Johann Rosenmüller

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Johann Rosenmüller (also: Giovanni Rosenmiller ; * around 1619 in Oelsnitz / Vogtl .; Buried on September 12, 1684 in Wolfenbüttel ) was a German composer .

Life

Memorial plaque for Johann Rosenmüller in his hometown Oelsnitz

Johann Rosenmüller studied around 1640 at the theological faculty of Leipzig University . Soon afterwards he was appointed as a “ collaborator ” and “baccalaureus funerum” at the St. Thomas School there, where from 1640 to 1655 he also performed the cantor's services in the representation of the Thomas cantor Tobias Michael . He traveled to Italy in 1645/1646 . From 1651 he was organist at the Nikolaikirche in Leipzig and later also at the Thomaskirche .

After prospects for the office of Thomaskantor had already been opened to him in 1653 , he was suddenly arrested in May 1655 and relieved of all offices. According to a letter of May 10, 1655 addressed to the Dresden chancellery copyist Johannes Daum (1600–1670), Johann Rosenmüller and more than 20 of his subordinate students practiced the "Sodomite boy abusers [...] in good Italian" between 1653 and 1655 . At the end of April 1655, Rosenmüller had written six boys to attend the St. Thomas School to celebrate this " sodomiterey " again with them . The letters written by Rosenmüller to the boys were found by the vice principal of the Thomas School Rappolt and handed over to the Leipzig superintendent Lange. According to a complaint filed by the Saxon Consistory against the City Council of Leipzig, Superintendent D. Christian Lange reported that the City Council "had several schoolboys picked up to thoroughly inquire into the evil screams that Johann Rosenmüller made in this city" and "had these boys picked up." Let it stick and keep it in prison ”. The Consistory asked for information about the Council's motives for this approach. The city council replied that Rosenmüller was “chastised by gross excesses by publicam famam” and that “quite a few schoolboys in S. Thomas's school were desuperously suspected”. Before a more detailed investigation could take place, Rosenmüller fled to Italy. The council "then, after receiving news of the lower jurisprudence, again used the boys for us, brought several of them to detention and proceeded inquisitorial, the boys examined". The city council had the six boys arrested, about which the Consistory complained, since it saw their rights violated. In a valediction letter from 1655, an alumnus of the Thomas School wrote that he was leaving the school to avoid the baseless talk, Rosenmüller “lasciviam suam mecum exercuisse” (= 'Rosenmüller had satisfied his shameful lust for me'). The term "sodomiterey" in the 18th century means "the sin of Sodom", the crime that ruled in this city and consisted of "unnatural mixing with people of the same sex, and of which boy abuse is a type".

The Thomas School rector Johann Gottfried Stallbaum writes: “It is reported that he got a special choir under his direction. ... he might have taken over the musical direction in the Nicolaikirche, which is said to have had its own cantor at the time. As we can certainly assure you, he never got to the proper Cantorate at the Thomas School. He was arrested in 1655 for an unnatural offense; escaped from it, however, first went to Hamburg, and then went to Italy. "

According to later tradition, Rosenmüller fled first to Hamburg and then to Venice. Here he built a new existence as a trombonist at St. Mark's Basilica and also as a composer. Soon he called himself Giovanni Rosenmiller . During his 24-year stay in the lagoon city, he became a respected man. For a while he was Kapellmeister at the Ospedale della Pietà , where Antonio Vivaldi later worked. But he did not completely break off his contacts in Germany either - in 1660 the Weimar court sent a messenger to Venice to purchase music from the composer, in 1673 Johann Philipp Krieger from Bayreuth came to him as a pupil. In 1682 Rosenmüller returned to Germany as court conductor for Duke Anton Ulrich von Braunschweig-Wolfenbüttel . He died two years later in Wolfenbüttel.

Portrait of Wolfgang Carl Briegel

Joachim Meier (1661–1732), who knew Rosenmüller personally, writes in his book Der presumptuous Hamburg Criticus sine Crisi from 1728 that Rosenmüller “saw immediately / that it was easy to tell the composer Wolfgang Carl Briegel (1626–1712) in Darmstadt could have looked at the other, although Briegel, as a Doucer man, was neither in moribus nor in composition ”.

