Johann Rosenmüller’s music is exquisite, yet not well known and seldom performed. He was born in 1619 in Oelsnitz, Saxony, Germany. He studied at the University of Leipzig, graduating in 1640. He served as organist of the Nikolaikirche in Leipzig from 1651, and had been assured of advancement to cantor, a position later held by J.S. Bach. However, in the wake of a personal scandal, he fled to Italy and, by 1658, was employed at Saint Mark's in Venice.

He composed many vocal works while teaching at an orphanage for girls in Venice (Ospedale della Pietà, where Vivaldi would later teach), between 1678 and 1682. The works of Giovanni Legrenzi were among his Italian influences; his sacred compositions show the influence of Heinrich Schütz (who had also been influenced by the Italian style during his stay in Venice, where he studied with Giovanni Gabrieli).

In his last years, Rosenmüller returned to Germany, where he served as choir master in the court of Duke Anton-Ulrich of Brunswick-Wolfenbüttel. He died in Wolfenbüttel in 1684 and is buried there.

The Christmas Story

Weihnachtshistorie is a loose narrative telling the story of the nativity. It is formed of sacred compositions by Johann Rosenmüller and Heinrich Schütz, arranged in the order of the story in the Gospels. It was first compiled in this fashion by Konrad Junghänel and recorded by Cantus Cölln in 2004.

*Piazza San Marco* by Canaletto, ca. late 1720s. Both Rosenmüller and Schütz spent time in Venice studying and composing.

The young Rosenmüller composed a number of these sacred works in the period 1645-50, when he was enjoying a rapid rise to eminence in Leipzig. He was perceived in his time as the musical successor to Heinrich Schütz by Schütz himself, and the stylistic inheritance is obvious in these motets, which have all the rich palette of instrumental virtuosity of Schütz’s “Psalmen Davids.”

Long before his enforced exile in Venice, a typically Italian suavity is already clearly perceptible all through these remarkable settings of St Luke’s account of the Nativity, and other sacred texts and poems. Many of the pieces on this program are for multiple choirs: two vocal choirs, plus a choir of cornetti and sackbuts, and a choir of strings.

We are presenting our own version of the Weihnachtshistorie, compiled by our artistic director, Paul Flight. We also thank Brian Clark, who contributed greatly to this compilation. He worked from microfilm of the original manuscripts from the repository of Rosenmüller’s work in Berlin’s Staatsbibliothek and provided modern scores of many of the pieces on our program. He also suggested one of the most interesting pieces, “Siehe, eine Jungfrau ist schwanger,” which to our knowledge has never been recorded. In fact, our 2010 performance may have been a world premiere.

The other pieces are very much in the style of Schütz and were written for various occasions; in addition to the flamboyance of Rosenmüller’s theatrical writing (Magnificat, Gloria), moments of sweet simplicity are revealed in O nomen Jesu and Lieber Herre Gott.

Magnificat – This composition was written while Rosenmüller was living in Venice. The text is the song of joy and submission sung by Mary during the Annunciation. The ten sections (corresponding to the verses of the text) explore all of the permutations possible in the Venetian polychoral style – from lyrical duets to eight-part double choruses, full instrumental ensembles, and a lively double fugue for the final doxology (Gloria Patri/Sicut erat in principio).

Siehe, eine Jungfrau ist schwanger (Behold, a virgin is with child) is a six-part composition that celebrates the coming birth of Mary’s son, and the blessings that will come to him. The musical ideas are tossed back and forth, almost like a conversation, between the full chorus and lighter duets and trios.

Verbum caro factum est (The Word was made flesh) is a work by Rosenmüller’s teacher, Henrich Schütz. It is from his Kleine Geistliche Konzerte, a collection of works for small musical forces. This is a simple and lyrical duet for sopranos and continuo.

O Nomen Jesu is from a collection of simple motets, published by Rosenmüller, called Kernsprüche (Core Teachings) This particular motet is a setting of a prayer dating back to medieval times. It is a prayer in praise of the name of Jesus, and its saving powers. Musical interest comes from the alternation of duple and triple meter, used to emphasize the text in key areas.

Strictly speaking, the ‘Christmas Story’ of the title is only partly found in an account of the angels’ visitation of the shepherds in Es waren Hirten auf dem Felde. This was written 20 years before Schütz’s Weihnachtshistorie. The evangelist starts the story, with the angel appearing to a group of shepherds – and the heavens (alternating between full choir and antiphonal responses) resound in joy; the amazed shepherds (their conversation conveyed in a charming rustic style) decide to go to Bethlehem. An instrumental sinfonia (perhaps representing the shepherds’ journey) leads into a resplendent final song of praise for twelve-part double chorus, in full Venetian style.

Another contribution by Schütz from his Kleine Geistliche Konzerte is Ein Kind ist uns geboren (Unto to us a child is born)—one of two settings of the same text in that collection. Although simply written for four parts and continuo, this piece provides a great deal of musical interest with its subtle rhythmic permutations.

Christus ist mein Leben is a work meant for the feast of St. Stephen (December 26). It is set into three distinct sections, based on the text. After an introductory Symphonia, the first section declares the dedication of the soul to Christ. Then, the words of Christ to the thief crucified with him are presented in a strong and stately bass solo. The final section wraps the words in colorful word painting to describe the soul’s journey to heavenly rest, finally wrapping up with setting of the text to the chorale Denn Jesu Christus, Gottes Sohn, accompanied with brilliant writing in the instrumental accompaniment.

Another offering from Rosenmüller’s Kernsprüche is the sweet and lively Lieber Herre Gott with the unusual combination of solo soprano and sackbuts. It is likely Martin Luther’s translation of a pre-Reformation collect for Advent.

Gloria in excelsis/Das Wort ward Fleisch (Gloria in excelsis/The word became flesh) is set for six vocal parts and full orchestra, combining the traditional Latin text from the Gospel of St. Luke —“Gloria in excelsis,” with a German translation of text from the Gospel of St. John—“Das Wort ward Fleisch.” The two sections of the text define the musical structure, contrasting the heavenly angels and earthly mankind, using the high and the low voices. The texts in Latin represent the heavenly realm, and the German texts represent humanity. The top voices, sopranos, introduce the sprightly and glorious theme that opens the work; they carry this theme above the other parts throughout. The lower voices bring in the earthly themes: “Et in Terra pax” (And peace on earth) and “Das Wort ward Fleisch” (The word became flesh). The final section is sung by all voices, uniting heaven and earth at last: “Pax hominibus bonae voluntatis” (Peace to people of good will).

—Patricia Jennerjohn

Sources:
Wikipedia
Barbara Davidson, program notes from our 2010 concert
Paul Flight
Liner notes from Cantus Cölln album
Review of Cantus Cölln album