JOSEPH RHEINBERGER.
From a photograph by Karl Lützel, Munich.
As a sincere Catholic, Rheinberger has contributed very considerably to the sacred literature of his church, these works being directly intended for the service more than for concert purposes. They are partly in a plain, easy style, and partly on a grander scale, where the composer found ample opportunity to show his complete mastery of contrapuntal and polyphonic art, especially of the fugue. Yet he always keeps himself free from uninteresting features and all mere exhibition of learning. A mood of pious devotion prevails in these works, among the large number of which special mention must be made of the great mass for double chorus, dedicated to Pope Leo XIII., two settings of the Stabat Mater and the Requiem for the victims of the war of 1870–71; besides many hymns and motets. Of even greater importance are Rheinberger’s compositions for the musical instrument of the church, the organ. His many sonatas, belong to the most valuable contributions to organ literature. They have the usual three or four movements, an intermezzo taking the place of the less appropriate scherzo, and a great fugue forming the finale. And they are by no means tedious, antiquarian imitations of old masters, but are full of warm, modern sentiment, in spite of the strictness of form bearing a thoroughly modern physiognomy, yet never going beyond the limits of dignity, becoming this sacred instrument. Some movements have become especially famous and are favorite numbers of organ recitals, as for instance, the Passacaglia of No. 8. Not less valuable are the many monologues and fughettes and the organ concerto with accompaniment of strings and horns.
A review of Rheinberger’s pianoforte compositions may justly be opened with his beautiful concerto in A flat, dedicated to Carl Baermann. It is written in a truly symphonic style and contains throughout in its three extended movements noble and sympathetic music, rich in colors, contrasts and climaxes, the orchestra accompaniment being raised to great importance, yet the solo part always remaining brilliant and effective, especially in the splendid cadenza. The same thorough mastery of the classic forms also appears in several of the great sonatas for either two or four hands; yet the old forms breathe all the modern romantic spirit and even their construction occasionally shows modern influences. Particularly interesting is the great “symphonic sonata,” opus 47, with a charming minuet and a magnificent tarantella in the last movement, the entire work betraying quite a distinct influence of Brahms and his early sonatas. In tarantellas Rheinberger has been as fertile as successful, illustration being found in the violin sonata in E flat and in several independent piano works for two, four, or even eight hands. This happy combination of old strict forms with modern expression and feeling is also the distinguishing feature of his several toccatas, some of which require a great virtuosity of playing. And thus it is with his Fugues, Capriccios, Gavottes, Scherzinos, Etudes, etc., while many other pieces such as Humoresken, Romances, Mazurkas or the collections “From Italy” and “Vacation Pieces” remind us more of the character-pieces which Mendelssohn and Schumann had cultivated. With a Scherzoso and Capriccio on a theme by Handel, Rheinberger paid a special tribute to his admiration of the genius of Brahms, whereas a most interesting improvisation on themes from Mozart’s “Magic Flute” bears some resemblance to Liszt’s virtuoso style, yet showing a decidedly better musical workmanship
In looking at Rheinberger’s chamber works we at once admire his complete familiarity with the old quartet style, and his eminent skill in counterpoint, but these do not hide the bright, charming, sympathetic character of his music, the energetic life of the allegros, the broad, smooth, coherent cantilena of the slow movements, and the grace and spirit of the Scherzos. Beauty of feeling and sound go most happily hand in hand. Of the two violin sonatas in E flat major and E minor the former has become particularly well known, and the effective treatment of this string instrument makes us regret that Rheinberger has never written a complete violin concerto in a great symphonic style. He has, however, composed several suites for violin or violoncello with organ.
In E flat major, which is apparently a favorite key with our master, are the splendid and justly famous pianoforte quartet, opus 38, and the more recently written nonet for horn, four string and four wood instruments. Besides these there are three pianoforte trios, a great pianoforte quintet in C, a string quintet in A minor, variations for five strings, and his latest contribution to this class of music, the string quartet in F. This very remarkable and noble production is distinguished by the most masterly treatment of attractive themes, by the charm and grace of the middle movements and an unsurpassed skill in the closing fugue.
It is not surprising, that a composer of such prominent qualities both in regard to the mastery of the old sonata form and the excellent use of the different instruments, has written some works for complete orchestra; rather are we surprised that he has not cultivated this field more. However his works of this kind are certainly not his best and it is not unlikely that a clear estimation of his own powers has prevented him from further attempts in this field. Of his two symphonic works the more recent one entitled “Florentine Symphony” is far less known and appreciated than the symphonic tone-picture, “Wallenstein,” which was composed much earlier. Both in the old and new world this work still appears in concert programmes, the part performed most frequently being the fascinating Scherzo “Wallenstein’s Camp” with the amusing sermon of the garrulous capuchin in the trio. The opening Allegro is superscribed “Prelude,” the adagio “Thekla,” the finale “Wallenstein’s Death.” The latter is unduly long, and without the help of a direct programme hardly comprehensible and enjoyable. In spite of the undeniably noble and high purpose, the marked skill in technical respects and the truly musical character of the thematic material, we doubt whether Rheinberger, an ever growing representative of old theories and absolute music, would to-day write another such programmatic work. The above mentioned passacaglia for organ, has, in a most magnificent orchestral arrangement, found a very sympathetic reception in many concert rooms, and quite often one reads of performances of his overtures to Shakespeare’s “Taming of the Shrew,” and to Schiller’s “Demetrius.”
We now approach the theatre, for which Rheinberger has also written. He was once connected in a practical way with the operatic stage, and at that time composed the incidental music to dramas of Raimund and Calderon, as well as a great romantic fairy opera, “The Seven Ravens.” The writer remembers with pleasure an excellent performance of this delightful work at the Munich Opera House, though it was many years ago. There was a wealth of beautiful, delicate or strong music full of poetry and romanticism of a truly fairy character, yet not lacking in stronger dramatic emotions. This work was followed later on by a comic opera, “Thürmer’s Töchterlein,” which was quite successfully given on the Munich stage. The preludes of both operas are often heard in orchestral concerts. One of Rheinberger’s most recent works is a little “Singspiel” for young folks, in two acts, with piano accompaniment, “das Zauberwort.”
At last we reach in our review the field, in which Rheinberger has been especially fertile and successful, his many choral compositions. As a writer of chorus-ballads, he occupied a similar high position as that held by Loewe for solo ballads, and as by far the worthiest successor of Schumann and Gade, if not in some respects their superior. His choral works afford ample opportunity to admire his fine sense for novel, charming vocal effects, for a correct, grateful and always effective treatment of the human voice, a careful finishing of details, a great variety of colors and a distinct and fine characterization of the various moods of the poems. Whenever a piano or orchestra accompaniment is added, it is most refined, truly musical, and adequately arranged. Many such happy features could be quoted, but it is impossible to enter further into details. Most of these works do not require a very large chorus or the mastery of unusual difficulties, and have therefore justly become favorites with smaller choral societies. Others however, particularly those for male voices, demand numerous, well-trained voices and a very thorough study, as their difficulties are quite extraordinary.