Epitaph

He is buried in the area of ​​the Wolfenbütteler Church St. Johannis; there is an epitaph with the following inscription (German translation)

JOHANN ROSENMÜLLER,
the amphion of his century,
from Oelsnitz in Voigtlande,
has after 30 years of studying the Italians,
after he had returned the loan in Germany in the service of the prince
among the art lovers as band master,
the power of inescapable fate
after his time has passed the expiry of 13 lusts was fulfilled,
swept away.
Therefore hurt! the rose garden devastated by the south wind becomes dry!
That sweet, heart-touching and rosy way has faded away.
Peace is announced to the mill! Be silent!
The lamp that shone far across Europe has gone out!
Cry! Cry hikers!
But with moderation. He did not quite succumb to the goddess of the dead.
In its nobler part it lives forever, the crown of music.
The scent of roses flows violently,
since the ducal shrine preserves the remains of the roses,
which can
soon be enjoyed again in the sweet melody of the resounding chants .
Go, wanderer,
see to it that you will one day join the symphonic choir of the Heavenly!
In the year of Christ 1684.

Aftermath

Johann Rosenmüller's music will continue to be performed in the 21st century. Numerous works have been recorded on sound carriers, in the public domain on the Internet (see web links) and in stores. The instrumental ensemble for early music around Arno Paduch , founded in 1995, gave itself the name "Johann Rosenmüller Ensemble".

plant

In addition to numerous sacred choral works, Rosenmüller's work consists of suite and sonata compositions, which represent significant stages in the development of these forms.

1. Instrumental works

1.1. Printed collections

  • Paduan, Alemanden, Couranten, ballets, Sarabanden. Leipzig 1645.
  • Student Music. Leipzig 1654.
  • Sonata da Camera. Venice 1670.
  • Sonata à 2, 3, 4 è 5 Stromenti da Arco & Altri. (12 sonatas). Nuremberg 1682.

1.2. Other instrumental works

  • Ballets. (two), balloon, manuscript Sbd. 40293
  • Canons. (four), handwriting.
  • Sonata. (three) from the print from 1670, manuscript Cod. Rost.
  • Sonata. (two), Drese Collection, manuscript, lost.
  • Sonata. E minor, for 2 violins and B. c. , Collection Estensische Sammlung, handwriting.

2. Vocal works

2.1. German vocal works

2.1.1. Chorals

  • Do not punish me in your anger.

2.1.2. Death songs

  • All people must die. (2S, A, T, B, Instr.). Printed under the title: Last honor, / What / Dem Ehrenvesten, Vorachtbarn and / Wohlvornehmen / Mr. Paul von Hensberg, / old citizen and famous / th trader: / As the same the 28th Maji early 5 BC his age / 66. Year, in Christ his Redeemer fell asleep gently and blissfully / and afterwards the 1st of June was carried with considerable company to his city of rest. / Want to show consolation to those deeply saddened, as wife widow, children, / gentlemen brother-in-law and friends, and to show his Christian compassion for his / poetry and music / Johannes Rosenmüller. Q. Bauch / F. Lanckisch, Leipzig 1652.
  • Goodbye world, I'm tired of you. (S, A, T, B, Instr.). Printed under the title: Valet- u. Solace Song ... Abraham Plates. T. Ritzsch, Leipzig 1649, 2/1652. (Death song for Johanna Magdalena Teller, who died on February 27, 1649, the daughter of Abraham Teller , archdeacon of the St. Nicolai Church in Leipzig.)
  • Oh! Printz Christian. (2S, A, T, B, Instr.), Coburg o. J., print in: Coburgisches Ach über das… staying away… Christian Hert moved to Saxony.

2.1.3. Secular songs

  • Friend, your praise has passed through the air. (S, A, T, B, Instr.). Printed under the title: Congratulations / To Hn. Friederich Blumbergen / von Schneeberg / When he got his master's degree in Leipzig / by two / good friends /, among whom the music / Johann Rosenmüller. / Fried. Lanckisch heirs, Leipzig 1650.

