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.
[Illustration:
Fac-simile autograph manuscript written by Jos. Rheinberger in Munich
in 1891.
]
Of the large works for mixed chorus, soli and orchestra, we mention the
often sung cycle of romances, “Toggenburg,” “Montfort” (a saga from the
Rhine), “Christoforus” (an old Christian legend), and his latest work,
“The Star of Bethlehem,” a Christmas cantata, the words of all of which
were written by Rheinberger’s wife, Fanny von Hoffnaass. Less extensive
and with only a pianoforte accompaniment are “King Erich,” “The Willow
Tree,” “The Water Sprite,” “The Shepherdess from the Country,” “The Dead
Bride,” “May Dew,” “Harald,” “Night,” etc. Of smaller part songs for
mixed voices we mention those contained in the collection, “Love’s
Garden,” and some sacred hymns. Those for male voices are of greater
prominence and rise far above the plane of the conventional
“Liedertafel” style. They are true works of art in every respect, of a
very noble, interesting and impressive musical character, sweet and
characteristic melodically, richly colored and surprisingly original
harmonically, while each one is a real tone-picture, clearly reflecting
the various poetical moods and situations. Some, too, are quite
extensive and have a piano or orchestral accompaniment, such as the
wonderful “Valley of the Espingo,” “The Roses of Hildesheim,”
“Wittekind,” and “St. John’s Eve.” Most of the part songs, too, are
perfect gems of modern male chorus music, although they are very
difficult as vocal music and require the most careful preparation.
Rheinberger has also written a number of solo songs, some of which in
cyclic form such as “Love’s Life,” “On the Seashore,” etc.
In reviewing this great number of compositions, we must admit that
Rheinberger does not rank as an epoch-making genius in musical history.
But in sincere admiration and gratitude we recognize that the latest
period of German music is not wanting in those whose music reflects the
sunshine and serenity of a clear blue sky, the happiness of a sound
heart and refined mind, whose first purpose it is, by a masterly and
thoughtful use of all musical means of expression, to delight hearers
and performers alike.
This, then, is Rheinberger’s position as a composer. We will not,
however, forget to do full justice to his eminent ability as a teacher,
which enables him to impart to his pupils that thorough and systematic
theoretical education, which must remain the indispensable basis for the
productions of even the most gifted composers, especially at a time when
many are inclined to parade with immature experiments of a fiery, but
inordinate imagination, long before the necessary technical ability
corresponds with their enthusiastic, and perhaps really worthy
intentions.
[Illustration: Louis Kellerbaum]
[Illustration:
_Reproduction of a steel engraving made by Krauss, after a
photograph._
]
[Illustration: WAGNER]
[Illustration: [Fleuron]]