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Scan 84
Grove's Dictionary of music and musians, 1910
14 lines. Read by computer on 12 September 2026. Printed page 58. See the scan on archive.org.
11872 he made extensive tours; in England he played at the Musical Union, Crystal Palace, and Philharmonic, on the 6th, 17th, and 19th of April, 1869, respectively, and met with great success both as a virtuoso and a composer. He reappeared in this country in 1872, and was equally well received. [In 1895 he resigned the post of conductor of the Gewandhaus concerts, but kept his position in the Conservatorium, being appointed in 1897 director of musical studies until 1902, when he retired altogether.]
3Reinecke's industry in composition is great, his best works, as might be expected, being those for piano; his three PF. sonatas indeed are excellent compositions, carrying out Mendelssohn's technique without indulging the eccentricities of modern virtuosi; his pieces for two PFs. are also good; his PF. Concerto in F# minor, a well-established favourite both with musicians and the public, was followed by two others in E minor and C respectively. Besides other instrumental music—a wind octet, quintets, four string quartets, seven trios, concertos for violin and violoncello, etc.—he has composed an opera in five acts, 'König Manfred,' and two in one act each, 'Der vierjährigen Posten' (after Körner) and 'Ein Abenteuer Händel's'; 'Auf hohen Befehl' (1886), and 'Der Gouverneur von Tours' (1891); incidental music to Schiller's 'Tell'; an oratorio, 'Belsazar'; cantatas for men's voices 'Hakon Jarl' and 'Die Flucht nach Aegypten'; overtures, 'Dame Kobold,' 'Aladdin,' 'Friedensfeier,' an overture, 'Zenobia,' and a funeral march for the Emperor Frederick (op. 200); two masses, and three symphonies, (op. 79 in A, op. 134 in C minor, and op. 227 in G minor); and a large number of songs and of pianoforte pieces in all styles, including valuable studies and educational works. Of his settings of fairy tales as cantatas for female voices, 'Schneewittchen,' 'Dornröschen,' 'Aschenbrödel,' and several others are very popular. His style is refined, his mastery over counterpoint and form is absolute, and he writes with peculiar clearness and correctness. He has also done much editing for Breitkopf's house. His position at Leipzig speaks for his ability as a conductor; as a pianist (especially in Mozart) he kept up a high position for many years; as an accompanist he is first-rate; and as an arranger for the pianoforte he is recognised as one of the first of the day. Various contributions to musical literature will be found enumerated in Riemann's Lexikon. [See also E. Segnitz, Carl Reinecke.] F. G.
5REINER, JACOB, born about 1559 or 1560 at Altdorf in Württemberg, was brought up at the Benedictine Monastery of Weingarten, where he also received his first musical training. We have it on his own authority that he was afterwards a pupil of Orlando Lassus at Munich, where also his first publication, a volume of Motets a 5-6, appeared in 1579. Incidentally it may be mentioned that in 1589 Lassus dedicated a book of six masses, the eighth volume of the Patrocinium Musices, to the Abbot of Weingarten. Reiner himself returned to Weingarten, and from at least 1586 to his death on August 12, 1606, was engaged as lay singer and choir-master to the monastery. His publications are fairly numerous, and consist of several volumes of motets, masses, and magnificats, which need not here be specified in detail, especially since part-books are frequently missing, also two volumes of German songs a 3-5. Three settings a 5 of the Passion exist in MS., of a similar character to those by Lassus. The first volume of Reiner's Motets was reproduced in lithograph score by Ottomar Dresel in 1872, and one of the numbers also appears in the supplement to Proske's 'Musica Divina,' edited by F. X. Haberl in 1876. J. R. M.
7REINHOLD, HUGO, born March 3, 1854, in Vienna, was a choir-boy of the Hofkapelle of his native city and a pupil of the Conservatorium der Musikfreunde till 1874, where he worked with Bruckner, Dessoff, and Epstein under the endowment of the Duke of Saxe-Coburg and Gotha, and obtained a silver medal. He has presented various compositions, numbering up to op. 59, to the public, including piano music and songs, a string quartet (op. 18 in A major), a suite in five movements for piano and strings, and a Prelude, Minuet, and Fugue for stringed orchestra. The two latter were performed at the Vienna Philharmonic Concerts of Dec. 9, 1877, and Nov. 17, 1878, respectively, and were praised by the Vienna critic of the Monthly Musical Record for their delicate character and absence of undue pretension. The quartet was executed by Hellmesberger. H. v. H.
9REINHOLD, THEODOR CHRISTLIEB, born in 1682, died in 1755, was the teacher of Johann Adolf Hiller (Hüller), the composer of numerous motets, and cantor of the Kreuzkirche at Dresden from 1720 till his death. H. v. H.
11REINHOLD, THOMAS, born at Dresden about 1690, was the reputed nephew, or, as some said, son, of the Archbishop of that city. He had an early passion for music, and having met Handel at the Archbishop's residence conceived so strong a liking for him that after a time he quitted his abode and sought out the great composer in London, where he appeared in various works of Handel's, after making his first appearance in July 1731 at the Haymarket Theatre as a singer in 'The Grub Street Opera.' He died in Chapel Street, Soho, in 1751.
13His son, CHARLES FREDERICK, born in 1737, received his musical education first in St. Paul's and afterwards in the Chapel Royal. On Feb. 3, 1755, he made his first appearance on the stage at Drury Lane as Oberon in J. C. Smith's opera, 'The Fairies,' being announced as 'Master Reinhold.' He afterwards became organist of
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