2.1.4. Dialogues

  • Oh that God have mercy. Collection Michaeliskirche Erfurt, handwriting Mus. ms. 18899.
  • Oh Lord, there is nothing healthy about my body. Jacobi Collection (Landesschule Grimma), manuscript.
  • Remain with us Lord. Bokemeyer collection, handwriting Mus. ms. 18884.
  • Christ is my life. Collection Michaeliskirche Erfurt, handwriting Mus. ms. 18906.
  • Two people went. Collection Michaeliskirche Erfurt, handwriting Mus. ms. 18907.
  • There were shepherds in the field by the fold. Koch Collection, manuscript, lost 1945–1999.
  • Lord my God turn. (For the consecration of the organ in Borna 1654), manuscript in the Saxon State Library - State and University Library, Dresden, Mus. 1739-E-501 (RISM ID no. 211004932).
  • Blessed are the eyes. Collection Michaeliskirche Erfurt, handwriting Mus. ms. 18894
  • Thus says the Lord, feed your house. Bokemeyer Collection, manuscript, Mus. ms. 18884.
  • Father I have sinned. Jacobi Collection (Landesschule Grimma), manuscript.
  • What are you standing here idle. Collection Michaeliskirche Erfurt, manuscript, mus. ms. 18904.
  • Christmas history. See there were shepherds in the field.
  • When I call to you Collection Michaeliskirche Erfurt, handwriting Mus. ms. 18896.
  • Will the Lord be cast out for ever? Gotthold Collection, manuscript, not accessible.

2.1.5. Spiritual concerts

  • Oh Lord did not punish me. (A.), handwriting.
  • Oh Lord don't punish me. (C.), Jacobi Collection (Landesschule Grimma), manuscript.
  • Oh Lord how are. (C.), handwriting.
  • Oh what is rising. (A., T., B.), handwriting.
  • As the day of Pentecost. (S, A, T, B, Instr.), Collection Michaeliskirche Erfurt, manuscript, mus. ms. 18898.
  • The blood of Christ. (S, A, T, B, Instr.), Handwriting.
  • The Lord is my shepherd. (A., T., B.), Bokemeyer Collection, manuscript, Mus. ms. 18884.
  • The name of the gentleman. (S, S, A, T, B, 2 violins and Bc.)
  • Disgust nature. (S, A, T, B, Instr.), Collection Michaeliskirche Erfurt, manuscript, mus. ms. 18902.
  • Do not be afraid. (S, A, T, B, Instr.), Bokemeyer Collection, manuscript, Mus. ms. 18884.
  • Do not be afraid. (2S, A, T, B, Instr.), Manuscript in Dübensammlung , Uppsala University Library; Verlag C. Hofius, Ammerbuch 2007.
  • Praise be to the Lord. (S, A, T, B, Instr.), Collection Michaeliskirche Erfurt, manuscript, mus. ms. 18897.
  • I came from Helicon. (S, A, T, B, Instr.), Leipzig 1652, printed in: Pindisches Freuden-Lied… Immanuel Gebern. Pressure Q. belly
  • I know that my saviour is alive. (B.), Jacobi Collection (Landesschule Grimma), manuscript.
  • I want to praise the Lord. (A., T.), Bokemeyer Collection, manuscript, Mus. ms. 18884.
  • Shout out to the Lord. (S, A, T, B, Instr.), Collection Michaeliskirche Erfurt, manuscript, mus. ms. 18900.
  • Shout out to the Lord. (S, A, T, B, Instr.), Collection Michaeliskirche Erfurt, manuscript, mus. ms. 18903.
  • Shout out to God. (S, A, T, B, Instr.), Koch Collection, manuscript, 1945–1999 lost.
  • Praise the Lord all the Gentiles. (S, A, T, B, Instr.), Handwriting, lost, but z. T. in divisions Winterfelds u. Teschners accessible.
  • Praise God. (S, A, T, B, Instr.), Collection Michaeliskirche Erfurt, handwriting Mus. ms. 18892, authenticity unsecured
  • My god thank you (S, A, T, B, Instr.), Collection Michaeliskirche Erfurt, handwriting Mus. ms. 18905
  • My sins grieve me. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18884, authenticity not guaranteed
  • The last time of my life. (S, A, T, B, Instr.), O. O. 1655, printed in Melodia… Auff Begehren… Heinrich Bechers.
  • Now you give God a gracious rain. (S, A, T, B, Instr.), Collection Michaeliskirche Erfurt, handwriting Mus. ms. 18893
  • Well praise God, it's done. (S, A, T, B, Instr.), Leipzig 1652, printed in: Valet- u. Trost-Lied ... Frauen Magdalenen, born judge. Printing T. Ritzsch.
  • Only Creutz and Noth. (S, A, T, B, Instr.), Leipzig 1654, printed in last honor ... Friedrich Conradt.
  • O Jesus sweet. (Chaconne) (T.), Collection Michaeliskirche Erfurt, manuscript, mus. ms. 18895.
  • Oh what a depth. (S, A, T, B, Instr.), Bokemeyer Collection, manuscript, Mus. ms. 18884.
  • Prices Jerusalem. (S, A, T, B, Instr.), Gotthold Collection, manuscript, not accessible.
  • See the works of God. (S, S, A, T, Bb, 2 violins, 2 violas (or trombones), bassoon (or trombone) and Bc.) Collection Michaeliskirche Erfurt, manuscript, mus. ms. 18891.
  • See a virgin. (S, A, T, B, Instr.), Jacobi Collection (Landesschule Grimma), manuscript.
  • I like my girlfriend. (S, A, T, B, Instr.), Koch Collection, manuscript, 1945–1999 lost.
  • Come here. (S, A, T, B, Instr.), Leipzig 1654, printed in: Melodia… Mr. Johann Ernst Bosen.
  • Our tribulation. (S, A, T, B, Instr.), Bokemeyer Collection, manuscript, Mus. ms. 18884.
  • What does the person have. (S, A, T, B, Instr.), Leipzig 1650, printed in: Last Farewell… Bartholomäi Hahns. Printed by F. Lanckisch
  • What is it? (S, A, T, B, Instr.), Leipzig 1654, printed in: Melodia… Bey… funeral… Polycarpi Wirthens.
  • How the Deer Screams (C.), Düben Collection, handwriting
  • How lovely are your apartments. (S, A, T, B, Instr.), Jacobi Collection (Landesschule Grimma), manuscript.

