Settings for this appear in the lute anthology Le trésor d'Orphée by Anthoine Francisque (1600) and the ensemble collection Terpsichore by Michael Praetorius (1612).
#"Praetorius (Courante)" – Instrumental 1:54 (Traditional by Michael Praetorius)
He lived in Paris from 1576 and collaborated with Michael Praetorius at the court of the Duke of Brunswick at Wolfenbüttel.
The composer Michael Praetorius refers to him in the third volume of his Syntagma musicum.
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Some composers who specified the use of the cornettino in their scores include: Michael Praetorius, Heinrich Schütz, Johann Heinrich Schmelzer, Heinrich Ignaz Franz von Biber, Matthias Weckmann, Antonio Bertali, Johann Caspar Horn, Johann Erasmus Kindermann, Matthias Spiegler, Johann Vierdanck, Johann Sebastian Bach and Georg Philipp Telemann.
He was not related to the much more famous Michael Praetorius, though the Praetorius family had many distinguished musicians throughout the 16th and 17th centuries.
His family is not related to notable contemporary Michael Praetorius.
The soundbox has an hourglass shape and looks very much like the illustration of a nyckelharpa in Michael Praetorius's Syntagma Musicum III of 1620 (where it is called Schlüssel fiddel).
Syntagma Musicum is a book by the German musicologist Michael Praetorius, published in Wittenberg and Wolfenbüttel in three parts between 1614-1620.
Michael Praetorius was not enthusiastic about the sound of the tenor cornett, he describes it as "bullocky and horn-like" in his Syntagma Musicum of 1619.