__NOTOC__ Year 1621 (MDCXXI) was a common year starting on Friday (link will display the full calendar) of the Gregorian calendar and a common year starting on Monday of the 10-day slower Julian calendar.

Events

January–June

February 9 – Papal Conclave of 1621: Pope Gregory XV succeeds Pope Paul V as the 234th pope.

February 17 – Miles Standish is appointed as the first commander of Plymouth Colony.

March 16 – Samoset, a Mohegan, visits the settlers of Plymouth Colony and greets them, "Welcome, Englishmen! My name is Samoset."

March 22 – The Pilgrims of Plymouth Colony sign a peace treaty with Massasoit of the Wampanoags.

April – The Twelve Years' Truce between the Dutch Republic and the Spanish Empire expires, and both sides prepare to resume the Eighty Years' War.

April 1 – The Plymouth, Massachusetts colonists create the first treaty with native Americans.

April 5 – The ''Mayflower'' sets sail from Plymouth on a return trip to England.

May 24 – The Protestant Union is formally dissolved.

June 3 – The Dutch West India Company is founded.

June 21 – Thirty Years' War: Twenty-seven Czech lords are executed on the Old Town Square in Prague as a consequence of the Battle of White Mountain.

June 24 – Huguenot rebellions: Saint-Jean-d'Angély is taken after a 26 day siege by Royal forces.

July–December

July 25 – Thirty Years' War: The Battle of Neu Titschein is fought; remnants of the Bohemian army manage to hold off the Imperial advance in Silesia for the moment.

September–October – Battle of Khotyn: Polish troops hold off a large Ottoman army for over a month.

October – The Pilgrims of Plymouth Colony and Wampanoags celebrate a harvest feast (3 days), later regarded as the "First Thanksgiving", noted for peaceful co-existence.

October 9 – The Treaty of Khotyn is signed between the Ottoman Empire and the Polish-Lithuanian Commonwealth, ending the First Polish-Ottoman War.

November 11 – The ship ''Fortune'' arrives at Plymouth Colony, with 35 more settlers.

December 31 – Thirty Years' War: The Peace of Nikolsburg is signed between Ferdinand II, Holy Roman Emperor and Gabor Bethlen, Prince of Transylvania. Bethlen agreed to renounce his claims to Hungary. In return Bethlen received several counties and lands along the eastern border of the Holy Roman Empire, and Moravia was granted religious freedom.

Date unknown

Huguenot rebellions: Louis XIII besieges the huguenot city of Montauban in the Siege of Montauban, but is forced to abandon his siege two months later.

The Venezuelan city of Petare is founded by Spanish conquistadors as San Jose de Guanarito.

The Swedish city of Gothenburg is founded by Gustavus Adolphus.

Riga falls under the rule of Sweden.

The Swedish king Gustav II Adolf grants city rights to Luleå, Piteå and Torneå (Tornio).

The Dutch mathematician and astronomer, Willebrord Snel van Royen (1580–1626), discovers the famous law of refraction, also known as "Snellius' law".

Louis XIII attempts to crush the Huguenot Rebellion.

The Dutch East India Company sends 2000 soldiers under the command of Jan Pieterszoon Coen to the Banda Islands in order to force the local inhabitants to accept the Dutch trade monopoly on the lucrative nutmeg, which was grown almost exlcusively on the Banda islands. The soldiers proceed to massacre most of the 15.000 indigenous inhabitants.

Births

January 27 – Thomas Willis, English physician who made important contributions to anatomy, particularly of the brain and nervous system (d. 1675)

February 2 – Johannes Schefferus, Alsatian-born humanist (d. 1679)

February 21 – Rebecca Nurse, accused witch (d. 1692)

March 31 – Andrew Marvell, English poet (d. 1678)

April 1 – Guru Teg Bahadur, 9th Sikh Guru (d. 1675)

April 25 – Roger Boyle, 1st Earl of Orrery, British soldier, statesman, and dramatist (d. 1679)

July 6 – Jean de La Fontaine, French writer (d. 1695)

July 22 – Anthony Ashley-Cooper, 1st Earl of Shaftesbury, British politician (d. 1683)

August 19 – Gerbrand van den Eeckhout, Dutch painter (d. 1674)

September 8 – Louis II de Bourbon, Prince de Condé, French general (d. 1686)

December 23

* Edmund Berry Godfrey, English magistrate (d. 1678)