2.1.6. Key messages

  • Core sayings / mostly taken from the Holy Scriptures of the Old and New Testaments, partly also taken from several old church doctrines and incorporated into the music with 3rd, 4th, 5th, 6th and 7th voices including their basso continuo, in different ways , set with and / without violas / by / Johann Rosenmüllern. / To be found in the publishing of the author and at the same in Leipzig. / Leipzig, printed by Fried. Lanckischen blessed heirs. 1648. Preface by Caspar Ziegler. (1621-1690).
  • Other core sayings ... At the expense of Zachar. Hertels, bookkeeper in Hamburg, / prints in Leipzig with Fried. Lankisch Schriften / Christopherus Cellarius, 1652. (for 3 to 7 vocal parts and bc)

2.1.7. Wedding music

  • It must be you, dear couple. Wedding music for the wedding of the Swedish major general Robert Douglas (1611–1662), celebrated in Leipzig on November 26, 1645, performed by the student Collegium musicum in Leipzig. Collection Düben. (Uppsala University Library).

2.2. Latin vocal works

2.2.1. Ordinary settings

  • Creed. (S, A, T, B, Instr.), Handwriting, lost, but z. T. in divisions Winterfelds u. Teschners accessible.
  • Dies irae. Sequence from the Requiem for solos S, A, T, B-flat, choir S, A, T, B-flat, strings, bassoon and Bc. Bokemeyer collection, handwriting Mus. ms. 18881.
  • Gloria - The word became flesh. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18880.
  • Gloria in excelsis. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18880.
  • Gloria in excelsis. (S, A, T, B, Instr.), Collection Michaeliskirche Erfurt, handwriting Mus. ms. 18901.
  • Magnificat. (S, A, T, B, Instr.), Handwriting.
  • Magnificat. (S, A, T, B, Instr.), Handwriting, lost, but z. T. in divisions Winterfelds u. Teschners accessible.
  • Magnificat in c. (Solos, double choir S, A, T, B + S, A, T, B-flat, 2 trumpets (prongs), 3 trombones, strings and bc), Bokemeyer Collection, manuscript, mus. ms. 18882.
  • Missa. (stile antico) (S, A, T, B, Instr.), handwriting (reprint Commer), lost, but e.g. T. in divisions Winterfelds u. Teschners accessible
  • Missa brevis. (S, A, T, B, Instr.), Bokemeyer Collection, manuscript, Mus. ms. 18880.
  • Missa in the style of antico. (S, A, T, B, Instr.), Bokemeyer Collection, manuscript, Mus. ms. 18880.
  • Te deum laudamus. (S, A, T, B, Instr.), Bokemeyer Collection, manuscript, Mus. ms. 18882.

