Rösler, Rössler, Anton, from around 1773 Rosetti Antonio, *baptized 26 October 1746 in Mimoň, †30 June 1792 in Ludwigslust, Bohemian composer and double bass player. Confused with F.A. Rössler (*1746), G.A. Rössler (*1745), A. Rosetti from Milan (*1744) or A. Rosetti, violinist of Prince Esterházy. Destined for the priesthood, he studied at several Jesuit colleges in Bohemia: in 1763–64 in Brünn near Prague, in 1765–66 in Kuttenberg (now Kutná Hora), and in 1767–68 and 1773 in Olomouc. In 1769–72, he taught at the college in Znojmo. From September 1773, he was a double bassist in the court orchestra of Count Ernst von Öttingen-Wallerstein. In 1775, he visited the Brandenburg court in Ansbach. From December 1781 to April 1782, he stayed in Paris, where his music enjoyed great popularity and was published and performed, among others, as part of the Concerts Spirituels; during this time, he met Ch.W. Gluck and N. Piccinni. In 1785, Rösler became Kapellmeister in Wallerstein, but due to low income and the limited performance possibilities of the ensemble (only instrumental music), in 1789 he moved to Ludwigslust, where he was appointed Kapellmeister to Friedrich Franz I, Duke of Mecklenburg-Schwerin. On 14 December 1791, Rösler’s Requiem in E-flat major was performed at St. Nicholas Church in Prague during a solemn mass for W.A. Mozart. In the spring of 1792, the composer stayed in Berlin, where his oratorio Jesus in Gethsemane and his cantata Hallelujah were presented at the Prussian court. He died as a result of a poorly treated infection he contracted during his trip to Berlin.
Rösler left behind many works, both printed and in manuscript form, which, due to their dispersion across more than 40 libraries and problematic attribution, posed many difficulties for researchers of his work; Rösler’s catalogs still list a group of more than 40 works of uncertain authorship. A clear turning point can be observed in Rösler’s music, most likely caused by his stay in Paris. The early works from the years 1773–81 are characterized by a conventional musical language and simple means of expression, diatonicism, clear texture, and uncomplicated harmony. The later works acquire a more individual character; the tonal and harmonic language becomes richer, the melody more expressive, and the form and texture more varied.
Rösler’s most outstanding works include symphonies; he composed them throughout his life, but most of them were written for the orchestra in Wallerstein. Four-movement symphonies predominate over three-movement ones; the minuet is placed as the second or third movement of the cycle; the second movements are in contrasting keys, predominantly C major and D major, which are convenient for wind instruments, for which the Wallerstein band was renowned. Before 1781, Rösler wrote symphonies for string instruments, oboe, and horns, then added parts for flute, bassoon, and clarinet, and in the case of symphonies for large orchestra (“à grand orchestre”), also trumpets and timpani. His symphonies concertantes, solo or double horn concertos, and orchestra are considered among the best examples of early classical concertos for this instrument. His piano sonatas are generally simple and short, two- or three-movement works with a clear texture and lyrical melodics in the slow movements. In vocal-instrumental music, especially in the choral parts, homophony, simple harmony, and diatonicism prevail; fugal technique is often employed at the climactic points of a work (e.g., the four-voice fugue in the Osanna from the Requiem in E-flat major). In the recitative parts of oratorios, Rösler introduced chromaticism, modulations, varied meter and dynamic shading for expressive purposes; in arias, the solo voice is accompanied by obbligato instruments (e.g., the oboe in Weh mir Armen from Der sterbende Jesus, two violas in the Requiem in E-flat major).
