A Dictionary of Music and Musicians/Rochlitz, Friedrich

ROCHLITZ, Friedrich Johann, critic, and founder of the 'Allgemeine musikalische Zeitung,' born of poor parents at Leipzig. Feb. 12, 1769. His fine voice procured his admission at 13 to the St. Thomas-school, under the Cantorship of [[A Dictionary of Music and Musicians/Doles, Johann|Doles\\, where he spent six years and a half. He began to study theology in the University, but want of means compelled him to leave and take a tutorship, which he supplemented by writing. He also attempted composition, and produced a mass, a Te Deum, and a cantata, 'Die Vollendung des Erlösers.' In 1798 he founded the 'Allgemeine musikalische Zeitung' (Breitkopf & Härtel), and edited it till 1818, during which period his articles largely contributed to the improved general appreciation of the works of the three great Austrian composers, Haydn, Mozart, and Beethoven, in North Germany. The best of these were afterwards re-published by himself under the title of 'Für Freunde der Tonkunst'—for friends of music—in 4 vols. (1824 to 1832, reprinted later by Dörffel). It contains, amongst other matter, an interesting account of a visit to Beethoven at Vienna in 1822. Another important work was a collection in 3 vols. (Schott, 1838 to 1840) of vocal music, from Dufay to Haydn, in chronological order, of which the contents are given below. The first two volumes of the A. M. Z. contain a series of anecdotes on Mozart, whose acquaintance he made during Mozart's visit to Leipzig; but Jahn, in the preface to his 'Mozart,' has completely destroyed the value of these as truthful records.—Rochlitz was a good connoisseur of paintings and engravings. In 1830 he was one of the committee appointed by the Council of Leipzig to draw up a new hymn-book, and some of the hymns are from his own pen. He also wrote the librettos for Schicht's 'Ende des Gerechten,' Spohr's 'Last Judgment' and 'Calvary,' and for Bierey's opera 'Das Blumenmädchen.' He was a Hofrath of Saxony, and died Dec. 16, 1842.

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The following are the contents of the collection mentioned above—'Sammlung vorzüglicher Gesangstücke vom Ursprung gesetzmässiger Harmonie bis auf die neue Zeit' (Important Pieces from the origin of regular Harmony to modern times).

FIRST PERIOD (1380–1560).

1. Dufay. Kyrie à 4. So la face ay pale.
2. Do. Kyrie. à 4. 'L'omme armé.'
3. Ockeghem. Kyrie and Christe, à 4.
4. Josquin de Prés. Hymnus, à 4. Tu pauperum refugium.
5. Do. Zwischengesang einer der grössten Messen des Meisters, et Incarnatus à 4.
6. Do. Motet, Misericordlas Domini, à4.
7. O. Lasso. Regina Cœli, à 4.
8. Do. Salve Regina, à 4.
9. O. Lasso. Angelus pastores, à 5.
10. Do. Miserere. Amplius. Cor mundum. Ne proficeas, Redde mihi, etc., à 5.
11. C. Goudimel. Domino quid multiplicati, à 4.
12. Ch. de Morales. Kyrie et Christe, à 4.
13. Do. Gloria.
14. T. Tallis. Verba mea, à 4.
15. L. Senff. Motet on a Choral, 'Mag ich ungluck.' à 4.
16. Do. Deus propitius esto, à 5.
17. Do. Nunc dimittis, à 4.

SECOND PERIOD (1550-1630).

1. Palestrina. Adoramus, à 4.
2. Do. Gloria, 2 choirs, à 4.
3. Do. Fleni sunt, à 3.
4. Do. O bone Jesu, à 4.
5. Do. Populo meus, 2 choirs, à 4.
6. Do. Madrigal, 'Cedro gentil,' à 5.
7. Do. Lauda anima mea, à 4.
8. G. M. Nanini. Stabat mater, à 4.
9. Do. Exaudi nos, à 4.
10. Do. Haec dies, à 5.
11. Vittoria. Jesu dulcis, à 4.
12. Do. O quam gloriosum, à 4.
13. F. Anerio. Adoramus, à 4.
14. Do. Christus factus est, à 4.
15. Allegri. Miserere, 2 choirs, à 5.
16. Gabrieli. In excelsis. Soprano solo. Tenor solo and chorus, à 4, with 3 horns, 2 trombones and violins.
17. Do. Benedictus, 3 choirs, à 4.
18. Böhm, Brüder. 2 Lieder, à 4: Der Tag vertreibt; Die Nacht ist kommen.
19. Do. 2 Lieder, à 4: Verleih' uns Frieden; Nimm' von uns.
20. Walther. Æterno gratias, à 4.
21. Gesänge Martin Luthers, à 4: Mit Fried und Freud; Es woll' uns Gott: Nun komm der Heiden Heiland; Christ lag; Jesus Christus.
22. Callus. Ecce quomodo moritur justus, à 4.
23. Do. Adoramus, à 6.
24. Do. Media vitæ, 2 choirs, à 4.
25. Vulpius. Exultate justi, à 4.
26. Do. Surrexit Christus, 2 choirs, à 4.
27. Walliser. Gaudent in cœlis, 2 choirs, à 4.
28. Prætor jus. Ecce Dominus, à 3.

