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Michael Praetorius SYNTAGMA MUSICUM II De Organographia Parts III – V, with Index Quentin Faulkner Translated and edited by Michael Praetorius S Y N T A G M A M U S I C U M I I De Organographia Parts III – V with Index Translated and edited by Quentin Faulkner Zea Books Lincoln, Nebraska 2014 Michael Praetorius S Y N T A G M A M U S I C U M I I De Organographia Parts III – V with Index Translated and edited by Quentin Faulkner Zea Books Lincoln, Nebraska 2014 Preface to the Translation M ichael Praetorius was born Feb. 15, 1571, and died Feb. 15, 1621. The fifty years of his life are distinguished by unre- mitting creative energy. Praetorius achieved distinction as a practicing musician: as organist and Kapellmeister at Wolfenbüttel, Dresden and Magdeburg, and (in his later years) by incessant travel to fulfill commissions at various central German courts. Amid his travels Praetorius found time to publish an impressive series of collections of musical compositions, in all more than a thousand works. Praetorius’s only literary publication, the three-volume Syntagma musicum (Musical Encyclopedia) belongs to the last years of his life. Volume I, Musicae artis analecta (1614/15, in Latin), treats principles and practices of religious music, from a decidedly Lutheran perspective. Volume II, De organographia (1619, in German) deals with musical instruments, in particular with the organ. Volume III, Termini musici (1619, in German) explores the practice of music, both improvisation and composition. The Syntagma musicum is the first comprehensive treatment of music in the German language. Looking back over the intervening 150 years, Jacob ISBN 978-1-60962-050-9 paperback Adlung—himself a major figure in German musical scholarship—cites Praeto- ISBN 978-1-60962-051-6 ebook rius constantly, and refers to him as the “primary book ….”1 Volume I has not yet been translated into English. Volume III has English translation, notes, etc., copyright © 2014 Quentin Faulkner. been translated and edited by Jeffery Kite-Powell (Oxford University Press, 2004). The first two parts of Volume II, on all musical instruments except the Design, layout, and composition, based on the 1619 edition, by Paul Royster. organ, have been translated twice: by Harold Blumenfeld (Bärenreiter, 1962; Text set in IM Fell English Pro type, developed and furnished by reprinted by Da Capo Press, 1980), and by David Z. Crookes (Oxford: Clar- Igino Marini; display type in Diploma by Altsys Fontographer; endon Press; New York: Oxford University Press, 1986). The publication be- initials in Kanzlei Initialen designed by Dieter Steffmann. fore you translates Volume II, Parts III–V on the organ.2 Its belated appear- ance would have puzzled Praetorius, who declares the organ to be “a perfect  (indeed one might also say “most perfect”) musical instrument … which … Zea Books are published by the University of Nebraska–Lincoln Libraries. 1. Jacob Adlung, Musica mechanica organædi, (Berlin: Birnstiel, 1768),Vol. I, p. 12, §. 9. Facsimile and English trans- Available online: http://digitalcommons.unl.edu/zeabook/ lation: Lincoln, Nebraska: Zea E-Books, 2011; electronic edition: http://digitalcommons.unl.edu/zeabook/6/ Paperback orders: http://www.lulu.com/spotlight/unllib 2. It is intended to be used in tandem with either the Blumenfeld or the Crookes translation, both of which translate prefatory material, some of which is relevant to the chapters on the organ. Preface to the Translation M ichael Praetorius was born Feb. 15, 1571, and died Feb. 15, 1621. The fifty years of his life are distinguished by unre- mitting creative energy. Praetorius achieved distinction as a practicing musician: as organist and Kapellmeister at Wolfenbüttel, Dresden and Magdeburg, and (in his later years) by incessant travel to fulfill commissions at various central German courts. Amid his travels Praetorius found time to publish an impressive series of collections of musical compositions, in all more than a thousand works. Praetorius’s only literary publication, the three-volume Syntagma musicum (Musical Encyclopedia) belongs to the last years of his life. Volume I, Musicae