Literature: O. Kaul Thematisches Verzeichnis der Instrumentalwerke, in: Ausgewählte Werke, vol. 1 (see: Editions); O. Kaul Die Vokalwerke Rosettis, Cologne 1911; C. Meyer Zu Anton Röslers Geburtsdatum, “Zeitschrift für Musikwissenschaft” XVI, 1934; H. Fitzpatrick Anton Rösler, “Music and Letters” XLIII, 1962; S.E. Murray Antonio Rosetti (1750–1792) and His Symphonies, thesis University of Michigan, 1973; S.E. Murray The Roesler-Rosetti Problem. A Confusion of Pseudonym and Mistaken Identity, “Music and Letters” LVII, 1976; M. Danckwardt Anton Röslers Requiem für die Beisetzung der Fürstin Maria-Theresia zu Oettingen-Wallerstein, “Augsburger Jb für Musikwissenschaft” IV, 1981; P. Podejko Katalog tematyczny rękopisów i druków muzycznych kapeli wokalno-instrumentalnej na Jasnej Górze, «Studia Claromontana» XII, Częstochowa 1992; S.E. Murray Anton Röslers Oratorium „Der sterbende Jesus” (1785), “Musik in Bayern” XLV, 1992; S.E. Murray The Music of Antonio Rosetti (Anton Rösler), ca. 1750–1792. A Thematic Catalog, Warren 1997; J. Moesus Kein ‘musikalischer Luftspringer’: Antonio Rosetti — Haydns berühmter Zeitgenosse, “Das Orchester”, 47 (1999); S.E. Murray ‘Grande Partitas with passages and minuets’: Antonio Rosetti and Harmoniemusik in the Oettingen-Wallerstein Hofkapelle in: Zur Harmoniemusik und ihrer Geschichte, eds. Ch-H. Mahlhling, K. Pfarr, K. Böhmer, Mainz 1999; Z. Divorky Antonio Rosetti and the millennium/Antonio Rosetti et le Millénaire/Antonio Rosetti und das Jahrtausend, “Brass bulletin”, 109 (2000); J. Štefan, Rosettiana, “Hudební věda”, 37 (2000); S.W. Murray, Rosetti’s Jesus in Gethsemane (1790): A Passion oratorio for the Ludwigslust Hofkapelle in: Musik in Mecklenburg, eds. K. Heller, A. Waczkat, H. Möller, Hildesheim 2000; S.E. Murray Antonio Rosetti (um 1750–1792) und die Musik seiner Zeit in: Rieser Kulturtage, ed. W-D. Kavasch, Nördlingen 2000; S.E. Murray The state of research on the life and music of Antonio Rosetti (ca. 1750–1792), K. Böhmer Ein Kleinmeister der Klassik? Antonio Rosetti im stilistischen Umfeld, T. Gable, J. Moesus, H. Schäfler Rosettis Sinfonie B-Dur, Murray A 48, und ihr musikalischer Kontext, G. Grünsteudel Die Mitglieder der Wallersteiner Hofkapelle in Kurzporträts. I: Antonio Rosetti, “Rosetti-Forum”, 1 (2000); S.E. Murray Haydn oder Rosetti? Das Konzert in Es-Dur für zwei Hörner Murray C56Q, J. Štefan Rosettiana: Beiträge zur frühen Biographie, R. Ostermeyer Notizen aus der Editionsarbeit: Unbekannte Hornkonzerte von Rosetti, “Rosetti-Forum” 2 (2001); G. Grünsteudel Rosetti in russischen Diensten – ein neuerlicher Fund, S.E. Murray Sinfonia in G molle – Mozart und Rosetti im Vergleich, M. Staehelin Zu Antonio Rosettis späten Ludwigsluster Chorwerken Jesus in Gethsemane und Halleluja, H. Ullrich Sinfonien und Parodien. Meingosus Gaelle und Johann Simon Mayr bearbeiten Rosetti, “Rosetti-Forum” 3 (2002); S. E. Murray “Er kommt zu bluten auf Golgatha”. Zu Antonio Rosettis Passionsoratorium “Der Sterbende Jesus”, “Rosetti-Forum”, 4 (2003); L. Bernstein Joseph Haydn’s influence on the symphonies of Antonio Rosetti in: Historical musicology: Sources, methods, interpretations, eds. S.A. Crist, R. Montemorra Marvin, Rochester 2004; K. Böhmer Zum Streichquartettschaffen Antonio Rosettis, G. Grünsteudel “Der König liebt seine Kompositionen ausserordentlich…”. Rosetti, Bossler und Berlin (1792), S. E. Murray “Grandes parthies avec des passages et des menuets”. Rosetti und die Wallersteiner Harmoniemusik, H. Scheck Zur Entstehung von Rosettis Hymnus Jesu, rex fortissime, “Rosetti-Forum”, 6 (2005); S.E. Murray “Das Requiem war von dem berühmten Kapellmeister Rosetti…”, “Rosetti-Forum”, 