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Johann Rosenmuller: Lo Zuane Tedesco

Rosenmuller / I Fedeli
Release Date: 01/01/2012 
Label:  Pan Classics   Catalog #: 10222   Spars Code: n/a 
Composer:  Johann Rosenmüller
Orchestra/Ensemble:  I Fedeli
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 2 Mins. 

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Notes and Editorial Reviews



ROSENMÜLLER Estote fortes in bello. Sonata quarta à 3. Surgamus ad laudes. O dives omnium bonarum. Ego e laudo. In te Domini speravi. Sonata duodecima à 5. Laudate pueri Dominum. Salve Regina I Fedeli PAN PC 10222 (62:12 Text and Translation)


Interest in Johann Rosenmüller (1619–84) rightly continues to increase. Of nine CDs devoted solely to his art presently available that I can find (some others are out of print), five were released in 2010. Barry Read more Brenesal ( Fanfare 34:3), Bertil van Boer (34:1), and Brian Robins (24:2 and 28:5) have provided the most thorough recent coverage of Rosenmüller’s art in these pages, and I commend their reviews in the Fanfare Archive for various illuminating details.


The basics of the composer’s life are well known. A fast-rising star in German music circles in Leipzig, Rosenmüller’s career was derailed by an arrest in 1655 for pederasty. He escaped and fled to Venice, where he resided until returning to Germany for the last two years of his life, by then reportedly a morose and quarrelsome man. During his Italian sojourn he served as a trombonist at St. Mark’s and as a resident composer at the famed Ospedale della Pietà, where Vivaldi would later make most of his career. Through colleagues and disciples in Germany he circulated his compositions there, where they gained considerable recognition and were still being performed decades after his death.


Upon coming to Venice Rosenmüller drank deeply at that well (or, one is tempted to say, the canals) to produce compositions that melded German counterpoint with Italian melody and dance rhythms. In this he was the stylistic successor to Heinrich Schütz, who not only studied with Giovanni Gabrieli at St. Mark’s but met the young Rosenmüller in the 1640s and praised his art. Indeed, there is no other composer whose music so resembles that of Schütz, though with Rosenmüller the Italian elements, particularly dance rhythms and florid ornamentation of the vocal line, are more pronounced.


As Schütz is a long-established figure in my personal pantheon of great composers, this immediately commends Rosenmüller’s music to my attention, and anyone with similar tastes will not be disappointed by this release, which offers seven Latin sacred concerti and two instrumental sonatas from the Venetian period. The instrumentalists (brass, strings, and organ) and vocalists offer performances that are stylish, elegant, and spirited. While it is not stated explicitly, this appears to be the debut recording of I Fedeli, an ensemble founded in 2006 by cornettist Josué Meléndez, who resides in Basel. The group has several members from Spain and Latin America and regularly performs there as well as in central Europe. The recorded sound is rich and a bit forward; texts are provided in Latin, English, French, and German; the booklet notes are informative and well written. Strongly recommended as a first-rate contribution to the Rosenmüller renaissance.


FANFARE: James A. Altena
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Works on This Recording

1.
Estote fortes in bello, for 2 bass voices, 9 instruments & basso continuo by Johann Rosenmüller
Orchestra/Ensemble:  I Fedeli
Period: Baroque 
Venue:  Alte Kirche Boswil, Switzerland 
Length: 7 Minutes 57 Secs. 
2.
Surgamus ad laudes, for 2 voices & basso continuo by Johann Rosenmüller
Orchestra/Ensemble:  I Fedeli
Period: Baroque 
Venue:  Alte Kirche Boswil, Switzerland 
Length: 3 Minutes 57 Secs. 
3.
O dives omnium bonarum, for countertenor, 3 instruments & basso continuo by Johann Rosenmüller
Orchestra/Ensemble:  I Fedeli
Period: Baroque 
Venue:  Alte Kirche Boswil, Switzerland 
Length: 6 Minutes 30 Secs. 
4.
Ego te laudo by Johann Rosenmüller
Orchestra/Ensemble:  I Fedeli
Period: Baroque 
Venue:  Alte Kirche Boswil, Switzerland 
Length: 4 Minutes 0 Secs. 
5.
In te Domine speravi by Johann Rosenmüller
Orchestra/Ensemble:  I Fedeli
Period: Baroque 
Written: after 1655; Venice, Italy 
Venue:  Alte Kirche Boswil, Switzerland 
Length: 9 Minutes 18 Secs. 
6.
Sonata No. 12 for 5 instruments & basso continuo by Johann Rosenmüller
Orchestra/Ensemble:  I Fedeli
Period: Baroque 
Venue:  Alte Kirche Boswil, Switzerland 
Length: 3 Minutes 40 Secs. 
7.
Laudate Pueri Dominum for 5 voices, 5 strings & continuo by Johann Rosenmüller
Orchestra/Ensemble:  I Fedeli
Period: Baroque 
Venue:  Alte Kirche Boswil, Switzerland 
Length: 12 Minutes 50 Secs. 
8.
Salve Regina by Johann Rosenmüller
Orchestra/Ensemble:  I Fedeli
Venue:  Alte Kirche Boswil, Switzerland 
Length: 8 Minutes 1 Secs. 
9.
Sonata No. 4 à 3 (Nürnberg 1682) by Johann Rosenmüller
Orchestra/Ensemble:  I Fedeli
Period: Baroque 
Written: 1682 
Venue:  Alte Kirche Boswil, Switzerland 
Length: 5 Minutes 53 Secs. 

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