artis analecta (1614/15, in Latin), treats principles and practices of religious music, from a decidedly Lutheran perspective. Volume II, De organographia (1619, in German) deals with musical instruments, in particular with the organ. Volume III, Termini musici (1619, in German) explores the practice of music, both improvisation and composition. The Syntagma musicum is the first comprehensive treatment of music in the German language. Looking back over the intervening 150 years, Jacob ISBN 978-1-60962-050-9 paperback Adlung—himself a major figure in German musical scholarship—cites Praeto- ISBN 978-1-60962-051-6 ebook rius constantly, and refers to him as the “primary book ….”1 Volume I has not yet been translated into English. Volume III has English translation, notes, etc., copyright © 2014 Quentin Faulkner. been translated and edited by Jeffery Kite-Powell (Oxford University Press, 2004). The first two parts of Volume II, on all musical instruments except the Design, layout, and composition, based on the 1619 edition, by Paul Royster. organ, have been translated twice: by Harold Blumenfeld (Bärenreiter, 1962; Text set in IM Fell English Pro type, developed and furnished by reprinted by Da Capo Press, 1980), and by David Z. Crookes (Oxford: Clar- Igino Marini; display type in Diploma by Altsys Fontographer; endon Press; New York: Oxford University Press, 1986). The publication be- initials in Kanzlei Initialen designed by Dieter Steffmann. fore you translates Volume II, Parts III–V on the organ.2 Its belated appear- ance would have puzzled Praetorius, who declares the organ to be “a perfect  (indeed one might also say “most perfect”) musical instrument … which … Zea Books are published by the University of Nebraska–Lincoln Libraries. 1. Jacob Adlung, Musica mechanica organædi, (Berlin: Birnstiel, 1768),Vol. I, p. 12, §. 9. Facsimile and English trans- Available online: http://digitalcommons.unl.edu/zeabook/ lation: Lincoln, Nebraska: Zea E-Books, 2011; electronic edition: http://digitalcommons.unl.edu/zeabook/6/ Paperback orders: http://www.lulu.com/spotlight/unllib 2. It is intended to be used in tandem with either the Blumenfeld or the Crookes translation, both of which translate prefatory material, some of which is relevant to the chapters on the organ. ii PREFACE TO THE TRANSLATION takes pride of place above all other musical instruments, most of which can Acknowledgements 3 be incorporated into this single instrument.” Praetorius’s writing style is at times fulsome, at times elliptical, and A great number of people have graciously and generously offered his spelling is neither standardized nor consistent; his text is peppered with me their expert help in understanding and interpreting the many imprecise colloquialisms. Therefore this translation is often forced to take challenges and puzzles this translation has presented. I am grate- on the character of a paraphrase. Despite the generous help I have received ful to all of them for their time, their advice, and their patience. from scholars and organbuilders far more knowledgeable than I, there re- If I have inadvertently omitted mentioning names of persons that main words and passages whose precise meaning remains elusive. They ap- should by right be in this list, I ask for their kind pardon, and assure them pear in the translation in red type, encouraging the reader to beware. that the fault lies not in any ingratitude on my part, but rather in the scope The word “lieblich” appears frequently in the text. In modern Ger- of the project. man it simply means “lovely.” For Praetorius, however, it has a more spe- cific meaning, for which a passage on pp. 99-100 provides the key: “… the Mr. Gene Bedient, organbuilder, for advice both practical and theoretical instrument [at Halberstadt] could not produce the gentle (lieblich) higher Prof. Konrad Brandt, Evangelische Hochschule für Kirchenmusik, Halle/Saale, tones, but only a deep, coarse, rumbling roar.” Here Praetorius registers his Germany preference for the more narrow scales and gentle, refined sounds of pipes Prof. Anita Breckbill, Music Librarian, University of Nebraska-Lincoln in modern organs,4 in contrast to the wider scales and