7 (2006); H.O. Koch Rosettis Bewerbung um das Konzertmeisteramt in Kirchheimbolanden, “Rosetti-Forum”, 9 (2008); J. Focht Zu Rosetti und einigen seiner süddeutschen Weggefährten in Ludwigslust, S.E. Murray Zur instrumentalen Romance bei Rosetti, “Rosetti-Forum”, 10 (2009); M. Danckwardt Zum Liedschaffen Antonio Rosettis und seiner Zeitgenossen, “Rosetti-Forum”, 11 (2010); R. Biener Die geistlichen Werke Antonio Rosettis. Werke – Quellen – Echtheitsfragen, Beeskow 2011; G. Grünsteudel Zu Antonio Rosettis Passionsoratorium Der Sterbende Jesus, “Historischer Verein für Nördlingen und das Ries: Jahrbuch”, 33 (2011); G. Grünsteudel Antonio Rosetti. Altes und Neues zur Problematik um Name und Identität, M. Staehelin Antonio Rosettis “Charakter” im zeitgenössischen musikliterarischen Umfeld, “Rosetti-Forum”, 13 (2012); G. Grünsteudel Antonio Rosetti (1750–1792), Komponist und Kapellmeister in: Lebensbilder aus dem Bayerischen Schwaben 18, ed. M. Haggenmüller, Deiningen 2014; S.E. Murray The Career of an Eighteenth-Century Kapellmeister. The Life and Music of Antonio Rosetti, Rochester 2014; R. Biener Antonio Rosettis Kirchenmusik: Messen und Requien, “Rosetti-Forum”, 17 (2016); B. Steward Horn concerto in E-flat major (C41) by Antonio Rosetti, “The horn call: Journal of the International Horn Society”, 50 (2020); L.M. Vytlačil Antonio Rosetti: The short life of a talented musician, “Czech music quarterly”, 3 (2020).
Compositions
Instrumental:
orchestral:
44 symphonies, including 28 published:
3 as Op. 1, Paris 1779
3 as Op. 1, Amsterdam 1780
1 in: Trois Simphonies (…) à grand orchestre composées par Mrs. Rösler, Hayden et Holzbaur, Paris 1781
6 as Op. 3, Paris 1783 (including 2 from Op. 1, Paris 1780)
1 in: Trois simphonies à grand orchestre composées par Mrs. Rösler, Riegel et Ditters, Paris 1783
3 in: Nouvelle suite de symphonies (…) à grand et petit orchestre composées par différens auteurs, Paris ca. 1785
2 as Op. 4, Paris ca. 1786
3 as Op. 5, Vienna 1786
Simphonie de chasse, Paris 1786
2 as Op. 6, Paris 1787 (1 of them as Sinfonie (…) à grand orchestre, Amsterdam 1796)
2 as Op. 13, Offenbach 1794
Grande symphonie, Berlin 1796
18 in MS., 1773–92
concertos:
1 symphony concertante for 2 horns, Paris 1786
1 symphony concertante for 2 violins, 1801
4 symphonies concertante for 2 horns in MS., 1785–92
1 concerto for harpsichord or piano, as Op. 2 Amsterdam 1784; as Op. 3, Frankfurt am Main 1781–82 Paris 1782
2 concertos for harpsichord or piano, Speyer 1783
1 concerto for harpsichord or piano in MS., n.d.
6 concertos for violin in MS., 1778–85
1 concerto for viola in MS., ca. 1780; 6 concertos for flute in: Concerts pour la flûte traversière (…), libro I–VI, Berlin 1781–1782; 1 of them as Op. 14, Offenbach ca. 1796
11 concertos for flute in MS., 1776–82
7 concertos for oboe in MS., 1778–82
4 concertos for clarinet, Paris 1782
7 concertos for bassoon in MS., 1774–82
3 concertos for horn, Paris 1782
4 concertos for horn (1 from 1782), Paris 1786
3 concertos for horn (2 from 1786), Paris 1796–97
1 concerto for horn as Op. 20, Braunschweig n.d.
4 concertos for horn in MS., 1784–87
chamber:
38 serenades, partitas, and dances for various chamber ensembles (wind, string, and mixed instruments):
Sextett for violin, viola, flute, 2 horns, and bass instrument, as Op. 1, Speyer 1783
Harmonie for 2 oboes, 2 clarinets, 2 bassoons, 2 horns, Paris 1796–97
the rest in MS., 1773–88
3 string quartets, Paris ca. 1780
3 string quartets as Op. 2, ca. 1782; as Op. 4, Offenbach 1783–84; 1 of them without Op., Amsterdam ca. 1781
6 string quartets as Op. 6, Vienna 1787; as Op. 7, 1788
quartet for violin, viola, cello, and bassoon, MS., n.d.