* Heneage Finch, 1st Earl of Nottingham, Lord Chancellor of England (d. 1682)

Deaths

January 28 – Pope Paul V (b. 1550)

February 15 – Michael Praetorius, German composer (b. 1571)

February 28 – Cosimo II de' Medici, Grand Duke of Tuscany (b. 1590)

March 31 – King Philip III of Castile (Philip II of Portugal) (b. 1578)

April 1 – Cristofano Allori, Italian painter (b. 1577)

April 15 – John Carver, first governor of Plymouth Colony

May 15 – Hendrick de Keyser, Dutch architect and sculptor (b. 1565)

June 8 – Anne de Xainctonge, French saint (b. 1567)

June 21 – Kryštof Harant z Polžic a Bezdružic, Bohemian composer, soldier, and author (executed) (b. 1564)

July 2 – Thomas Harriot, English astronomer and mathematician (b. c. 1560)

July 10 – Charles Bonaventure de Longueval, Count of Bucquoy, soldier in Habsburg service (b. 1571)

July 13 – Archduke Albert of Austria, Governor of the Low Countries (b. 1559)

August 3 – Guillaume du Vair, French writer (b. 1556)

August 15 – John Barclay, Scottish writer (b. 1582)

September 17 – Robert Bellarmine, Italian saint (b. 1542)

September 24 – Jan Karol Chodkiewicz, Polish military commander (b. 1560)

September 25 – Mary Sidney, English writer, patroness and translator (b. 1561)

October 8 – Antoine de Montchrestien, French dramatist and economist (b. c. 1575)

October 16 – Jan Pieterszoon Sweelinck, Dutch composer (b. 1562)

November 26 – Ralph Agas, English surveyor (b. c. 1540)

December 13 – Katarina Stenbock, queen of Gustav I of Sweden (b. 1535)

December 15 – Charles de Luynes, Constable of France (b. 1578)

References

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Michael Praetorius (probably February 15, 1571 – February 15, 1621) was a German composer, organist, and writer about music. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns, many of which reflect an effort to bridge the chasm that had been opened between Protestants and Catholics.

Life

He was born Michael Schultze, the youngest son of a Lutheran pastor, in Creuzburg, Thuringia. After attending school in Torgau and Zerbst, he studied divinity and philosophy at the University of Frankfurt (Oder). After receiving his musical education, from 1587 he served as organist at the Marienkirche in Frankfurt. From 1592/3 he served at the court in Wolfenbüttel, under the employ of Henry Julius, Duke of Brunswick-Lüneburg. He served in the duke's State Orchestra Brunswick first as organist and later (from 1604) as Kapellmeister.

His first compositions appeared around 1602/3. Praetorius had started writing some of them when Regensburg was the parliamentary seat of the Holy Roman Empire. Their publication primarily reflects the care for music at the court of Gröningen. The motets of this collection were the first in Germany to make use of the new Italian performance practices; as a result, they established him as a proficient composer.

These "modern" pieces mark the end of his middle creative period. The nine parts of his ''Musae Sioniae'' (1605–10) as well as the 1611 published collections of liturgical music (masses, hymns, magnificats) follow the German Protestant chorale style. With these, at the behest of a circle of orthodox Lutherans, he followed around the Duchess Elizabeth, who ruled the duchy in the duke's absence. In place of popular music, one now expected religious music from Praetorius.

When the duke died in 1613 and was succeeded by Frederick Ulrich, Praetorius retained his employment. From 1613 he also worked at the court of John George I, Elector of Saxony at Dresden, where he was responsible for festive music on a grand scale. He was exposed to the latest Italian music, including the polychoral works of the Venetian School. His subsequent development of the form of the chorale concerto, particularly the polychoral variety, resulted directly from his familiarity with the music of such Venetians as Giovanni Gabrieli. The solo-voice, polychoral, and instrumental compositions Praetorius prepared for these events mark the high period of his artistic creativity. Until his death, Praetorius stayed at the court in Dresden, where he was declared ''Kapellmeister von Haus aus'' and worked alongside Heinrich Schütz.

Michael Praetorius died in Wolfenbüttel, Germany, and is entombed in a vault beneath the organ of St Mary's Church in Wolfenbüttel.

Name

His family name in German appears in various forms including Schultze, Schulte, Schultheiss, Schulz and Schulteis. Praetorius was the conventional Latinized form of this family name.

