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.
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