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Scan 786
Baker's biographical dictionary of musicians, 1919
8 lines. Read by computer on 4 September 2026. Printed page 765. See the scan on archive.org.
1Riegel [rē'gēl], Heinrich Joseph, born Wertheim, Franconia, Feb. 9, 1741; d. Paris, May, 1799. Pupil of F. X. Richter in Mannheim and Jommelli in Stuttgart; settled in Paris in 1768; from 1782–6 cond. of the Concerts Spirituels. On the title-page of several works publ. in Paris his name appears as Rigel (which form his son [q. v.] adopted). He is one of the earliest composers who wrote ensemble-music with pf.—Works: Vl.-sonatas (op. 1, 7, 13, 14, 18, 19), pf.-quartets (op. 3), str.-quintets (op. 49), 'symphonies' for 2 vls., vcl., 2 horns and pf. (op. 16, 17); the operas (all prod. in Paris) Le Savetier et le Financier (1778), l'Automate (1779), Rosanie (1780), Blanche et Vermeille (1781), Lucas (1785), Les Amours du Gros-Caillou (1786), Alix de Beaucaire (1791), Cora et Alonzo (not prod.); the oratorios La sortie d'Égypte, Jephé, La prise de Jéricho.
3Riehl, Wilhelm Heinrich von, born Biebrich-on-Rhine, May 6, 1823; d. Munich, Nov. 16, 1897. Writer on the history of civilization; from 1854, prof. of political economy at Munich Univ.; for a time director of the court theatre at Wiesbaden; from 1885, director of the Bavarian National Museum, etc., at Munich; also lectured on mus. history at the R. Music-School.—Publ. Musikalische Charakterköpfe (3 vols., 1853–'61; 6th ed. 1879; vol. iii, containing the essays Die Kriegsgeschichte der deutschen Oper and Die beiden Beethoven, is the best); and 2 vols. of original songs, Hausmusik (1856, '77).—Cf. H. Simonsfeld, H. R. als Kulturhistoriker (Munich, 1899).
5Riem [rēm], Friedrich Wilhelm, born Kölleda, Thuringia, Feb. 17, 1779; d. Bremen, April 20, 1857, as cathedral-organist and cond. of the Singakademie. He was a pupil of J. A. Hiller, in Leipzig, and organist at the Thomaskirche 1807–14, then being called to Bremen. Reinthaler was his successor.—Works: Cantata in commemoration of the Augsburg Confession (Bremen, 1830); an oratorio, Der Erlöser; a str.-quintet in G m. (op. 6); a pf.-quartet in F (op. 8); 3 str.-quartets in A, B♭, Eb (op. 19); 4 vl.-sonatas, A (op. 5.), F, A, Eb (op. 13); 6 pf.-sonatas, F (op. 1), Eb (op. 3), C m. (op. 4), E and C (op. 7), E (op. 21); 6 sonatinas (op. 11), and other pieces f. pf.; also publ. a coll. of organ-pieces for concert and church.—See Q.-Lex.
7Riemann, (Karl Wilhelm Julius) Hugo, distinguished musicologist and teacher; b. Grossmehlra, n. Sondershausen, July 18, 1849. He was trained in theory by Frankenberger at Sondershausen, studying the piano with Barthel and Ratzenberger; took the gymnasial course in the Rossleben 'Klosterschule,' 1865–8, and studied at first law, then philosophy and history, at Berlin and Tübingen; and, after passing through the campaign of 1870–1, entered the Leipzig Cons. In 1873 he took the degree of Dr. phil. at Göttingen with the dissertation Musikalische Logik (publ.); was active as a cond. and teacher at Bielefeld until 1878, when he qualified as University lecturer on music at Leipzig; taught music at Bromberg 1880–1, then at the Hamburg Cons. till 1890, at the Sondershausen Cons. for a short time, and at the Wiesbaden Cons. until 1895, when he resumed his lectures at Leipzig. In 1901 he was made prof. extraord., in 1905 regular prof.; in 1908 dir. of the newly establ. 'Collegium Musicum,' and in 1914 also dir. of the newly establ. 'Forschungsinstitut für Musikwissenschaft.' He was elected honorary member of the Cecilia Acad. at Rome (1887), of the Royal Inst. at Florence (1894), and of the Musical Assoc. in London (1900); made Mus. Doc. (hon. c.) by the Univ. of Edinburgh (1899). On his 60th birthday he was honored by the publication of a 'Festschrift' (ed. by Karl Mennicke) containing contributions from the world's foremost scholars, many of whom were R.'s personal pupils.—The mere bulk of R.'s writings, covering every branch of musical science, constitutes a monument of indefatigable industry, and is proof of enormous concentration and capacity for work. When one takes into consideration that much of this work is the result of painstaking, accurate research and of original, often revolutionary, thinking, respect and admiration may well pass into a feeling of wonder. His works treating of harmony constitute to-day the foundation of modern musical theory. By reducing to a system all the important discoveries of Zarlino, Tartini, Rameau, Gottfried Weber, Fétis, Hauptmann, Helmholtz, and von Oettingen, he freed harmony from the trammels of thorough-bass, substituted simple fundamental laws for empirical formulas, and bridged the gap that had always existed between theory and practice. Stimulated by Westphal's investigations, he turned his attention to the matter of phrasing, with the result that he established that important (until then sadly neglected) discipline upon a sound scientific basis. The principles laid down in several books dealing with this subject he applied in his numerous and very valuable 'Phrasierungsausgaben' of pf.-compositions of early, classic, and romantic masters. His researches in the field of mus. history have solved a number of vexed problems, and thrown light on others. And, finally, in formulating the new science of musicology (Musikwissenschaft) the labors of R. have been a most important factor.—Cf. the biogr. sketch by K. Mennicke in 'R.-Festschrift' (Leipzig,
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