Part 5

The true successor of “Frithjof” was to come later in the shape of another warrior, this time a Grecian; in the “Odysseus,” Op. 41, with Ulysses as his hero, we find the composer rising to the height of the preceding subject, but in another and less stern manner. This had been preceded by yet another tone-picture of warriors, in the “Normannen-zug,” a stately union of baritone solo, with unison male chorus and orchestra (all the above-mentioned cantatas have orchestral accompaniment) but in “Odysseus” all the resources of modern scoring are employed and both mixed and male choruses are present in most effective numbers. “Odysseus” exhibits Bruch’s instrumentation in the best light, and proves him a master of the modern orchestral resources. These instrumental forces are always employed with the most perfect taste, and the accompaniment of the great unison male chorus of the Rhapsodes by tremendous pizzicato chords, as of a giant harp, is a touch of indescribable dignity; some of the finest mixed choruses which the composer has written are to be found in this work.

Other large compositions for solo voices, chorus, and orchestra, followed. “Arminius” (this time a German warrior was the hero) may not be ranked with the inspired works mentioned above, but is nevertheless a favorite with the composer, and all creators in art have the privilege of loving their weakest children best; “The Song of the Bell,” on Schiller’s great poem, although a fine work, full of power and majesty, does not bring out all the dramatic possibilities of the subject, but is never-less far more effective than the Romberg setting; “Achilleus” (again a martial theme) is one of the most recent works of the master, and in his Op. 52 he turns again to Scotia and in the “Fiery Cross” we find Sir Walter Scott’s “Lady of the Lake” appearing in some of its warlike phases.

So much for the chief vocal works of this master; it will be seen that he loves historic pictures, and the poets Geibel, Lingg, and Scheffel have helped him by libretto and advice in this direction; and he sings so constantly of war and warriors, that he may be called the Tyrtæus of modern music. But it must not be supposed that his entire work has been in this field only; he has won much success in some of the large instrumental forms as well. His three symphonies in E flat, F minor, and E major, are but seldom performed, but it is difficult to discover the cause of this neglect; possibly the earnest, sombre, even gloomy tints of the second are not to the taste of those who seek only pleasure in music. But the third symphony in E is genial and attractive and would please almost any cultured audience although it is not in the strictest form. The first two symphonies are built in classical style, and Bruch seems to have taken Beethoven for his model in this field. It must be confessed, however, that none of the three works has yet received due appreciation. Vastly different is it with the two violin concertos, the first of which is dedicated to Joachim, the second to Sarasate; these are very frequently heard in our concert rooms and the first, (in G minor, Op. 26) may be mentioned as one of the chief works in this form, and equal, and by some held superior, to Mendelssohn’s well-known violin concerto.

The third violin concerto is scarcely known yet in America. It was played at the music festival of Düsseldorf, by Joseph Joachim, with great success. It has a dreamy, prayerful, second movement, and a most martial and brilliant finale, but its first movement is prolix when compared with the power of the themes of the G minor concerto.

It may be of interest to append a list of the most important of Bruch’s published compositions; they are as follows:—

Op. 1. “Scherz, List und Rache.” (Goethe.) A comic opera in one act.

Op. 3. “Jubilate, Amen.” For Soprano, Chorus and Orchestra.

Op. 8. “The Birches and the Alders.” Soprano solo, Chorus and Orchestra.

Op. 9. String Quartette. C minor.

Op. 10. Quartette in E major. (Both rather too broad in their ideas for the vehicle of expression.)

Op. 12. Six pieces for Piano. (Simple, yet beautiful in expression, and showing the composer in a very different field from that of his majestic cantatas.)

Op. 16. “Loreley.” Grand romantic opera.

Op. 19. “Römischer Triumphgesang”; “Wessobrunner Gebet.” Male choruses with orchestra; the first has become celebrated.

Op. 20. “The Flight of the Holy Family.” (Libretto by Eichendorff.) A great work for Chorus and Orchestra.

Op. 22. Does not exist! By a clerical error the Frithjof music was numbered Opus 23 instead of 22.

Op. 23. “Frithjof.” (See above.)

Op. 24. “Schön Ellen”: “Fair Ellen.” (See above.)

Op. 25. “Salamis.” Words by Lingg. Male Chorus and Orchestra. One of the large choral works; a grand historical tone-poem.

Op. 26. Violin Concerto. No. 1. G minor. (See above.)

Op. 27. “Frithjof at his Father’s Grave.” Baritone. Female Chorus and Orchestra.

Op. 28. Symphony in E flat.

Op. 29. “Rorate Coeli.” Chorus, Orchestra, and Organ. Probably this is the loftiest of Bruch’s sacred works.

Op. 31. “The Flight into Egypt,” and “Morning Hours.” (By Lingg.) Soprano, Female Chorus and Orchestra.

Op. 32. “Normannen-zug.” Baritone, Chorus in unison and Orchestra.

Op. 34. “Römische Leichenfeier”: “Roman Funeral Sacrifice.” Mixed Chorus and Orchestra. (Has been erroneously classified as a male chorus.)

Op. 35. “Kyrie, Sanctus and Agnus Dei.” Choral work.

Op. 36. Symphony in F minor.

Op. 37. “Song of the German Emperor.” Chorus and Orchestra.

Op. 39. “Dithyrambe.” (Schiller.) Tenor voice, Chorus and Orchestra.

Op. 40. “Hermione.” (“Winter’s Tale.”) Grand Opera.

Op. 41. “Odysseus.” (See above.)

Op. 43. “Arminius.” A large work for Chorus and Orchestra. Sometimes classified as an oratorio.

Op. 44. Violin Concerto. No. 2. D minor.

Op. 45. “The Song of the Bell.” (Schiller.) Chorus, four solo voices, Orchestra and Organ. This is the most ambitious work of the composer; by some it is accounted his greatest, but whoever undertakes the setting of this masterpiece of a great poet, will find his music overshadowed by the grandeur of the poetry.

Op. 46. Scotch Fantasie. Violin and Orchestra.

Op. 47. “Kol Nidrei.” A wonderfully effective setting of the ancient Hebrew hymn (many believe this to be the oldest piece of Hebrew music in existence) for Violoncello and Orchestra.

Op. 50. “Achilleus.” Solo voice, Chorus and Orchestra.

Op. 51. Third Symphony. E major. The most free in form, and the brightest in character, of all of Bruch’s symphonies.

Op. 52. “The Fiery Cross.” Dramatic Cantata upon portions of Scott’s “Lady of the Lake” (arranged by H. Bulthaupt). Solo, Chorus and Orchestra.

Op. 53. “Thermopylae”; “War Song of Tyrtaeus.” Two Male Choruses, with Orchestra.

Op. 54. Songs. (Text by Heyse.) Piano and Violin accompaniment.

Op. 55. Canzone. ’Cello and Orchestra.

Op. 56. Adagio on Celtic Melodies. ’Cello and Orchestra.

Op. 57. Adagio Appassionato. Violin and Orchestra.

Op. 58. Third Violin Concerto. (D minor.) Dedicated to Joachim.

Without Opus number. One Male Chorus, and a set of Hebrew Melodies for Chorus, Orchestra and Organ.

[Illustration: Louis C. Elson]

[Illustration:

JOSEPH RHEINBERGER

_Reproduction of a photograph from life, made by Fr. Muller, in Munich._ ]

[Illustration: [Fleuron]]

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.

[Illustration:

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.”