Find a Michael Praetorius - Ricercar Consort, Ensemble La Fenice - Terpsichore Musarum first pressing or reissue. Complete your Michael Praetorius. Westra Apros Pijpare, Michael Praetorius - Praetorius: Dances from Terpsichore - Music. If I read my Schwann catalog correctly, there are only three full CDs of Praetorius's Terpsichore, that exquisite early 17th-century disco collection.


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In fact, even this michael praetorius terpsichore an oversimplification. Also, although Praetorius states a number of times that Terpsichore is a collection michael praetorius terpsichore French dances, it is actually rather more diverse.

It is mostly organised by genre with sections for the main types of French dances of the time, starting with suites of bransles, followed by courantes, voltes or voltas, ballets some of which come from masque-like ballets produced at the French court and passamezzos and galliards. However, Nos 22 to 34 make up a section of what we might call generic dances: Furthermore, Praetorius printed a number of pieces among his section of michael praetorius terpsichore that come from England rather than France.

Hyperion Records

Michael praetorius terpsichore have put them together to make up a suite of six English courantes. The most substantial and complex pieces in Terpsichore are the suites of bransles. Indeed, the one that opens the collection, by Caroubel, is one of the longest continuous pieces of instrumental music written before the eighteenth michael praetorius terpsichore.

It begins in duple time Bransle Simplechanges to triple time Bransle Gay and then to a faster triple time Bransle de Poictou.


At the time the bransle was just beginning to be popular as a court dance. It began as a popular round dance, though by the middle of the seventeenth century a standard sequence of six sections had evolved, michael praetorius terpsichore it was being used to open balls at courts all over Europe.

The Bransle de Villages, No 14, is a evocation of village dance music, with melodies deliberately restricted in range and key. This suggested to michael praetorius terpsichore adding pipe and tabor and bagpipes to the strings; rustic instruments of this sort were often used with violin bands to bring the flavour of popular music into the court.

It may surprise some people that the pipe and tabor and the bagpipes are the only wind instruments used on this recording. In terms of pure compositional achievement it may be the least interesting of those volumes, but it has always worked well in performance because it is unquestionably the best medium for exploiting the vast range of apparently current instruments that Praetorius later described in the second book of his musical encyclopaedia Syntagma musicum.

Rackets, shawms, Rauschpfeifen, many kinds of stringed instruments and much else are michael praetorius terpsichore chronicled here.

M. Praetorius Terpsichore |

And the music in Terpsichore is tailor-made for an imaginative and rich display showing the varied sounds of one of music's most colourful eras. In presenting this selection michael praetorius terpsichore a daunting array of different instruments and ensembles, Philip Pickett follows michael praetorius terpsichore tradition inherited from the German Collegium Terpsicore via David Munrow and many others.

But this may be the first such record devoted entirely to the Terpsichore collection. Most others offer something else on the second side.


Several of Pickett's choices and even some of the orchestrations seem familiar from earlier records—which I find surprising, given that there are over pieces in Praetorius's collection. But the sound—especially on CD—is so good that it seems churlish to complain. In all, there is a massive cast of nearly 40 musicians taking part, among michael praetorius terpsichore some of the most admired early-instrument names michael praetorius terpsichore London.

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