Syntagma Musicum II: De Organographia, Parts III – V with Index

341 Pages·2014·26.754 MB·English

by  Michael Praetorius, Quentin Faulkner (trans.,ed.)

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 mu-
sicum (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 instru-
ments, in particular with the organ.
Volume III, Termini musici (1619, in German) explores the practice of mu-
sic, 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 mu-
sicum (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 instru-
ments, in particular with the organ.
Volume III, Termini musici (1619, in German) explores the practice of mu-
sic, 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 par-
ticular 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 print-
ed 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 par-
ticular 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 print-
ed 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.