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Scan 115
Grove's dictionary of music and musicians;, 1904
20 lines. Read by computer on 10 September 2026. Printed page 107. See the scan on archive.org.
1RINFORZANDO
3period, and, like JOHANN SCHNEIDER, he had the advantage of a direct traditional reading of the works of Sebastian Bach, having studied at Erfurt (in 1786-89) under Kittel, one of the great composer's best pupils. Rinck having sat at the feet of Forkel at the University of Göttingen, obtained in 1790 the organistship of Giessen, where he held several other musical appointments. In 1805 he became organist at Darmstadt, and 'professor' at its college; in 1813 was appointed Court organist, and in 1817 chamber musician to the Grand Duke (Ludwig I.). Rinck made several artistic tours in Germany, his playing always eliciting much admiration. At Trèves, in 1827, he was greeted with special honour. He received various decorations,—in 1831 membership of the Dutch Society for Encouragement of Music; in 1838 the cross of the first class from his Grand Duke; in 1840 'Doctor of Philosophy and Arts' from the University of Giessen. Out of his 125 works a few are for chamber, including sonatas for PF., violin, and violoncello, and PF. duets. But his reputation is based on his organ music, or rather on his 'Practical Organ School,' a standard work. Rinck's compositions for his instrument show no trace of such sublime influence as might have been looked for from a pupil, in the second generation, of Bach; indeed, throughout them fugue-writing is conspicuous by its absence. But without attaining the high standard which has been reached by living composers for the instrument in Germany, his organ-pieces contain much that is interesting to an organ student.
5Rinck's name will always live as that of an executant, and of a safe guide towards the formation of a sound and practical organ-player; and his works comprise many artistic studies. Amongst these the more important are the 'Practical Organ School,' in six divisions (op. 55, re-edited by Otto Diene1, 1881), and numerous 'Preludes for Chorales,' issued at various periods. He also composed for the church a 'Pater Noster' for four voices with organ (op. 59); motets, 'Praise the Lord' (op. 88) and 'God be merciful' (op. 109); twelve chorales for men's voices, etc. H. S. O.
7RINFORZANDO, 'reinforcing' or increasing in power. This word, or its abbreviations, rinf. or rfz, is used to denote a sudden and brief crescendo. It is applied generally to a whole phrase, however short, and has the same meaning as sforzando, which is only applied to single notes. It is sometimes used in concerted music to give a momentary prominence to a subordinate part, as for instance in the Beethoven Quartet, op. 95, in the Allegretto, where the violoncello part is marked rinforzando, when it has the second section of the principal subject of the movement.
9RING DES NIBELUNGEN, DER, 'The Ring of the Niblung,' a tetralogy or sequence of four music-dramas (more correctly a 'trilogy' with a preludial drama), words and music by Richard Wagner, was first performed in its entirety at Bayreuth, August 13, 14, 16, and 17, 1876, and repeated during the two following weeks. The book, which is written in an alliterative style modelled on that of the 'Stabreim,' is founded on the Icelandic Sagas, and has little in common with the Nibelungenlied, or more correctly 'Der Nibelunge Nôt,' a mediaeval German poem of the beginning of the 13th century, in which the mythical types of the old Norse sagas appear in humanised modifications. The poem was completed in 1852. The whole was given at Her Majesty's Theatre, under the management of Angelo Neumann and the conductorship of Anton Seidl, on May 5-9, 1882; four performances of the complete cycle took place. The dates of first performances of the separate parts are appended:—
11DAS RHEINGOLD. The 'Vorabend,' or Preludial Evening, was first performed at Munich, Sept. 22, 1869.
13DIE WALKÜRE was completed in 1856, and the first performance took place at Munich June 25, 1870. It was given in English at Covent Garden, Oct. 16, 1895.
15SIEGFRIED was completed early in 1869, and first performed in its place in the cycle, at Bayreuth, August 16, 1876. It was given in French at Brussels, June 12, 1891, and subsequently at the Opéra in Paris; and in English, by the Carl Rosa Company, in 1898.
17GOTTERDÄMMERUNG, completed in 1874, was first heard at Bayreuth, August 17, 1876. The whole trilogy was announced for production in English at Covent Garden in the winter season of 1907-8.
19RIOTTE, PHILIPP JACOB, born at St. Mendel, Trèves, August 16, 1776. André of Offenbach was his teacher in music, and he made his first appearance at Frankfort in Feb. 1804. In 1806 he was music-director at Gotha. In 1808 he conducted the French operas at the Congress of Erfurt. In April 1809 his operetta 'Das Grenzstättchen' was produced at the Kärnthnerthor Theatre, and thenceforward Vienna was his residence. In 1818 he became conductor at the Theatre an-der-Wien, beyond which he does not seem to have advanced up to his death, August 20, 1856. The list of his theatrical works is immense. His biography in Wurzbach's Lexicon enumerates, between 1809 and 1848, no less than forty-eight pieces, operas, operettas, ballets, pantomimes, music to plays, etc., written mostly by himself, and sometimes in conjunction with others. In 1852 he wound up his long labours by a cantata 'The Crusade,' which was performed in the great Redoutensaal, Vienna, with much applause. He wrote an opera called 'Mozart's Zaubertöte' at Prague about 1820. He left also a symphony (op. 25), nine solo-sonatas, six do. for PF. and violin, three concertos for clarinet and orchestra, but these are defunct. He
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