A Dictionary of Music and Musicians/Rosenhain, Jacob
ROSENHAIN, Jacob, eldest son of a banker, was born at Mannheim, December 2, 1813. His teachers were Jacob Schmitt, Kalliwoda, and Schnyder von Wartensee. His first appearance as a pianoforte-player was at Stuttgart in 1825 [[App. p.775 "Frankfort in 1823"], after that at Frankfort, where his success induced him to take up his residence. A one-act piece of his, 'Der Besuch im Irrenhause,' was produced at Frankfort, December 29, 1834, with great success; his second, 'Liswenna,' 3 acts, was not so fortunate [App. p.775 "never performed"]. In 1837 he came to London, played at the Philharmonic, April 17th, and was much heard in the concerts of the day. After this he took up his abode in Paris, where he became very prominent, giving chamber concerts in combination with Alard, Ernst, and other eminent players, and carrying on a school of pianoforte-playing in conjunction with J. B. Cramer. His early opera, 'Liswenna,' was provided with a new libretto (by Bayard and Arago), and brought out at the Grand Opera as 'Le Démon de la Nuit,' March 17, 1851. It had however but a moderate success, and was withdrawn after four representations, though afterwards occasionally played in Germany. Another one-act piece, 'Volage et Jaloux,' produced at Baden-Baden, August 3, 1863, completes the list of his works for the stage. In instrumental music he was much more prolific. He has composed 3 symphonies—in G minor (op. 42), played at the Gewandhaus, Leipzig, under Mendelssohn's direction, January 31, 1846; in F minor (op. 43), played at Brussels, and at the Philharmonic, London, April 24, 1854; 'Im Frühling,' in F minor [App. p.775 "major"] (op. 61), rehearsed at Conservatoire, but not played [App. p.775 "played at a Concert Populaire"]. 4 trios for PF. and strings; 1 PF. concerto; 3 string quartets; 2 cello sonatas; 12 characteristic studies (op. 17) and 24 Etudes mélodiques (op. 20), both for PF. solo. Also various pieces for ditto, entitled, 'Poémes,' 'Rêveries,' etc.; a biblical cantata, and various songs, etc. [App. p.775 "To list of works add a PF. concerto, op. 73; Sonata, op. 74; do. PF. and cello, op. 98; 'Am Abend' for quartet, op. 99."] M. Fétis credits him with a broad and pure style of playing, and with knowledge and ambition in composition. Schumann has criticised several of his pieces with kindness and liberality.
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