2.2.2. Psalm settings and sacred concerts

  • Ad dominum cum tribularer. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18881.
  • Ad proelium. (C.), Bokemeyer Collection, Mus. ms. 18883.
  • Ad pugnas ad bella. (C. / soprano, trumpet, strings, bassoon, B. c.), Bokemeyer Collection, manuscript Mus. ms. 18883.
  • Afferte domino. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18881.
  • Ascendit Christ. (A.), Bokemeyer Collection, Mus. ms. 18883.
  • Ascendit invictissimus salvator. (B.), Bokemeyer Collection, handwriting Mus. ms. 18883.
  • Aude quid times. (B.), Bokemeyer Collection, handwriting Mus. ms. 18883.
  • Aurora rosea. (C.), Bokemeyer Collection, Mus. ms. 18883.
  • Beati omnes. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18881.
  • Beatus vir. (A., T., B.), Bokemeyer Collection, Mus. ms. 18887.
  • Beatus vir. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18887.
  • Beatus vir. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18887.
  • Beatus vir. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18887.
  • Beatus vir. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18887.
  • Beatus vir. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18887.
  • Beatus vir. (S, A, T, B, Instr.), Koch Collection, manuscript, 1945–1999 lost.
  • Benedicam dominum. (2 T., B. without instr.), Bokemeyer Collection, handwriting Mus. ms. 18881.
  • Benedicta sancta trinitas. (Vowel fugue), handwriting, burned, Graupner's copy.
  • Classica tympana. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18881.
  • Coelestes spiritus. (C.), Bokemeyer Collection, Mus. ms. 18883.
  • Confitebor. (C.), Jacobi Collection (Landesschule Grimma), manuscript.
  • Confitebor quoniam audisti (S, A, T, B, Instr.), Bokemeyer collection, handwriting Mus. ms. 18886.
  • Confitebor tibi domine. (2 A), Bokemeyer Collection, Mus. ms. 18886.
  • Confitebor tibi domine. (A., T., B.), Bokemeyer Collection, Mus. ms. 18886.
  • Confitebor tibi domine. (C.), Bokemeyer Collection, Mus. ms. 18886.
  • Confitebor tibi domine. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18886.
  • Confitebor tibi domine. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18886.
  • Confitebor tibi domine. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18886.
  • Confitebor tibi domine. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18886.
  • Confitebor tibi domine. Spiritual concert. (Solos S, A, T, B-flat, choir S, A, T, B-flat, strings, bassoon and Bc.) Bokemeyer Collection, handwriting Mus. ms. 18886.
  • Congregati sunt. (2 B.), Bokemeyer Collection, Mus. ms. 18881.
  • Cor meum eja laetare. (C., B.), Bokemeyer Collection, Mus. ms. 18881.
  • Credidi, propter quod locutus sum. (S, A, T, B, Instr.), Handwriting, lost, but z. T. in divisions Winterfelds u. Teschners accessible.
  • De profundis. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18881.
  • Dilexit quoniam. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18881.
  • Dixit dominus. (S, A, T, B, Instr.), Handwriting, lost, but z. T. in divisions Winterfelds u. Teschners accessible.
  • Dixit dominus. (S, A, T, B, Instr.), Handwriting, lost, but z. T. in divisions Winterfelds u. Teschners accessible.
  • Dixit dominus. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18889.
  • Dixit dominus. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18889.
  • Dixit dominus. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18889.
  • Dixit dominus. Spiritual concert. (Solos S, A, T, B-flat, choir S, A, T, B-flat, strings, bassoon and Bc.) Bokemeyer Collection, handwriting Mus. ms. 18889
  • Domine cor meum iam ardet. (B.), Bokemeyer Collection, handwriting Mus. ms. 18883.
  • Domine ne in furore. (B.), Bokemeyer Collection, handwriting Mus. ms. 18883.
  • Domine probasti me. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18881.
  • Ecce nunc benedicite. (A.), Bokemeyer Collection, Mus. ms. 18883.
  • Ecce nunc benedicite. (B.), Bokemeyer Collection, handwriting Mus. ms. 18883.
  • Ego te laudo. (2 C., B. without instr.), Bokemeyer Collection, handwriting Mus. ms. 18881.
  • Eja torpentes. (C.), Bokemeyer Collection, Mus. ms. 18883.
  • Estote fortes. (2 B.), Bokemeyer Collection, Mus. ms. 18881.
  • Results. (C.), Bokemeyer Collection, Mus. ms. 18883.
  • Homo dei creatura. (B.), Bokemeyer Collection, handwriting Mus. ms. 18883.
  • In hac misera valle. (2 C., B. without instr.), Handwriting, lost, but e.g. T. in divisions Winterfelds u. Teschners accessible.
  • In te domine speravi. (A.), Bokemeyer Collection, Mus. ms. 18889.
  • In te domine speravi. (A., T.), Bokemeyer Collection, Mus. ms. 18889.
  • In te domine speravi. (C.), Bokemeyer Collection, Mus. ms. 18889.
  • In te domine speravi. (C., A.), Bokemeyer Collection, Mus. ms. 18889.
  • In te domine speravi. (S, A, T, B, Instr.), Handwriting, lost, but z. T. in divisions Winterfelds u. Teschners accessible.
  • In te domine speravi. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18889.
