Playing time: 62' 00"
Monica Huggett (violin), Chiara Banchini (violin), Jordi Savall (viola da gamba), Sergi Casademunt (viola da gamba), Roberto Gini (viola da gamba), Carol Lewis (viola da gamba), Paolo Pandolfo (viola da gamba), Bela Zedlak (violone), Bruce Dickey (cornetto), Jean-Pierre Canihac (cornetto), Harry Ries (trombone), Charles Toet (trombone), Richard Lister (trombone), Willem Jansen (organ, harpsichord), Robert Clancy (theorbo)
Jordi Savall, dir.
Recording site and date:
Église catholique de Seewen, Soleure, Switzerland [03/1984];
Rel.: 1992, 1998 (E), 2002 (ES).
Diapason (#-p.): 380-158 (march 1992)
Early Music America (Vol./#-p.):
Information from CD
Johann Rosenmüller (1619-1684) provides a clear link between German and Venetian instrumental music. He was trained young in Venice, then returned to Germany with a position of some responsibility in Leipzig. He was thrown out in 1655 under the cloud of sexual charges, and eventually returned to Venice where he was a trombonist and composer until 1682. Near the end of his life, he returned to Germany, to a position in Wolfenbüttel.
Rosenmüller's Sonate à 2. 3. 4. è 5. stromenti da arco & altri (Nuremberg, 1682) is by far his most highly acclaimed publication, composed at the end of his time in Venice, and showing a strong fusion of Italian with embryonic German styles. Together with his earlier instrumental music, the sonatas place Rosenmüller among the most important German composers to import the Italian style.
And a couple of significant recordings devoted to Rosenmüller's sacred music:
As a composer of instrumental music, Rosenmüller's most important German contemporary was Johann Heinrich Schmelzer (c.1620-1680) of Vienna, a stronghold of Italian influence. A fine recording:
The above shows the solo violin sonata early in its history
A recording devoted to another contemporary, Andreas Hammerschmidt (1612-1675), by Hespèrion XX:
To purchasing information for this disc.
To FAQ references to this recording.
To FAQ CD index page.Todd M. McComb