loud, coarse sound Prof. Dr. Jürgen Eppelsheim, Ludwig-Maximilians-Universität, Munich, Ger- of still extant older organs. The translation accordingly renders “lieblich” many, for many hours’ wrestling with the most challenging passages. as “beautiful/lovely,”5 “gentle/refined,” or occasionally as “pleasing,” de- Dr. Mary Murrell Faulkner pending on the context. Prof. Kyriakos Gounaridou, Smith College, Northampton, Massachusetts The translation incorporates Praetorius’s corrections from the sub- Prof. Raymond Haggh, School of Music, University of Nebraska-Lincoln stantial list of errata on pp. 234-6. Frau Kettmann, Bibliothekarin, Evangelische Hochschule für Kirchenmusik, Halle/Saale, Germany Mr. Wayne Leopold and Ms. Christina Gogdill, for kindly preparing musical examples. Prof. George Ritchie, School of Music, University of Nebraska-Lincoln Mr. John Ross and other members of the Information Technology staff , Uni- versity of Nebraska-Lincoln, for their kind and patient technical assistance. Prof. Paul Royster, Coordinator of Scholarly Communications, University of Nebraska-Lincoln Libraries, for his enthusiasm and creativity in preparing this digital publication. Prof. Pamela Starr, School of Music, University of Nebraska-Lincoln Prof. Harald Vogel, North German Organ Academy; Hochschule für Künste Bremen, Germany Herr Christian Wegscheider, organbuilder, Dresden, Germany Herr Rüdiger Wilhelm, Braunschweig, Germany Prof. Dr. Christoph Wolff, Department of Music, Harvard University; Direc- 3. pp. 117-18. tor, Bach-Archiv Leipzig 4. p. 143: “…every organbuilder ought diligently to pursue very narrow scales, since the narrower they are, the more gentle (lieblich) and charming they are.” Marlene M. Wong, Head of Werner Josten Library, Smith College, Northamp- 5. See, e.g., the bottom of p. 127, “4. Klein Principal…” ton, Massachusetts iii ii PREFACE TO THE TRANSLATION takes pride of place above all other musical instruments, most of which can Acknowledgements 3 be incorporated into this single instrument.” Praetorius’s writing style is at times fulsome, at times elliptical, and A great number of people have graciously and generously offered his spelling is neither standardized nor consistent; his text is peppered with me their expert help in understanding and interpreting the many imprecise colloquialisms. Therefore this translation is often forced to take challenges and puzzles this translation has presented. I am grate- on the character of a paraphrase. Despite the generous help I have received ful to all of them for their time, their advice, and their patience. from scholars and organbuilders far more knowledgeable than I, there re- If I have inadvertently omitted mentioning names of persons that main words and passages whose precise meaning remains elusive. They ap- should by right be in this list, I ask for their kind pardon, and assure them pear in the translation in red type, encouraging the reader to beware. that the fault lies not in any ingratitude on my part, but rather in the scope The word “lieblich” appears frequently in the text. In modern Ger- of the project. man it simply means “lovely.” For Praetorius, however, it has a more spe- cific meaning, for which a passage on pp. 99-100 provides the key: “… the Mr. Gene Bedient, organbuilder, for advice both practical and theoretical instrument [at Halberstadt] could not produce the gentle (lieblich) higher Prof. Konrad Brandt, Evangelische Hochschule für Kirchenmusik, Halle/Saale, tones, but only a deep, coarse, rumbling roar.” Here Praetorius registers his Germany preference for the more narrow scales and gentle, refined sounds of pipes Prof. Anita Breckbill, Music Librarian, University of Nebraska-Lincoln in modern organs,4 in contrast to the wider scales and loud, coarse sound Prof. Dr. Jürgen Eppelsheim, Ludwig-Maximilians-Universität, Munich, Ger- of still extant older organs. The translation accordingly renders “lieblich” many, for many hours’ wrestling with the most challenging passages. as “beautiful/lovely,”5 “gentle/refined,” or occasionally as “pleasing,” de- Dr. Mary Murrell Faulkner pending on the context. Prof. Kyriakos Gounaridou, Smith College, Northampton, Massachusetts The