Michael Praetorius was one of the most important composers and theorists of the late renaissance and early-17th century. His astonishing encyclopedia of music gives us an intriguing glimpse into the instruments and performance practices of the time, and his writing covers all aspects of music. Praetorius wrote popular hymn settings, as well as large-scale compositions that borrowed elements of the polychoral Italian tradition. Praetorius was a tune collector, just like the musicologists of the late 19th and early 20th centuries who collected songs and dances from different countries; he planned eight volumes of these secular works, but he only finished one: his book of French instrumental dances Terpsichore, named after the muse of dance (1612).

“Dances from Terpsichore” by Michael Praetorius is a collection of lively instrumental dance music from the early Baroque period, published in 1612. Named after the Greek muse of dance, Terpsichore, this work is one of Praetorius’s most famous contributions and reflects the Renaissance-to-Baroque transition in European music. It’s drawn from a larger volume of over 300 dances, showcasing a variety of styles popular in the courts and towns of the time.

The pieces are typically short, melodic, and rhythmically vibrant, written for ensembles of strings, winds, and percussion—like viols, recorders, lutes, and drums. They include dance forms such as pavanes, galliards, courantes, and branles, each with distinct tempos and characters: pavanes are stately and slow, while galliards and courantes are more upbeat and lively. The music is polyphonic yet accessible, designed both for dancing and listening, with a bright, festive energy that captures the spirit of 17th-century social gatherings.

Praetorius, a German composer and music theorist, aimed to preserve and share these secular dance tunes, blending French, Italian, and German influences. It’s a snapshot of Renaissance dance culture, polished with Baroque sensibilities.