. In Michael's
132:with an annual salary of 144
600:Das groĂźe Lexikon der Musik.
541:, Eberhard Steindorf (ed.):
499:Archiv fĂĽr Musikwissenschaft
353:for six voices, Dresden 1602
346:from one to six voices, 1602
378:Illustri Rutae nobile ramum
136:. He was also able to sing
762:
451:Moritz FĂĽrstenau (1885), "
736:Belgian Baroque composers
630:Kassel 1965, p. 120.
604:Köth – Mystischer Akkord.
108:On the recommendation of
20:Rogier Michael von Bergen
112:, the sister of Elector
96:at the court chapel of
665:German National Library
553:, pp. 23–45.
390:Speculum voluntatis Dei
366:for twelve voices, 1604
319:Visita quaesumus Domine
88:to study further under
26:– after middle 1623 in
731:Sacred music composers
321:for eight voices, 1596
215:John Georg I of Saxony
22:(ca. 1553 probably in
721:Renaissance composers
539:Hans-GĂĽnter Ottenberg
297:Immaculate Conception
280:is in five voices on
175:Johann Hermann Schein
504:Alfred Baumgartner:
327:for six voices, 1595
493:Helmut Federhofer:
336:, before 1601, lost
596:GĂĽnther Massenkeil
276:of 1603, only the
231:Michael Praetorius
153:Erotematum musicae
142:Friedrich Beurhaus
351:Drey schöne Stück
196:Andreas Petermann
118:Antonio Scandello
82:Annibale Padovano
78:Johannes de Cleve
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525:Musik und Kirche
481:Internet Archive
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404:Angst der Hellen
400:Das ist mir lieb
369:Hochzeitsgesang
362:Hochzeitsgesang
204:
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185:Abraham Gensreff
166:(1544-1587) and
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114:August of Saxony
110:Emilie of Saxony
74:as a choirboy.
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693:Classical music
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465:Reinhard Kade:
453:Michael, Rogier
450:
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434:Further reading
376:Hochzeitsmusik
349:Hochzeitsmusik
306:
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235:Heinrich SchĂĽtz
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151:in his writing
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90:Andrea Gabrieli
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476:Rogier Michael
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411:Secular works
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340:Die Empfängnis
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315:, Dresden 1593
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239:Trinity Sunday
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182:Superintendent
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32:Franco-Flemish
24:Bergen-op-Zoom
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64:Maximilian II
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49:Life and work
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39:Kapellmeister
37:, singer and
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25:
21:
741:1500s births
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259:stile antico
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172:Thomaskantor
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138:countertenor
107:
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41:of the late
19:
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746:1623 deaths
406:, Jena 1623
290:Fauxbourdon
270:homophonies
199: [
188: [
145: [
60:Ferdinand I
43:Renaissance
715:Categories
602:Volume 5:
558:References
398:Psalm 116
256:polyphonic
209:Later life
179:Freiberger
68:Charles II
54:Early life
667:catalogue
439:O. Kade:
130:contralto
646:WorldCat
278:antiphon
263:madrigal
220:Matthias
35:composer
30:) was a
679:Portals
663:in the
598:(ed.):
274:Introit
241:1621.
126:Leipzig
104:Dresden
94:Ansbach
28:Dresden
705:France
610:
579:
549:
512:
227:gulden
134:gulden
122:Tobias
86:Venice
537:. In
523:. In
497:. In
469:. In
443:. In
286:psalm
282:motet
249:Works
213:When
203:]
192:]
149:]
80:then
608:ISBN
577:ISBN
547:ISBN
510:ISBN
342:and
304:Work
72:Graz
644:on
455:",
70:in
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594:,
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483:).
205:.
201:de
190:de
147:de
45:.
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614:.
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