Works

Praetorius was a prolific composer and his compositions bear the influence of Italian composers as well as his younger contemporary Heinrich Schütz. His works include the nine volume ''Musae sioniae'' (1605–10), a collection of over a thousand (~1244) chorale and song arrangements; many other works for the Lutheran church; and ''Terpsichore'' (1612), a compendium of over 300 instrumental dances, which is both his most widely-known work, as well as his sole surviving secular work.

Musical Writings

Praetorius was the greatest musical academic of his day, and the Germanic writer of music best-known to other 17th-century musicians. Although his original theoretical contributions were relatively few, with nowhere near the long-range impact of other 17th-century German writers, such as Johannes Lippius, Christoph Bernhard, or Joachim Burmeister, he compiled an unrivaled encyclopedic record of contemporary musical practices. Praetorius came up with a few original refinements to figured-bass practice. and to tuning practice, but his importance to scholars of the 17th century derives from his discussions of the normal use of instruments and voices in ensembles, the standard pitch of the time, and the state of modal, metrical, and fugal theory. His meticulous documentation of 17th-century practice was of inestimable value to the early-music revival of the 20th century.

His mammoth but incomplete treatise, ''Syntagma musicum'', appeared in three volumes (plus appendix) between 1614 and 1620. The first volume (1614), titled ''Musicae artis analecta'', was written mostly in Latin, and dealt with the music of the ancients and of the church. The second (''De organographia'', 1618) dealt with the musical instruments of the day, especially the organ; it was one of the first theoretical treatises written in the vernacular. The third (''Termini musicali'', 1618), also in German, dealt with the genres of composition and the technical essentials for professional musicians. An appendix to the second volume (''Theatrum instrumentorum seu Sciagraphia'', 1620) consisted of 42 beautifully drawn woodcuts, depicting instruments of the early 17th century, all grouped in families and shown to scale. A fourth volume on composition was planned, with the help of Baryphonus, but was left incomplete at his death.

Praetorius wrote in a florid style, replete with long asides, polemics, and word-puzzles—all typical of 17th-century scholarly prose. As a lifelong committed Christian, he often regretted not taking holy orders; he did write several theological tracts, all now lost. As a Lutheran from a militantly Protestant family, he contributed mightily to the development of the vernacular liturgy, but, perhaps surprisingly, he also favored Italian compositional methods, performance practice, and figured-bass notation.

See also

Cornett

Crumhorn

Recorder

Sackbut

Shawm

Tenor cornett

Trombone

References

Denis Arnold (editor), (1983), ''New Oxford Companion to Music'', Oxford University Press. (Article by editor.)

Jeffery T. Kite-Powell (translator and editor), (2004) ''Syntagma Musicum III: Termini musici'' (Wolfenbüttel, 1619) Oxford University Press.

Stephan Perreau (1996). Liner notes to ''Praetorius: Dances from Terpsichore.'' Naxos 8.553865.

External links

Michael Praetorius, biography on Goldberg, the Early Music Portal.

Michael Pratorius - facsimiles in The Royal Library, Copenhagen

Listen to free Vocal Evangelical Church Music by Michael Praetorius at "Early Vocal Music Map" from Umeå Akademiska Kör.

More free scores

Category:1571 births Category:1621 deaths Category:Classical composers of church music Category:Baroque composers Category:German Lutherans Category:German performers of Christian music Category:People from Creuzburg Category:Renaissance composers Category:Viadrina European University alumni Category:Wolfenbüttel Category:16th-century German people Category:17th-century German people Category:German music theorists

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Jan Pieterszoon Sweelinck (; Deventer, April or May, 1562 – Amsterdam, 16 October 1621) was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras. He was among the first major keyboard composers of Europe, and his work as a teacher helped establish the north German organ tradition.

