Grove's dictionary of music and musicians

ROSENTHAL ROSIN 147
style of instrumental composition. The acquaintance
with Duke Johann Friedrich had
important consequences for RosenmiUler. It
led to his recall to Germany. Duke Johann
Friedrich recommended him to his brother the
reigning Duke Anton TJlrioh, who was an
enlightened patron of literature and music, and
himself a hymn -writer of some reputation.
In 1674 Duke Anton XJlrich appointed Eosenmiiller
Capellmeister at Wolfenbiittel, where
he remained for the rest of his life, dying there
on 10th or 11th of September 1684. Only one
other work was published in this later period
of his life, Sonate ' a 2, 3, 4, e 5 Stromenti da
Arcoetaltri . . . Nuremberg, 1682,' dedicated
to his patron Duke Anton Ulrioh. A large
number of German Motets and Cantatas belonging
to this time remained unpublished. None
of Rosenmiiller's vocal works have yet been
republished in modern editions, with the exception
of two Chorale-tunes and settings—
' Straf
mich nieht in deinem Zorn and '
' Welt ade, ich
bin dein miide.' The former of these tunes
indeed seems far less suitable to its original
German words than to those of the Easter
hymns to which it has been so successfully
adapted in our English hymn-books, Christ
'
the Lord is risen again.' Of Rosenmiiller's
6-voice setting of Welt ' ade ' it would appear
that Sebastian Bach thought so highly that
he took it over bodily from Vopelius' Leipziger
'
Gesangbuch,' 1682, to incorporate it into his
own church-cantata of 1731, 'Werweiss, wie
nahe mir mein Ende.' This led to both tune
and setting being afterwards ascribed to Bach in
earlier editions of his 'Choral-gesange.' j. E. M.
ROSENTHAL, MoRiz, born Dec. 18, 1862,
at Lemberg, where his father was a professor in
the chief Academy. From him Rosenthal obtained
the solid foundation of the philosophical
turn of mind which early in his career became
very fully developed. At eight years of age
the boy began the study of the pianoforte under
a certain Galoth, whose method was curious in
that he permitted his pupil absolute freedom
in sight-reading, transposing, and modulating,
without paying over -much attention to the
systematic development of his technique. All
who have heard the pianist in later life will
agree that this system did no harm, for it is
probable that there has never lived a player
possessing a more perfect technique. Beethoven,
Weber, and others were one and all boldly
attacked by the youth, who as yet knew not
a syllable of the conventional methods of
lingering either chords or scales. In 1872 Carl
Mikuli, the editor of Chopin, who was then
director of the Lemberg Conservatorium, took
charge of Rosenthal's education, and within the
same year played in public with him Chopin's
Rondo in C for two pianos. All this time,
however, nothing had been determined as to
Rosenthal's ultimate career, and it was only on
the urgent advice of Rafael Joseffy that the
parents consented to Rosenthal's adoption of a
«areer as pianist. When, in 1875, the family
moved to Vienna, Rosenthal became a pupil of
Joseffy, who set to work systematically to gi-ound
the boy on Tausig's method. The results were
astonishing enough, since in 1876 Rosenthal
played at his first public recital Beethoven's
thirty-two Variations, Chopin's Fminorconcerto,
and some Liszt and Mendelssohn. Promptly
a tour followed through Roumania, where at
Bucharest the king created the fourteen-yearr
old lad court-pianist. In the next year Liszt
came into Rosenthal's life, and henceforth played
a great part therein, and in lS78 and subsequently
they were together in Weimar and
Rome. As. Liszt's pupil Rosenthal then appeared
in Paris, St. Petersburg, and elsewhere.
Meanwhile the philosophical studies were by
no means neglected, for in 1880 Rosenthal
qualified at the Staatsgymnasium in Vienna to
take the phUosophieal course at the University,
where he studied with Zimmermann, Brentano,
and Hanslick (musical aesthetics). Six years
elapsed before he resumed public pianoforteplaying.
Then there followed in quick succession,
after a triumph in the Liszt Verein at
Leipzig, a long series of concert -tours, in
America and elsewhere, which brought him
ultimately to England in 1895 and to America
again later, where in the spring of the present
year (1907) he was making a remarkably successful
tour. As a master of technique Rosenthal
is not surpassed by any pianist of his time,
while as an interpreter, especially of music of
the modern composers and of Schubert, he has
earned a prodigious reputation. To his great
technical accomplishment he adds a beautiful
touch, and to those who know him personally
he is a musician of unquestionable distinction.
E. H. L.
ROSES, Jose, priest and musician, bom at
Barcelona, Feb. 9, 1791, learned music from
Sampere, chapelmaster at Barcelona ; was first
organist of the monastery of San Pablo and then
succeeded his master at Santa Maria del Pino,
a post which he held for thirty years. During
this time he composed a large quantity of music
—masses, requiems, motets, gradnals, etc. , which
are preserved in MS. in the church. Among
his pupils may be mentioned Calvo, Puig, Rius,
Casanovas, etc. He died at his native city,
Jan. 2, 1856. G.
ROSIN, RESIN (Fr. Colophane), a preparation
applied to the hair of the violin bow to give
it the necessary 'bite' upon the strings. Without
some such agent, the horsehair would slip
noiselessly over the catgut. Rosin is the residuary
gum of turpentine after distillation.
The ordinary rosin of commerce is a coarse, hard
substance, quite useless to the fiddler, for whom
the rough material undergoes a process of refinement.
The ancient English recipe was to boil