Jacob Rosenhain - Symphony No. 2 in F minor (1844)

[adt]

I've begun work on synthesizing Jacob Rosenhain's second symphony using NotePerformer. Although he wrote two others, it is the only one to be published as far as I know. It was praised by Francois-Joseph Fetis who conducted its premiere in Brussels in 1849 and was noted by Hector Berlioz in his appraisal of Rosenhain's 1851 opera La Démon de la Nuit. I have already completed the scherzo and uploaded an MP3 to the work's IMSLP page. https://imslp.org/wiki/Symphony_No.2%2C_Op.43_(Rosenhain%2C_Jacob)

[eschiss1]

Looking forward to hearing it. I very much enjoy his music.

[Gareth Vaughan]

Thank you very much for doing this. I have long wondered about Rosenhain's symphonies (and Taubert's, for that matter) and on the showing of this lively and compact Scherzo I can't wait to hear the other movements. Most attractive. Thank you again.

[eschiss1]

Taubert's B minor symphony, on the basis of the recording we used to have of it, is kind of nice - I keep wondering if anyone has performed any of Rosenhain's symphonies in the last 75-odd years. Possibly. It sounds like something Botstein might do, and thanks for conductors like him...

BTW I have no idea where Rosenhain's first symphony is, but this entry suggests that the BNF may have the manuscript score of his 3rd. (If it's accurate, etc. Few if any library catalogs, etc. are 100%, of course.)

[eschiss1]

it seems all 3 symphonies may have been -published-, but not in full score (op.61 arranged for piano duet by Diémer, Op.42 by Lévy, or something). And it's also possible that even those publications have disappeared into the mist. Hrm.

[Mark Thomas]

I'm just re-reading Christopher Fifield's book about the German symphony in which Rosenhain's symphonies get several intriguing mentions, so it's a real pleasure to hear this little jewel of a Scherzo. Quite appetite-whetting.

Taubert's B minor symphony, on the basis of the recording we used to have of it

Did we, Eric? I remember an off-air dub of one of the piano concertos (now available in Hyperion's RPC series), but not a Symphony, and I can find no trace of it now. Do you have a copy of the recording?

[Gareth Vaughan]

Yes. If you do, Eric, or if you can point us to it, I would be very interested. Incidentally (just an aside) most sources state he composed 4 symphonies but it was actually 5 (as correctly listed in the work list on IMSLP) and score and parts of the 5th in C minor are at BL - at least, according to World Cat.

[eschiss1]

... Ok... hrm. It does for me to check these things. You're right, sorry. Oops. The score of course is available but not a recording.

[Mark Thomas]

Not to worry, thanks for checking.

[adt]

My realization of the first movement (Allegro risoluto) is complete and now on IMSLP. Quite Mendelssohnian.

[Reverie]

Bravo! Excellent work. I really enjoyed that especially its un-Mendelssohnian development section. Thank you.

Here's the link:

https://imslp.simssa.ca/files/imglnks/usimg/c/c9/IMSLP633628-PMLP797017-Rosenhain_Symphony_in_F_minor_1.mp3

[adt]

Yes, the development sections in the first and fourth movements of this symphony are unusual and not quite as classicist as Mendelssohn. The fourth movement ends not only in the parallel major, but also with the introduction of a completely different 'chorale-like' theme that is combined with the movement's main theme. It's wonderfully celebratory. My realization of it is about 2/3rds done at the moment.

[Mark Thomas]

Great work, thanks, and a most attractive movement. I'm looking forward to hearing the whole symphony. On this showing Rosenhain certainly merits exploration.

[eschiss1]

Tangentially I'm trying my hand at typesetting a score from the parts of his 2nd quartet, which looks interesting (so far...) (edit: which only took me a few months!)

[adt]

Finally got around to finishing the last movement of this symphony! The mp3 file is now available on IMSLP.

Translation of a review of the symphony by François-Joseph Fétis who conducted its premiere in January 1849:

"Rosenhain's symphony is cut from known forms: the author did not seek innovation in this respect, and I believe he did well; for I have demonstrated in a series of articles inserted in the Musical Gazette in 184, that these forms are incontestably the best for the development of the subject and the return of ideas. It is in the character of each piece, in the melodic ideas and in the richness of the details that the composer endeavored to highlight the particular cachet of his talent. This symphony is written in the tone of F minor, little used for the orchestra, and very difficult for the fingering of bow instruments, especially for the bass.

The beginning of the first allegro has majesty and energy; the ideas are linked well, and in the first part of this allegro is a beautiful melodic phrase sung by the violins, which is reproduced in the second, and makes a happy opposition to the masses of harmony. In the two sections of the piece, Rosenhain has placed a multitude of sharp details of instrumentation, which end with a vigorous peroration and full of warmth.

The theme of the andante, sung by the cellos, is full of charm, and developments contained in suitable dimensions and well instrumented do not let this piece languish as is the ordinary pitfall of slow movements.

The scherzo, not too lively and pizzicato at the beginning, is of a very happy effect. One notices there unexpected modulations and a progression of interest which is sustained until the end.

In the finale, Rosenhain sort of made a double movement; because the first part, passionate and full of animation mixed with mysterious hues, develops widely until the moment that seems to be the conclusion; but, in this place, a new theme, of a solemn and religious character, is intoned by the brass instruments, and dialogues with fragments of the first part of the piece; then this new theme is taken up by the whole mass of the orchestra, and ends the symphony with pomp.

In summary, the symphony of Rosenhain is a very good work and the work of a very distinguished artist. One might perhaps wish there a little more boldness and originality in ideas; but we know that these qualities only develop through a great habit of dealing with this genre, so difficult of composition. I would be delighted if the warm sympathy shown to him by the orchestra in the execution of his work exerted a salutary influence on the direction of his talent in this genre."