From a photograph from life by Brokesch, of Leipsic.
]
While Rietz was conductor of the Gewandhaus orchestra, from 1848 to
1860, he accomplished the most important work of his life, namely, the
correction of errors that had crept into the scores of the great
masters. In the complete edition of Beethoven’s works, published by
Breitkopf and Härtel, Rietz edited the symphonies. He was also editor of
the complete edition of Mendelssohn’s works. Carl Reinecke (born 1827),
the present conductor of the Gewandhaus concerts, stands at the head of
musical life in Leipsic. As a composer he is to be considered to some
extent as a follower of Schumann. He has been productive in nearly all
forms of composition, and exhibits everywhere thorough practical
experience and refined musical taste, yet few of his larger works have
won great prominence. On the other hand, his smaller piano compositions
are highly prized. His overture, “König Manfred,” and his piano concerto
in F sharp minor are favorites.
Woldemar Bargiel (born 1828) is considered as one of the foremost
disciples of Schumann. Some of his chamber music and especially his
noble overture to “Medea” have taken high rank among later compositions.
Adolph Jensen (1837–79) was an enthusiast for Schumann, and took him as
his model. He wrote cantatas and piano compositions that are much
admired, and his songs have made his name famous. Jensen was a born song
composer, and his melodies have rare sensuous charm and sentiment.
Friedrich Robert Volkmann (1815–83) belongs also to the romantic school.
Schumann exercised a great influence on him in his piano works, which
bear fanciful titles.
His two symphonies and his string quartets are admired for their solid
style, yet this music is not sufficiently spontaneous in melody and
marked in style to gain universality.
Norbert Burgmüller (1810–36) and Hermann Goetz (1846–76) were not spared
to fulfil the promise of their gifts. Burgmüller left two symphonies, an
overture, and other compositions which are of decided merit. Schumann
declared that since the untimely death of Schubert there was no more
deplorable event than the loss of Burgmüller.
Goetz was first made known to the musical world by his opera, “The
Taming of the Shrew,” which achieved a rapid success. He did not live to
finish his second opera, “Francesca di Rimini,” which was subsequently
completed by his friend Frank. His Symphony in F has been played in
Europe and America.
Franz Lachner (1804–90) was one of the most popular composers of South
Germany. He sprang from a musical family. His father was an organist,
and his brothers Ignaz and Vincenz were prominent musicians. Like so
many other “Kapellmeister” composers, Lachner has been wonderfully
prolific and facile in all forms of music, without accomplishing
anything truly original or great. His best symphonies are those in C
minor, D minor and D major. His suite in D has been much admired.
Kalliwoda, Vierling, Dorn, and Taubert belong to this same class.
Wilhelm Taubert (born 1811) was fellow-student with Mendelssohn under
Ludwig Berger. He was a brilliant pianist and well-trained composer. For
many years he was conductor of the Royal Opera at Berlin. His operas,
symphonies and other large works have not prominence, but his songs have
a pleasing quality that has made them universal favorites.
Mention should be made of Julius Otto Grimm (born 1827), whose ingenious
and effective “Suite in Canon form” has found a place everywhere on
concert programmes; and Salomon Jadassohn (born 1831), the eminent
musical theorist of the Leipsic Conservatorium. His treatises on
Harmony, Counterpoint, Fugue, etc., are among the best. His powers as a
composer have been displayed in his symphonies, chamber music, etc. His
serenades for orchestra are especial favorites. He shows great facility
in canonic writing.
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