Life

Sweelinck was born in Deventer, Netherlands, in April or May 1562. He was the eldest son of organist Peter (or Pieter) Swybbertszoon and Elske Jansdochter Sweeling, daughter of a surgeon. Soon after Sweelinck's birth, the family moved to Amsterdam, where from about 1564, Pieter Swybbertszoon served as organist of the Oude Kerk (Sweelinck's paternal grandfather and uncle also were organists). Jan Pieterszoon must have received first lessons in music from his father. Unfortunately, his father died in 1573. He subsequently received general education under Jacob Buyck, Catholic pastor of the Oude Kerk (these lessons stopped in 1578 after the Reformation of Amsterdam and the subsequent conversion to Calvinism; Buyck chose to leave the city). Little is known about his music education after the death of his father; his music teachers may have included Jan Willemszoon Lossy, a little-known countertenor and shawm player at Haarlem, and/or Cornelis Boskoop, Sweelinck's father successor at the Oude Kerk. If Sweelinck indeed studied in Haarlem, he was probably influenced to some degree by the organists of St.-Bavokerk, Claas Albrechtszoon van Wieringen and Floris van Adrichem, both of whom improvised daily in the Bavokerk.

According to Cornelis Plemp, a pupil and friend of Sweelinck's, he started his 44-year career as organist of the Oude Kerk in 1577, when he was just 15. This date, however, is uncertain, because the church records from 1577–80 are missing and Sweelinck can only be traced in Oude Kerk from 1580 onwards; he occupied the post for the rest of his life. Sweelinck's widowed mother died in 1585, and Jan Pieterszoon took responsibility for his younger brother and sister. His salary of 100 florins was doubled the next year, presumably to help matters. In addition, he was offered an additional 100 guilders in the event that he married, which happened in 1590 when he married Claesgen Dircxdochter Puyner from Medemblik. He was also offered the choice between a further 100 guilders and free accommodations in a house belonging to the town, the latter of which he chose. Sweelinck's first published works date from around 1592–94: three volumes of chansons, the last of which is the only remaining volume published in 1594 (for reasons that are not certain, the composer adopted his mother's last name; "Sweelinck" first appears on the title-page of the 1594 publication). Sweelinck then set to publishing psalm settings, aiming to set the entire Psalter. These works appeared in four large volumes published in 1604, 1613, 1614 and 1621. The last volume was published posthumously and, presumably, in unfinished form. Sweelinck died of unknown causes on 16 October 1621 and was buried in the Oude Kerk. He was survived by his wife and five of their six children; the eldest of them, Dirck Janszoon, succeeded his father as organist of the Oude Kerk.

The composer most probably spent his entire life in Amsterdam, only occasionally visiting other cities in connection with his professional activities: he was asked to inspect organs, give opinions and advice on organ building and restoration, etc. These duties resulted in short visits to Delft, Dordrecht (1614), Enkhuizen, Haarlem (1594), Harderwijk (1608), Middelburg (1603), Nijmegen (1605), Rotterdam (1610), Rhenen (1616), as well as Deventer (1595, 1616) his birthplace. Sweelinck's longest voyage was to Antwerpen in 1604, when he was commissioned by the Amsterdam authorities to buy a harpsichord for the city. No documents were found to support a long-standing rumor first recounted by Mattheson that Sweelinck visited Venice -which in stead his brother, the painter Gerrit Pietersz Sweelink did - and similarly there is no evidence that he ever crossed the English Channel. His popularity as a composer, performer and teacher increased steadily during his lifetime. Contemporaries nicknamed him ''Orpheus of Amsterdam'' and even the city authorities frequently brought important visitors to hear Sweelinck's improvisations.

Influence

Sweelinck's only duties in Amsterdam were those of an organist. Contrary to custom, he did not play the carillon or the harpsichord on formal occasions; nor was he regularly required to produce compositions. Calvinist services did not typically include organ playing due to the belief in what is now called the Regulative Principle. The Regulative Principle restricted the elements of worship to only that which was commanded in the New Testament. However, the Consistory of Dordrecht of 1598 instructed organists to play variations on the new Genevan psalm tunes before and after the service so that the people would become familiar with them. Sweelinck was employed instead by the city itself. As he worked for Protestant magistrates the remainder of his life, it is likely that he was an adherent of Calvinism. In the 1590s three of his children were baptized in the Oude Kerk. His employment allowed him time for teaching, for which he was to become as famous as for his compositions. Sweelinck's pupils included the core of what was to become the north German organ school: Jacob Praetorius II, Heinrich Scheidemann, Paul Siefert, Melchior Schildt and Samuel and Gottfried Scheidt. Students of Sweelinck were seen as musicians against whom other organists were measured. Sweelinck was known in Germany as the "maker of organists." Sociable and respected, he was in great demand as a teacher. His Dutch pupils were undoubtedly many, but none of them became composers of note. Sweelinck, however, influenced the development of the Dutch organ school, as is shown in the work of later composers such as Anthoni van Noordt. Sweelinck, in the course of his career, had set music to the liturgies of Roman Catholicism, Calvinism and Lutheranism. He was the most important composer of the musically rich "golden era" of the Netherlands.

