Grove's dictionary of music and musicians

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146 EOSENHAIN ROSENMULLER
harmony do. 1828. Was a pupil and imitaixir of
Herz. He published nearly 200 works for PF.,
including a 'Methode de Piano' (Heugel), a
collection of progressive exercises entitled'
'
Manuel des Pianistes ' (Ibid.), a trio for piano
and strings, and many separate pieces of drawing-room
character, one of which, a Reverie
(op. 32, No. 1), enjoyed an extraordinary popularity
for many years over the whole of Europe.
He died in Paris, March 18, 1876. g.
EOSENHAIN, Jacob, eldest son of a banker,
was bom at Mannheim, Deo. 2, 1813. His
teachers were Jacob Schmitt, Kalliwoda, and
Schnyder von Wartensee. His first appearance
as a pianoforte- player was in 1823 at Frankfort,
where his success induced him to take up his
residence. A one-act piece of his, Der ' Besuch
im Irrenhause,' was produced at Frankfort, Deo.
23, 1834, with great success ; his second, ' Liswenua,'.
three acts, was never performed in its
original form. In 1837 he came to Loudon,
played at the Philharmonic, April 17, and was
much heard in the concerts of the day. After
this he took up his abode in Paris, where he
became very prominent, giving chamber concerts
in combination with Alard, Ernst, and other
eminent players, and carrying on a school of
pianoforte-playing in conjunction with J. B.
Cramer. His early opera, ' Liswenna,' was provided
with a new libretto (by Bayard and Arago),
and brought out at the Grand Op^ra as Le
'
Demon de la Nuit,' March 17, 1851. It had,
however, but a moderate success, and was withdrawn
after four representations, though it was
afterwards occasionally played in Germany.
Another one-act piece, 'Volage et Jaloux,' produced
at Baden-Baden, August 3, 1863, completes
the list of his works for the stage. " In
instrumental music he was much more prolifio.
He composed three symphonies—in G minor
(op. 42), played at the Gewandhaus, Leipzig,
under Mendelssohn's direction, Jan. 31, 1846 ;
in F minor (op. 43), played a,t Brussels, and at
the Philharmonic, London, April 24, 1854
'
Im Friihling,' in F major (op. 61), rehearsed
at the Conservatoire, and played at a Concert
Populaire. Four trios for PF. and strings ;
one
PF. concerto ; three string quartets ; two violoncello
sonatas ; twelve characteristic studies (op.
17) and twenty-four ^^tudes m^lodiques (op.
20), both for PF. solo ; a PF. concerto, op. 73 ;
Sonata, op. 74 ;
do. PF. and violoncello, op. 98
'
Am Abend ' for quartet, op. 99. Also various
pieces for piano entitled, 'Poemes,' 'Reveries,'
etc. ; a biblical cantata, and various songs, etc.
[He died at Baden-Baden, March 21, 1894.]
Schumann criticised several of his pieces with
kindness and liberality. G.
ROSENMULLER, Johann, was born of
poor parents about 1619 at Pelsnitz in the
Vogtland of Saxony. In spite of the poverty
of his parents .the arrangements of the time
enabled him to obtain a good general education.
and in 1640 his name appears inscribed in the
Matriculation-book of the University of Leipzig.
In 1642 he became Collaborator or Assistant-
Master at the Thomasschnie. In musical matters
he would appear to have been mainly a pupil
of Tobias Michael, who then held the important
office of Cantor at the school. In 1645 Rosenmiiller
published his first work, a work for
instruments entitled, ' Paduanen, Alemanden,
Couranten, Balletten, Sarabanden mit SStimmen
und ihrem Basso pro Organo.' A more important
work was his ' Kernspriiche,' published
in two parts, 1648 and 1652-53, each part
consisting of twenty Latin and German Motets
on Scripture and other Church Texts for three
to seven voices, mostly with accompaniment of
two violins, and also occasionally trombones
and other instruments with Basso Continuo.
When Tobias Michael became too infirm to
discharge adequately his duties as Cantor,
Rosenmiiller acted as his deputy, and in this
position gave such satisfaction to the city
council as to obtain the promise of succession
to the Cantorship. In 1651 he also held the
post of organist at the Nikolaikirche. But in
May 1655 his prospects of further promotion
were blighted by an accusation made against
him of some grave moral offence, for which he
was temporarily imprisoned. He succeeded in
effecting his escape, and betook himself for a
time to Hamburg. From Hamburg he is said
'
to have addressed a Supplication ' to the
Elector of Saxony, Johann Georg I., along with
a setting of the Hymn of Albinus, Straf mich
'
nicht in deinem Zom.' This would almost
seem to be an admission of his guilt, although
Winterfeld in his Mvamgelischer Kirchengesang
endeavours to prove him innocent of the charge
made against him. However the case may
be, Rosenmiiller did not feel himself safe in
Hamburg, but fled to Italy, and settled in
Venice as a teacher of music for a considerable
number of years. Of his stay in Venice little
would have been known if Johann Philipp
Krieger, who was afterwards Capellmeister at
Weissenfels, had not sought him out and become
his pupil in composition. A large number of
works existmg only in MSS., consisting of Latin
Motets, Vesper Psalms, Lamentations, and
various parts of the Mass, must be referred to
this Venetian stay. The only work published
in Venice was one for instruments, entitled
'Senate da Camera oioe Sinfonie, Alemande,
Correnti, Balletti, Sarabande da suonare con
5 Strom, da aroo et altri' . . . 1670. This
work was dedicated to Duke Johann Friedrioh
of Brunswick, who became acquainted with the
composer on the occasion of one of his visits to
Venice. It has recently been republished as
Bd. xviii. of the Denkmaler deutscher Tonkwnst,
Erste Folge, where also in his introduction the
editor Karl Nef traces the influence of the
Venetian opera-symphonies upon Rosenmiiller's