3 piano trios as Op. 1, Speyer 1782
6 piano trios as Op. 5, 1784; also as Op. 6, Mainz 1784; 3 of them as Op. 4, Mannheim ca. 1784; 1 as Op. 5, Paris 1782
4 piano trios as Op. 7, Mainz ca. 1790
5 string trios, MS., n.d.
6 sonatas for violin and piano, as Op. 1, Mainz 1783; as Op. 2, Offenbach 1783–84; as Op. 3, Berlin 1785; as Op. 3, London n.d.
solo:
4 piano sonatas in MS., 1790–92
58 short pieces, published in 18th-century anthologies
Vocal-instrumental:
Der sterbende Jesus, oratorio, Vienna 1786
Jesus in Gethsemane, oratorio, performed in Ludwigslust 1790
Frohlockt! Der Fromme steht voll Zuversicht (arrangement of Der sterbende Jesus), cantata, 1790
Ewiger dir singen wir (German parody of the 1776 requiem), cantata, ca. 1790.
Mit Preis und Ruhm gekrönet (German arrangement of a mass from ca. 1788), cantata, 1789–91
Hallelujah, cantata, performed in Ludwigslust 1791
9 masses, including 1 from ca. 1788
5 requiems, including E-flat major, 1776 (composed in connection with the death of Maria Theresa, wife of Prince von Öttingen-Wallerstein)
2 chorale settings
3 graduals
4 motets
2 hymns
1 psalm
Te Deum
3 litanies
Miserere
7 Salve Regina
pastorales
12 solo arias and duets
***
Das Winterfest der Hirten, chamber opera, staged in Ludwigslust 1789;
O Segne sei, cantata, 1789,
Auf Teutschlands Genius oder Friedensfest, cantata, ca. 1790;
Gesegnet sei die Stunde, ode, text by H.J. Tode, performed in Ludwigslust 1790;
97 arias and duets with orchestra as well as songs in 18th-century anthologies and MS., 1768–92
Editions:
Ausgewählte Werke, ed. O. Kaul, vol. 1: Sinfonien, «Denkmäler der Tonkunst in Bayern» XXII, Leipzig 1912, Wiesbaden 21968, vol. 2: Orchester- und Kammermusik, «Denkmäler der Tonkunst in Bayern» XXXIII, Leipzig 1925
12 leichte Klavierstücke, ed. B. Päuler, Zurich 1975
Seven Symphonies from the Court of Oettingen-Wallerstein, 1773–1795, ed. S.E. Murray, «The Symphony 1720–1840» series C, VI, New York 1981
Five Wind Partitas, ed. S.E. Murray, «Recent Researches in the Music of the Classical Era» XXX–XXXI, Madison (Wisconsin) 1989
Piano concerto Op. 3, ed. W. Koch, Holzkirchen 1996
Oboe concerto, ed. W. Martin, Kirchheim 1996
Quartet for violin, viola, cello and bassoon, ed. H. Bartholomäus, Holzkirchen 1997
Serenade in D major in: Six orchestral serenades from South Germany and Austria. II, ed. A. Kearns, Middleton 2003
Partita in E-flat major RWV B7, ed. E. Yozviak, Winterthur 2007
Konzert in F major RWV C75, ed. J. Moesus, Winterthur 2008
Konzert in D major RWV C33, ed. H. Scheck, G. Grünsteudel, Winterthur 2008
Partita in E-flat major RWV B13, ed. H. Scheck, Winterthur 2008
Partita in E-flat major RWV B14, ed. R. Biener, Winterthur 2008
Quartett in B-flat major RWV D18, ed. B. Päuler, Winterthur 2009
Konzert in C major RWV C29, ed. K. Meier, Winterthur 2010
Partita in E-flat major RWV B10, ed. Y. Morgan, Winterthur 2010
Der sterbende Jesus (1785), ed. S.E. Murray, Middleton 2019
Works:
Bemerkung zu Errichtung einer Kirchen-Musik mit Zuziehung des Hof-Orchestre, MS. Universitätsbibliothek in Augsburg
