1619—Wolfenbüttel,Germany

Praetorius, in his Syntagma Musicum III, discusses use of various instrumental configurations: “In the instrumental choir it is only instruments such as trombones, cornetts, curtals, flutes, or violins [Geigen] that perform; it is added to the vocal choir; that is, to the concertato voices, for the sake of greater weight and a fuller, more pleasing sound” (Praetorius-Kite-Powell III 126). Discussing the Italian style of vocal soloists with accompaniment, he says, “They do not like this style as they believe it is too sparse, and that it has no particular attraction or harm for those who have no understanding of music. Therefore I had to come up with the solution of adding a four-part choir or consort of either trombones or violins [Geigen] that could play along at all times. And because such a sound is somewhat more pleasing to the ear when arranged in this fashion in the church, I have earned the public’s approbation” (Praetorius-Kite-Powell III 126).