Layout Table~~~~1597~1597~~

Johann Rosenmüller~~~~1597~1652~~

Amo te Deus meus~Setting a text most likely by one of Rosenmüller's favourite poets, St Augustine, this fine motet from Andere Kern-Sprüche is scored for the gorgeous combination of two alto voices with a consort of gambas or trombones, a sounds the composer was doubtless familiar with through the works of his older friend, Schütz.

Click here to see the opening sinfonia.~~Three scores and parts|ROS005.2|Score|ROS005.1|~1597~1331~Rosenmüller, Rosenmuller, alto, trombone, sackbut, viola, viola da gamba, gamba~

Domine Deus meus~This motet from the second set of Rosenmüller's Kern-Sprüche of 1653 sets a text from the Meditations of St Augustine for two tenors, two violins and continuo.

Click here to see the first page of the score.~~Three scores and parts|ROS006.2|Score|ROS006.1|~1597~1335~Rosenmuller, Rosenmüller, tenor, violin, motet~

Warlich ich sage euch~In this setting of the familiar text from St John's Gospel ("Verily I say unto you"), Rosenmüller conveys the meaning of the phrase "Shall have everlasting life" through the use of ground bass, first a descending tetrachord, then a rising one and finally a free three bar bass. The piece, from the composer's 1653 Andere Kern-Sprüche, is scored for SATB, two violins and continuo.

You can see the first page by clicking here.~~Five scores and parts|ROS004.2|Score|ROS004.1|~1597~1326~Rosenmuller, Rosenmüller, german, satb, violin, motet, concerto, alto, tenor, bass, soprano~

Sonata in E minor~Late in his life, Rosenmüller, who had gone to Venice under a dark cloud in the 1650s, was reconciled with his homeland, mainly through the support he found at the court of the Dukes of Brunswick. This is the second of his "Sonate à 2.3.4. è 5. Stromenti da Arco & Altri" of 1682, which was dedicated to Duke Anton Ulrich. It follows the common patchwork model, and does not have an independent string bass part.

Click here if you would like to see an excerpt from this piece.~~Score and parts|ROS001.2|Score|ROS001.1|~1597~742~Rosenmuller, Rosenmüller, violin,~

Suite in E minor~Fed up with encountering poor (illegal) manuscript copies of his instrument music, Rosenmüller tells us in the preface to Studentenmusic that he had decided to incur the costs of printing his five-part suites. The suite in E consists of a stately Paduan (you can see the first section by clicking here), a lively Ballo and a Courant.~~Score and parts|ROS003.2|Score|ROS003.1|~1597~1179~Rosenmuller, Rosenmüller, recorder, viol, recorder, string, brass~

Suite in F major~This is another set of dances from Studentenmusic, consisting of a Paduan followed by Alemanda, Courant, Alemanda, Ballo and Sarabanda, The music will work well with strings, woodwinds or brass.

Click here to see the opening.~~Score and parts|ROS007.2|Score|ROS007.1|~1597~2602~Rosenmuller, Rosenmüller, recorder, viol, recorder, string, brass~

In te Domine speravi~This is one of many solo alto motets - and setttings of Psalm 30 (31) - from Rosenmüller's output. Here the voice combines with a five-part ensemble, most likely two violins, two violas and bassoon with continuo.

To see the first page, click here.

In response to customer requests, this piece is also available one tone higher (in D major).
~~Two scores and parts|ROS008.2|Score|ROS008.1|Two scores and parts (in D)|ROS008.2A|Score (in D)|ROS008.1A|~1597~2877~Rosenmuller, Rosenmüller, solo alto, alto, psalm~

Nisi Dominus~This fine setting of Psalm 126 (127) os scored for SATB, six-part strings (or perhaps a bassoon / dulcian on the bottom). Rosenmüller uses all his imaginative powers in setting the different verses of the text.

Click here to see the opening.

The performing set consists of two full scores, four vocal scores and all the instrumental parts.
~~Performing set|ROS009.2|Score|ROS009.1|Vocal score|ROS009.X|~1597~2878~satb, vespers, psalm, venice, rosenmueller, rosenmuller, rosenmüller~

Rosenmüller: Christum ducem~~~~1597~3707~~