  • In te domine speravi. (T.), Bokemeyer Collection, Mus. ms. 18889.
  • Jesus mi amor. (3 C. without instr.), Bokemeyer collection, handwriting Mus. ms. 18882.
  • Jube domine (S, A, T, B, Instr.), Bokemeyer collection, handwriting Mus. ms. 18882.
  • Jubilate. (B.), Bokemeyer Collection, handwriting Mus. ms. 18883.
  • Jubilent aethera. (C.), Bokemeyer Collection, Mus. ms. 18883.
  • Laetatus sum. (C., T., B.), Bokemeyer Collection, handwriting Mus. ms. 18882.
  • Laetatus sum. (S, A, T, B, Instr.), Handwriting, lost, but z. T. in divisions Winterfelds u. Teschners accessible.
  • Laetatus sum. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18882.
  • Lamentationes Jeremiae. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18883.
  • Per the mercuri sancto. (On Holy Wednesday; B, Bc)
  • Pro die jovis sancto. (Maundy Thursday; B, Bc)
  • Lauda Jerusalem. (S, A, T, B, Instr.), Düben Collection, handwriting.
  • Lauda Jerusalem. (S, A, T, B, Instr.), Jacobi Collection (Landesschule Grimma), manuscript.
  • Lauda Sion. (A., T., B.), Bokemeyer Collection, Mus. ms. 18882.
  • Laudate dominum. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18882.
  • Laudate dominum. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18882.
  • Laudate pueri. (2 C., B.), Bokemeyer Collection, Mus. ms. 18890.
  • Laudate pueri. (C., A., B.), Bokemeyer Collection, handwriting Mus. ms. 18890.
  • Laudate pueri. (S, A, T, B, Instr.), Handwriting, lost, but z. T. in divisions Winterfelds u. Teschners accessible.
  • Laudate pueri. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18890.
  • Laudate pueri. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18890.
  • Laudate pueri. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18890.
  • Laudate pueri. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18890.
  • Laudate pueri. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18890.
  • Laudate pueri. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18890.
  • Laudate pueri. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18890.
  • Laudate pueri. (Vowel fugue), handwriting, burned, Graupner's copy.
  • Levavi oculos. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18882.
  • Lumina verte in me. (C.), Bokemeyer Collection, Mus. ms. 18883.
  • Mater Jerusalem. (A., T., B. without instr.), Bokemeyer collection, handwriting Mus. ms. 18882.
  • Miserere mei deus. (A., T., B.), handwriting, lost, but z. T. in divisions Winterfelds u. Teschners accessible.
  • Miserere mei deus. (A., T., B.), Jacobi Collection (Landesschule Grimma), manuscript.
  • Misericordias domini. (C.), Bokemeyer Collection, Mus. ms. 18883.
  • Nihil novum sub sole. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18882.
  • Nisi dominus aedificaverit. (A., T., B.), Bokemeyer Collection, Mus. ms. 18889.
  • Nisi dominus aedificaverit. (C.), Bokemeyer Collection, Mus. ms. 18889.
  • Nisi dominus aedificaverit. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18889.
  • Nisi dominus aedificaverit. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18889.
  • Nunc dimittis. (C.), Bokemeyer Collection, Mus. ms. 18883.
  • Nunc dimittis. (S, A, T, B, Instr.), Handwriting, lost, but z. T. in divisions Winterfelds u. Teschners accessible.
  • Nunc dimittis. (Spiritual concert for solos S, A, T, B-flat, choir S, A, T, B-flat, strings, bassoon and Bc.) Bokemeyer Collection, handwriting Mus. ms. 18882.
  • O anima mea. (A.), Düben Collection, manuscript.
  • O deus meus. (2 C. without instr.), Bokemeyer collection, handwriting Mus. ms. 18882.
  • O felicissimus. (C.), Bokemeyer Collection, Mus. ms. 18883.
  • O lux beata trinitas. (Chaconne) (S, A, T, B, Instr.), Handwriting.
  • O quam felix quam serena. (B.), Bokemeyer Collection, handwriting Mus. ms. 18883.
  • O sacrum convivium. (C., B. without instr.), Bokemeyer Collection, handwriting Mus. ms. 18882.
  • O salvator. (A.), Bokemeyer Collection, Mus. ms. 18883.
  • Puer natus est nobis. (S, A, T, B, Instr.), Jacobi Collection (Landesschule Grimma), manuscript.
  • Quem vidistis. (S, A, T, B, Instr.), Koch Collection, manuscript, 1945–1999 lost.
  • Qui habitat. (S, A, T, B, Instr.), Bokemeyer Collection, handwriting Mus. ms. 18882.
  • Resonet organa. (S, A, T, B, Instr.), Manuscript Sbd. 40075, fragmentary preserved, authenticity not guaranteed. Winterfeld and Teschner divisions.
  • Salve dulcis salvator. (C.), Bokemeyer Collection, Mus. ms. 18883.
  • Volley with Jesus. (B.), Bokemeyer Collection, handwriting Mus. ms. 18882.
  • Volley with Jesus. (B.), Bokemeyer Collection, handwriting Mus. ms. 18883.
  • Volley with Jesus. (C., A., B.), Bokemeyer Collection, handwriting Mus. ms. 18882.
  • Si deus pro nobis. (B.), Bokemeyer Collection, handwriting Mus. ms. 18883.
  • Sit gloria domini. (C.), Bokemeyer Collection, Mus. ms. 18883.
  • Surgamus ad laudes. (2 C. without instr.), Bokemeyer collection, handwriting Mus. ms. 18882.
  • Tamquam sponsus. (C.), Bokemeyer Collection, Mus. ms. 18883.
  • Vox dilecti mei. (A.), Bokemeyer Collection, Mus. ms. 18883.