translation incorporates Praetorius’s corrections from the sub- Prof. Raymond Haggh, School of Music, University of Nebraska-Lincoln stantial list of errata on pp. 234-6. Frau Kettmann, Bibliothekarin, Evangelische Hochschule für Kirchenmusik, Halle/Saale, Germany Mr. Wayne Leopold and Ms. Christina Gogdill, for kindly preparing musical examples. Prof. George Ritchie, School of Music, University of Nebraska-Lincoln Mr. John Ross and other members of the Information Technology staff , Uni- versity of Nebraska-Lincoln, for their kind and patient technical assistance. Prof. Paul Royster, Coordinator of Scholarly Communications, University of Nebraska-Lincoln Libraries, for his enthusiasm and creativity in preparing this digital publication. Prof. Pamela Starr, School of Music, University of Nebraska-Lincoln Prof. Harald Vogel, North German Organ Academy; Hochschule für Künste Bremen, Germany Herr Christian Wegscheider, organbuilder, Dresden, Germany Herr Rüdiger Wilhelm, Braunschweig, Germany Prof. Dr. Christoph Wolff, Department of Music, Harvard University; Direc- 3. pp. 117-18. tor, Bach-Archiv Leipzig 4. p. 143: “…every organbuilder ought diligently to pursue very narrow scales, since the narrower they are, the more gentle (lieblich) and charming they are.” Marlene M. Wong, Head of Werner Josten Library, Smith College, Northamp- 5. See, e.g., the bottom of p. 127, “4. Klein Principal…” ton, Massachusetts iii Notice Even with the generous, patient counsel I have received from those with particular expertise, I have all too often been unable to arrive at an incontest- able translation of Praetorius’s text. Questionable words and passages are indicated in dark red type in the electronic edition of the translation (http:// digitalcommons.unl.edu/zeabook/ ), and appear in gray type in the printed version (available from http://www.lulu.com/spotlight/unllib). Among the advantages of electronic publishing is the opportunity it affords to al- ter and correct such words and passages. The translator and publisher would be grateful for suggested corrections and clarifications, but they reserve the right to accept or reject them as seems prudent. Quentin Faulkner v Notice Even with the generous, patient counsel I have received from those with particular expertise, I have all too often been unable to arrive at an incontest- able translation of Praetorius’s text. Questionable words and passages are indicated in dark red type in the electronic edition of the translation (http:// digitalcommons.unl.edu/zeabook/ ), and appear in gray type in the printed version (available from http://www.lulu.com/spotlight/unllib). Among the advantages of electronic publishing is the opportunity it affords to al- ter and correct such words and passages. The translator and publisher would be grateful for suggested corrections and clarifications, but they reserve the right to accept or reject them as seems prudent. Quentin Faulkner v MuSIC ENCYCLOPEDIA BY MICHAEL PRAETORIUS OF CREUZBURG V O L u M E T W O Concerning MUSICAL INSTRUMENTS. In which may be found The Name, Sound Properties and Structural Characteristics of Every Musical Instrument, ancient and modern, both those that are foreign, barbarian, rustic, and unfamiliar, as well as those that are indigenous, artful, gentle, and familiar, together with a drawing of each to scale; Furthermore, A precise description of ancient and modern organs, their manual and pedal keyboards, bellows, stoplists, and various kinds of stops, as well as how to tune regals and harpsichords easily and precisely; and what to consider when accepting a [newly‑built] organ, together with an appended detailed table;1 Not only useful and necessary for organists, instrumentalists, organbuilders, instrument makers, and all who are well‑disposed toward the muses, but also to be read with pleasure by philosophers, philologists, and historians. Together with a detailed Index. Printed at Wolfenbüttel by Elias Holwein, Printer and Woodcut‑Engraver to the Prince of Brunswick.2 Published by the author. A.D. 1619 1. the Universal Tabel of organ stop names, bound between pp. 126 and 127. 2. Duke Heinrich Julius of Brunswick and Lüneburg, Praetorius’s patron; see p. 139.