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Appendix.

Palestrina. Et incarnatus, etc. (from mass 'Assumpta est'), à 6.
Praetorius. Ovos omnes.

THIRD PERIOD (1600-1700).

1. Caccini. Solo and chorus, Funeste piaggie.
2. Do. Chorus, Biondo arcier.
3. Carissimi. Recitative and Chorus. Turbabuntur (from Cantata 'Plaintes des reprouvés').
4. Do. Ardens est cor, 4 solos and chorus.
5. Do. O sacrum convivium, 3 solo voices.
6. Do. Cantemus omnes, chorus and scena (Jefta). Florate, à 6.
7. Benevoli. Sanctus, 4 choirs, à 4.
8. Do. Christe, à 4.
9. Bernabei. Alleluja, à 4.
10. Do. Salve regina, à 4.
11. A. Scarlatti. Kyrie, à 4.
12. Do. Gloria, à 5.
13. Do. Vacuum est. Canto solo and chorus, with violins.
14. Do. Sanctus, à 4, and Agnus, à 7.
15. Caldara. Salve regina, à 3.
16. Do. Agnus, alto and tenor.
17. Do. Qui tollis, à 4.
18. Astorga. Stabat.
19. Do. Fac me.
20. Do. O quam.
21. Durante. Kyrie.
22. Do. Regina angelorum.
23. Do. Requiem æternum.
24. Do. Domine Jesu.
25. Lotti. Crucifixus, à 6.
26. Do. Qui tollis, à 4.
27. Do. Crucifixus, à 8.
28. Marcello. Udir' le orecchie, Ps. xliv, à 4.
29. Do. Et incarnatus, à 4.
30. Hasler. Pater noster, à 7.
31. H. Schutz. Selig sind die Todten, à 4.
32. Do. Chorus, Christus ist hier, à 4.
33. Do. Psalm, Was betrübst du?
34. Do. Vater unser.
35. V. Leisring. Trotz ey dem Teufel, 2 choirs, à 4.
36. Grimm. Gloria, à 5.
37. J. J. Fux. Domine Jesu, à 4.
38. Do. Tremò la terra. Coro from oratorio 'La Deposizione.'

FOURTH PERIOD (1700-1760).

1. Handel. Te Deum, in D. Gloriæ tuæ.
2. Do. He sent a thick darkness.
3. Do. He rebuked the Red Sea.
4. Do. And Israel saw.
5. Do. Behold the Lamb of God.
6. Do. He was despised.
7. Do. Thy rebuke.
8. Do. Lift up your heads.
9. Do. Hear Jacob's God.
10. Do. Zadok the Priest.
11. Christoph Bach. Ich lasse dich nicht.
12. J. S. Bach. Nimm' von uns Herr.
13. Do. Mache dich mein Geist.
14. Do. Wir setzen uns Thränen nieder.
15. Do. Wie sich ein Vater. Lobet den Herrn.
16. Zelenka. Credo.
17. Telemann. Amen. Lob und Ehre, à 8.
18. Stölzel. Gloria.
19. Homilius. Vater unser, à 4.
20. Pasterwitz. Requiem.
21. Hasse. Duet and Chorus, Le portea noi.
22. Do. Alto solo, Ad teclamamus.
23. Hasse. Miserere, and Benigni.
24. Do. Te Deum, à 4.
25. Graun. Machet die Thüre weit.
26. Do. Tu rex gloriæ, a 4.
27. Do. Freuet euch (Tod Jesu).
28. Do. Wir hier liegen. Do.
29. Rolle. Der Herr ist König.
30. Do. Welt-Richter (Tod Abel).
31. Wolf. Laus et perennis gloria, à 4.
32. Do. Des Lebens Fürsten.
33. C. P. E. Bach. Et misericordis, à 6, from Magnificat.
34. Do. Heilig, 2 choirs, à 4.
35. M. Haydn. Salvos fac nos.
36. Do. Tenebræ factæ.
37. Do. Miserere.
38. Leo. Coro, Di quanta pena, (S. Elena).
39. Do. Et incarnatus.
40. Do. Miserere; Ecce enim, à 8.
41. Jomelli. Confirma hoc Deus, 5 solos and chorus.
42. Do. Miserere.
43. Pergolesi. Eja ergo (Salve Regina).
44. Do. Qui tollis, à 6.
45. Do. Stabat Mater.

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