3. Unserved and doubtful works

  • Rosenmüller, Johann: The constant Orpheus. When Hoch-Fürstl met. Braunschw. Lüneb. Marital alliance with the Hoch-Graefl. Schwartzburg home; Presented in a singing game / On the Lust-Haus Saltzthalem / In 1684. Wolfenbüttel 1684. ( Text print only)

literature

Complete edition

swell

  • Martin Petzold (ed.): St. Thomas zu Leipzig. Evangelische Verlagsanstalt, Leipzig 2000, ISBN 3-374-01842-4 .

Further literature

Web links

Commons : Johann Rosenmüller  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Detlef Döring : The musical life in the Collegium Gellianum in the forties and fifties of the 17th century. In: Contributions to musical source research. Protocol volume 2 of the colloquia within the framework of the Köstritzer Schütz-Tage 1988–1990. Bad Köstritz 1991, p. 123 f.
  2. ^ Letter printed in Michael Maul : "Dero famous choir". The Leipzig Thomas School and its cantors 1212–1804. With a foreword by Sir John Eliot Gardiner. Lehmstedt, Leipzig 2012, ISBN 978-3-942473-24-8 , p. 80.
  3. ↑ See August Horneffer: Johann Rosenmüller. Pp. 33-38.
  4. ^ Sodomiterey. In: Johann Christoph Adelung: Grammatical-critical dictionary of the High German dialect. Volume 4. Leipzig 1801, pp 123 -124.
  5. ^ Joachim Meier: The presumptuous Hamburg Criticus sine Crisi. Lemgo 1728, p. 26. Digitized .
  6. ^ Lustrum : a period of 5 years
  7. ^ Translation: August Horneffer: Johann Rosenmüller.
personal data
SURNAME Rosenmüller, Johann
ALTERNATIVE NAMES Rosenmüller, Johannes; Rosenmiller, Giovanni
BRIEF DESCRIPTION German composer
DATE OF BIRTH around 1617
PLACE OF BIRTH Oelsnitz / Vogtl.
DATE OF DEATH buried September 12, 1684
Place of death Wolfenbüttel