Antonio Rosetti () - Der sterbende Jesus (1786)

★ Follow music ► Composer: Antonio Rosetti () Work: Der sterbende Jesus (1786) Performers: Lіеsbеth Devοs (soprano); Pеtrа Nοskаіοvá (contralto); Yvаn Gοοsеns (tenor); David Pаstor (bass); Chamber Choir of the Palau de la Música Catalana; Il Fοndаmеnto; Pаul Dοmbrеcht (conductor) Der sterbende Jesus (1786) 1. Coro 0:00 2. Recitativ 3:59 3. Aria 8:09 4. Recitativ 12:50 5. Aria 14:20 6. Coro 15:21 7. Recitativ 17:03 8. Recitativ 19:28 9. Coro 21:00 10. Recitativ 22:43 11. Recitativ 24:21 12. Aria 25:09 13. Recitativ 27:06 14. Aria 28:30 15. Recitativ 33:13 16. Coro 34:30 17. Recitativ 35:52 18. Coro 37:22 19. Recitativ 39:54 20. Aria 41:42 21. Recitativ 45:24 22. Coro 46:21 23. Recitativ 47:16 24. Aria 48:19 25. Recitativ 51:55 26. Finale 52:37 Painting: Francesco Francia () - Pietà HD image: Further info: Listen free: No available --- Antonio (Anton) Rosetti [Rösler, Rössler] (Leitmeritz [now Litoměřice], - Ludwigslust, 30 June 1792) Bohemian composer and double bass player. The precise date and location of his birth remain uncertain. When he died in 1792, the death register in Ludwigslust recorded his age as 42, placing his birth in the year 1750. In documenting his marriage in 1777, the Wallerstein parish records identified him as a court musician from Leitmeritz, Bohemia, but the parish registers there record no birth of an Anton Rösler in 1750, leading some scholars to suggest that the composer was a Franciscus Xaverius Antonius Rössler born on 25 October 1746 in Niemes (now Mimoň), Bohemia. This Rössler, however, was throughout his life a shoemaker in Niemes, where he died on 11 June 1779. Some time before 1773 Rosetti adopted the Italian form of his name, and he thereafter consistently referred to himself as Antonio Rosetti. The existence during this period of several musicians who shared one or the other of the composer’s surnames has led to considerable confusion in the identification of his music. Rosetti received his early education and musical training from the Jesuits in Bohemia. After the abolition of the Jesuit order in Bohemia, he moved away and in September 1773 joined the Hofkapelle of Kraft Ernst, Prince (Fürst) von Oettingen-Wallerstein, near Augsburg, as a livery servant and double bass player; in July 1774 he was promoted to the official position of Hofmusikus. Following the death of Kraft Ernst’s wife, Maria Theresa (born Princess of Thurn und Taxis), on 9 March 1776, as a result of complications following childbirth, Rosetti rapidly composed a Requiem in E flat major which was first performed on 26 March 1776. A turning-point in Rosetti’s career occurred in 1781, when he was granted a leave of absence to visit Paris. During his five-month stay there, he actively promoted his music, and his works were performed by the best ensembles of the city, including the orchestra of the Concert Spirituel, for which he composed several new symphonies. When Rosetti returned to Wallerstein about 20 May 1782, his recognition as a composer was assured. In 1785 Rosetti assumed the duties of Kapellmeister. One of his first priorities was to improve Wallerstein church music. Rosetti’s life at Wallerstein was plagued with financial difficulties. His debts continued to mount, and in 1789, after numerous financial setbacks, he requested release from the prince’s service in order to accept the position of Kapellmeister to Friedrich Franz I (1756–1837), Duke of Mecklenburg-Schwerin. Reluctantly, on 9 July 1789 Kraft Ernst agreed, and later that month Rosetti moved to Ludwigslust. His years at Ludwigslust were less frustrating than those in Wallerstein. Thanks to a generous salary, he was for the first time financially secure, and his growing reputation as a composer brought him a number of important commissions. Unlike that at Wallerstein, the Ludwigslust Kapelle included several talented singers, and during his years there Rosetti composed a number of large-scale works for soloists, chorus and orchestra, including a chamber opera, an oratorio and a cantata. His Requiem of 1776 was used at a memorial ceremony for Mozart in Prague in 1791. In the spring of 1792, Rosetti, who had suffered from poor health for most of his life, became seriously ill, and he died on 30 June; he was buried at Ludwigslust three days later.