Sweelinck's influence spread as far as Sweden and England, carried to the former by Andreas Düben and to the latter by English composers such as Peter Philips, who probably met Sweelinck in 1593. Sweelinck, and Dutch composers in general, had evident links to the English school of composition. Sweelinck's music appears in the Fitzwilliam Virginal Book, which mostly contains the work of English composers. He wrote variations on John Dowland's famous Lachrimae Pavane. John Bull, who was probably a personal friend, wrote a set of variations on a theme by Sweelinck after the death of the Dutch composer.

Works

Sweelinck represents the highest development of the Dutch keyboard school, and indeed represented a pinnacle in keyboard contrapuntal complexity and refinement before J.S. Bach. However, he was a skilled composer for voices as well, and composed more than 250 works for voice (chansons, madrigals, motets and Psalms). Some of Sweelinck's innovations were of profound musical importance, including the fugue—he was the first to write an organ fugue which began simply, with one subject, successively adding texture and complexity until a final climax and resolution, an idea which was perfected at the end of the Baroque era by Bach. It is also generally thought that many of Sweelinck's keyboard works were intended as studies for his pupils. He was also the first to use the pedal as a real fugal part. Stylistically Sweelinck's music also brings together the richness, complexity and spatial sense of Andrea and Giovanni Gabrieli, with whom he was familiar from his time in Venice, and the ornamentation and intimate forms of the English keyboard composers. In some of his works Sweelinck appears as a composer of the baroque style, with the exception of his chansons which mostly resemble the French Renaissance tradition. In formal development, especially in the use of countersubject, stretto, and organ point (pedal point), his music looks ahead to Bach (who was quite possibly familiar with Sweelinck’s music).

Sweelinck was a master improviser, and acquired the informal title of the "Orpheus of Amsterdam". More than 70 of his keyboard works have survived, and many of them may be similar to the improvisations that residents of Amsterdam around 1600 were likely to have heard. In the course of his life, Sweelinck was involved with the musical liturgies of three distinctly different church types: the Roman Catholic, the Calvinist, and the Lutheran—all of which are reflected in his work. Even his vocal music, which is more conservative than his keyboard writing, shows a striking rhythmic complexity and an unusual richness of contrapuntal devices.

Scores

A new scholarly edition of Sweelinck's complete keyboard works (Breitkopf & Härtel, 2004) is edited in 4 volumes by Harald Vogel and Pieter Dirksen.

Recordings

''Complete Keyboard Works''. Various organists. NM Classics 92119 (9 CDs) ''Het Sweelinck Monument'', a complete recording of the vocal works of Sweelinck; The Gesualdo Consort conducted by Harry van der Kamp, Glossa, (17 CDs), 2009-2010. The recordings were simultaneously issued on CD and also available in Dutch language book-CD presentation sets in the Netherlands.

Media

See also

List of students of Jan Pieterszoon Sweelinck

References

Further reading

Gustave Reese, ''Music in the Renaissance''. New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4

Manfred Bukofzer, ''Music in the Baroque Era''. New York, W.W. Norton & Co., 1947. ISBN 0-393-09745-5

''The Concise Edition of Baker's Biographical Dictionary of Musicians'', 8th ed. Revised by Nicolas Slonimsky. New York, Schirmer Books, 1993. ISBN 0-02-872416-X

Pieter Dirksen, ''The Keyboard Music of Jan Pieterszoon Sweelinck – Its Style, Significance and Influence.'' (Utrecht, 1997). ISBN 90-6375-159-1

Sweelinck Studies, ''Proceedings of the Sweelinck Symposium'', Utrecht 1999, (Utrecht 2001) Edited by Pieter Dirksen. ISBN 90-72786-09-2

External links

Jan Pieterszoon Sweelinck

Works by Sweelinck performed on virtual organs

Category:1562 births Category:1621 deaths Category:Baroque composers Category:Composers for pipe organ Category:Renaissance composers Category:Dutch classical organists Category:Dutch music theorists Category:Organ improvisers Category:Organists and composers in the North German tradition Category:People from Deventer Category:People from Amsterdam

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