JOSEPH RHEINBERGER
Reproduction of a photograph from life, made by Fr. Muller, in Munich.
JOSEPH GABRIEL RHEINBERGER
Most of the more or less prominent German composers of the present time may be easily divided in two different classes. On one side we may place those who seem to be all their lives in a period of “Sturm und Drang;” who are always bitterly in earnest, ever appearing either melancholy or passionate, always longing and striving for the unattainable, often mournful, despairing and reticent. These composers present, even in their normal state, gloomy D minor physiognomies, quite in harmony with the prevailing pessimistic philosophy. On the opposite side are those who look more at the bright and sunny side of life and art, who are the good friends and neighbors of their fellow beings, with simpler, quieter feelings, perhaps also with less high, less far fetched aspirations, and who are less anxious to introduce in every work some new and original feature. The musical physiognomies of this class reflect more the peaceful F, the lively D or the festive E flat keys. To be sure, this is rather a queer and fanciful generalization of the truth, and the most remarkable exceptions could be named on either side, both in regard to the sincerity of such domineering tendencies and to the degree of acquired knowledge and ability or inborn talent of the respective composers. There are particularly some of the second class, to whom art is as high and sacred as it is to the others, and who are worthy of a more prominent position, owing to the possession of rare creative powers and a complete mastery in the use of old and modern means of musical expression, as well as of all the different forms of composition. Such a master is Rheinberger. Joseph Gabriel Rheinberger was born the 17th of March, 1839, being the son of a revenue officer in Vaduz, the small capital of the principality of Lichtenstein, between Switzerland and Tyrol. At a very early age it became evident that nature had destined for him a musical career. He was not five years old, when the piano lessons of his eldest sister attracted his attention in a way which induced her teacher to also begin a musical instruction with the little boy; and so great and rapid was his progress, both on the pianoforte and the organ, that after two years he was competent to fill the position of organist at the church. Even his productive instincts manifested themselves in these tender years, and the little tot of eight years was allowed to have a short mass in three parts with organ accompaniment of his own composition performed at church. Thus his musical vocation was beyond all question, and fortunately the best possible professional education was granted to him very early in life.
From 1851 till 1854 young Rheinberger was a pupil of the Royal Conservatory at Munich, having as teachers Leonard for the pianoforte, Herzog for the organ, and Maier for composition. Since then the Bavarian capital has been Rheinberger’s second home. When he had graduated with high honors, he took his permanent residence there as a music teacher, and in 1859 was appointed Leonard’s successor at the Conservatory, which was then directed by Hauser, the famous baritone and vocal teacher. Later on he began teaching composition, a work in which he has won particular distinction. In 1865 Hauser was pensioned, the conservatory reorganized, and Rheinberger appointed as solo-repetitor of the Opera, but in 1867, when Bülow assumed the directorship of the newly organized “Royal Music School,” Rheinberger again received a call as Professor and Inspector at the new institution. This position he has held ever since, teaching composition and organ. For many years he has also conducted the Munich Oratorio Society, and after Wüllner’s departure in 1877, for some time he led the choir of the Royal Chapel, which was once so justly celebrated for its marvelous rendering of unaccompanied choral works, but which unfortunately has now disappeared from Munich’s musical life. Rheinberger has been the recipient of many honors, titles and orders, and is an honorary member of the Berlin Academy of fine Arts, and of numberless choral societies in and outside of Germany. Yet he has found the most intimate sympathizer with his artistic work in his wife, the poetess Franziska von Hoffnaass, who has written the text to so many of his best known choral works.
As Munich has been Rheinberger’s home since boyhood, it may be interesting to examine the influence, which the life in this metropolis of arts, sciences, literature, music and drama, must necessarily have had upon the development of his talents. It is well known how much the musical life of Munich has changed during the last thirty years. At the time of Rheinberger’s arrival there, Franz Lachner stood in the zenith of his long musical career; he was the highly respected, influential General Music Director of Bavaria and a representative of the old strictly methodical art of composition, and of the old-fashioned, strictly objective mode of rendering the works of the classic masters in the field of opera and concert. Twelve years later King Max II., who had surrounded himself with eminent poets, artists and scientists, was succeeded by Ludwig II., the young enthusiastic admirer of R. Wagner and his ideas. The great opera reformer was invited to live in Munich and his ardent pupil Bülow was appointed as court pianist and director of the orchestra and of the new Music School. How soon master and pupil had to leave Munich again every one knows. Nevertheless their powerful influence remained, especially at the Royal opera house, which became the headquarters of Wagner’s music-dramas. The change in the concert life was slower. Gradually the musicians and the public were forced to become accustomed to Brahms and other modern composers, whose art rests mainly upon the classical models, till of late Berlioz and Liszt also have found at last a more general recognition.
Besides Lachner, Wagner and Bülow we may name as the principal representatives of Munich’s musical life, and the colleagues of Rheinberger during the last thirty years, Peter Cornelius, the long neglected composer, intendant and composer von Perfall, Max Zenger, directors Wüllner, Levi, Fischer and Porges, the æstheticians Riehl, Nohl and Carrère, the pianists Baermann and Bussmeyer, the violinists Walter, Abel, Venzl, all the famous singers of the opera and many others. Through his position at the opera and at the Music School, Rheinberger stood in a close personal and active relation to almost all these men, as well as to this transformation of the musical life of Munich. Yet it certainly speaks very well in his favor, and honors both the originality of his talent and his artistic character, that under all these circumstances he has never been untrue to himself and his individuality, has never stepped beyond his sphere nor trodden a path unsuited to him. An early knowledge of his own nature happily protected him, and his early acquired thorough technical and theoretical education stood him in good stead.
A review of Rheinberger’s published compositions shows at once his great versatility; no field was neglected by him, in many he has written excellent works, in others, if he did not reach the same degree, at least his musical skill and fine musicianship awaken our sincere interest and high consideration. If he was not in every work guided by inspiration, his rare knowledge, ability and artistic instinct preserved him against failure or triviality. Even in his compositions of smaller forms the hand of a master is always to be recognized. What a truly musical character have his themes, how clever and tasteful is his use of all the different instrumental or vocal means, how broad and melodic his cantilena, how fine and charmingly rich and varying his modulations, how fresh and energetic his rhythm, how well does he understand how to find the right tone for the intended mood, and how carefully are all the details finished and connected into a most harmonious whole! Often his pieces give the impression that the composer had really found the truest expression and most beautiful form for what he wished to say or illustrate. Certain chamber works, piano or organ pieces, are so delightful, that they awaken a desire for their immediate repetition, and there are quite a number of his choral compositions which one cannot hear or sing often enough.