Tag Archives: Michael Praetorius

Concio et cantio

In the preface to his collection Polyhymnia caduceatrix et panegyrica (1619) Michael Praetorius engaged in a play on words, juxtaposing the similar-sounding Latin terms concio and cantio. But the passage is not a mere display of cleverness—it is a theological assertion that musicologists have described as a manifesto on liturgical music.

Praetorius wrote (translated here): “for the completeness of worship it is not only appropriate to have a concio, a good sermon, but also in addition the necessary cantio, good music and song.” By stating that worship would be incomplete without “good music and song”—which he further deemed “necessary”—he was expressing the underlying premise of his entire career as a Lutheran church composer and cantor.

This according to “Concio et cantio: Proclamation and praise in song and music” by Daniel Zager; the article is published online here. Below, the Monteverdichor Würzburg and the Monteverdi Ensemble, conducted by Matthias Beckert, perform Praetorius’s Puer natus in Bethlehem from the same collection.

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Filed under Baroque era, Curiosities

Technical drawings

Technical drawings of instruments are of interest to instrument builders, organologists, and iconographers—they may also be useful for researchers working on performance practice, theory, or aesthetics. Technical drawings may also be found as freestanding publications issued by museums and collections to encourage reconstructions of the historical instruments that they own.

This example from Athanasius Kircher’s Musurgia Universalis (1650) shows the inner workings of a claviorganum, which Michael Praetorius described in his Syntagma musicum.II: De organographia (1619) as a keyboard instrument in which strings and pipes “sound together to produce a pleasing sound”.

Below, Gustav Leonhardt performs on a claviorganum.

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Filed under Baroque era, Iconography, Instruments, Publication types