The majority of Rosenmuller’s output is Latin church music, written while the composer was resident in Venice from 1655 (having made a hasty retreat from Leipzig following a notorious charge of impropriety). This disc concentrates on German sacred concertos, the majority of which still remain in manuscript form. While the framing works are from an earlier period and were published in his ‘Kern-Spruche’ in 1648 and 1652 respectively, Rosenmuller’s later German music refers only selectively to the models set by the more famous Schutz. As the splendid and extensive central work, ‘Entsetze dich, Natur’ reveals, Rosenmuller is clearly his own man, unashamedly retaining a good dollop of Italianate drama, be it from Cesti’s opera, Carissimi’s oratorio or the developing cantata. It is something of a paradox, then, that while Schutz pursues an emotional manipulation which is distilled from Italy (while still decidedly German), Rosenmuller more often foreshadows the more indigenous cantata of Bach’s immediate forebears, with its instrumental episodic commentary and mature harmonic colouring.
Rosenmuller is indeed a fascinating figure but he is also, surely, one of the last still largely undiscovered masters of the 17th century? Not all the music is as inspiring as the Vespers music from Cantus Colln (Harmonia Mundi, 2/97) but the Johann Rosenmuller Ensemble, under the clear-sighted direction of Arno Paduch, presents some virtually unknown, first-rate pieces. The ‘scena’ on the Parable of the Prodigal Son is a brilliant creation. Simply, you could be either son, such is Rosenmuller’s graphic emotional realism, and with his classical sense of proportion, he knows when to call it a day. The Johann Rosenmuller Ensemble are alive to much of this intensity, especially in the strophic ground-bass setting, O Jesu suss, in which the warmth of sentiment and uplifting conviction from the bass soloist are genuinely felt. The solo contributions, however, are not especially distinguished, being well meant but unwieldy and soft-centred. There is something to be said for lack of vanity in transmitting this repertoire, but a distinctive vocal presence is missed here. The full ensemble – albeit rare – reveals an attractive blend with the instrumentalists often shining. Not a great recording, but it reminds us of Rosenmuller’s intrinsic worth.'