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."
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."
