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Alongside trio sonatas by Arcangelo Corelli, Johann Rosenmuller, Georg Knupfer, and Giovanni Legrenzi are some forty Venetian and Bolognese printed instrumental partbooks, chamber music by Lubeck composers such as Buxtehude and Peter Grecke, and viola da gamba music by Gottfried Finger.
And then in November four members of the academic staff, in the guise of baroque musicians Four's Company, will give a recital of music by Henry Purcell and his German contemporaries Johann Rosenmuller, Johann Henrich Schmelzer and Dietrich Becker.
It will include two cantatas by J S Bach and movements from his masterpiece The Art of Fugue as well as works by Johann Rosenmuller.
One surprising composer, however, is gradually emerging from the murk, Johann Rosenmuller (c.1619-84).
Johann Rosenmuller. Kernspruche I (Leipzig 1648), RWV.E 1-20.
Johann Rosenmuller. Kernspruche II (Leipzig 1653), RWV.E.
The programme will include Schutz's Die sieben letzten Worte (The Seven Last Words), Bach's cantata Christ lag in Todesbanden and Johann Rosenmuller's Lauda Jerusalem.
Volumes of secular music also appeared, including partsongs such as Balthasar Fritsch's Newe deutsche Gesange (1608) and the three books of Schein's Musica boscareccia (1621, 1626, 1628), as well as collections of instrumental dances by Schein, Valerius Otto, Georg Engelmann, Samuel Michael, and Johann Rosenmuller.
Schein published all his partbook collections himself from 1618 onwards; Christoph Schultze published his Collegium musicum charitativum (1647); and Johann Rosenmuller published his Kern-Spruche mehrentheils aus heiliger Schrifft (1648), and collaborated with the heirs of the bookseller Henning Grosse to finance his Studenten Music (1654).
Heinrich Ignaz Franz von Biber, Dietrich Buxtehude, Johann Jakob Froberger, Johann Pachelbel, Johann Rosenmuller, Samuel Scheidt, and many of their contemporaries are represented as are Carl Friedrich Rungenhagen, Felix Mendelssohn, Otto Nicolai, and theirs, especially composers from the Sing-Akademie circle.
The handsomely produced volume presents on its endpapers facsimile reproductions of a manuscript as well as a printed source: the title page and a leaf from one of Johann Rosenmuller's concerted settings of Beatus vir (a copy from Grimma, one of three extant manuscript copies of the same piece; see entry R0077, p.