Page:A Dictionary of Music and Musicians vol 3.djvu/115

REINHOLD. Philharmonic concerts of Dec. 9, 1877, and Nov. 17, 1878, respectively. The composer was loudly called for on both occasions, and they are praised by the intelligent and impartial Vienna critic of the 'Monthly Musical Record' for their delicate character and absence of undue pretension. The quartet was recently executed by Hellmesberger. [ G. ]

REINHOLD,, 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, who received him with favour. In July 1731 he appeared at the Haymarket Theatre as a singer in 'The Grub Street Opera,' and afterwards sang at the King's Theatre. He was one of the original singers of 'The Lord is a man of war,' in Handel's 'Israel in Egypt,' and the original representative of the following characters in Handel's works: Harapha in 'Samson'; Somnus in 'Semele'; Cyrus and Gobryas in 'Belshazzar'; Chelsias and the Second Elder in 'Susanna'; Caleb in 'Joshua'; Simon in 'Judas Maccabeus'; the Levite in 'Solomon'; and Valens in 'Theodora.' He died in Chapel Street, Soho, in 1751.

His son,, 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 St. George the Martyr, Bloomsbury. In 1759 he appeared as a bass singer at Marylebone Gardens, where he continued to sing for many seasons. He afterwards performed in English operas, and sang in oratorios, and at provincial festivals, etc. He was especially famed for his singing of Handel's song, 'O ruddier than the cherry.' He was one of the principal bass singers at the Commemoration of Handel in 1784. He retired in 1797, and died in Somers Town, Sept. 29, 1815. [ W. H. H. ]

REINKEN,, eminent German organist, born at Deventer, in Holland, April 27, 1623, a pupil of Swelinck at Amsterdam, became in 1654 organist of the church of St. Catherine at Hamburg, and retained the post till his death, Nov. 24, 1722, at the age of 99. He was a person of some consideration at Hamburg, both on account of his fine playing, and of his beneficial influence on music in general, but his vanity and jealousy of his brother artists are severely commented on by his contemporaries. So great and so widespread was his reputation that Sebastian Bach frequently walked to Hamburg from Lüneburg (1700 to 1703), and Cöthen (1720), to hear him play. Reinken may be considered the best representative of the NorthGerman school of organists of the 17th century, whose strong points were, not the classic placidity of the South-German school, but great dexterity of foot and finger, and ingenious combinations of the stops. His compositions are loaded with passages for display, and are defective in form, both in individual melodies and general construction. His works are very scarce; 'Hortus Musicus,' for 2 violins, viola [App. p.770 "da gamba"] and bass (Hamburg 1704) is the only one printed; and even in MS. only five pieces are known—2 on Chorales, 1 Toccata, and 2 Variations (for Clavier). Of the first of these,—one on the chorale 'An Wasserflüssen Babylons'—is specially interesting, because it was by an extempore performance on that chorale at Hamburg in 1722 that Bach extorted from the venerable Reinken the words, 'I thought that this art was dead, but I see that it still lives in you.' [App. p.770 "add that the 'Hortus Musicus' has lately been republished as no. XIII of the publications of the Maatschappij tot bevordering der Toonkunst (Amsterdam, 1887). No. XIV of the same publication consists of Reinken's 'Partite Diverse' (variations)." [ A. M. ]

REINTHALER, [App. p.770 "add as a second Christian name"], conductor of the Private Concerts at Bremen, born Oct. 13, 1822, in Luther's house at Erfurt, was early trained in music by G. A. Ritter, then studied theology in Berlin, but after passing his examination, devoted himself entirely to music. His first attempts at composition, some psalms sung by the Cathedral choir, attracted the attention of King Frederic William IV., and procured him a travelling grant. He visited Paris, Milan, Rome, and Naples, taking lessons in singing from Geraldi and Bordogni. On his return in 1853 he obtained a post in the Conservatoire of Cologne, and in 1858 became organist in the Cathedral of Bremen. He had already composed an oratorio 'Jephta' (performed in London by Mr. Hullah, April 16, 1856, and published with English text by Novellos), and in 1875 his opera 'Edda' was played with success at Bremen, Hanover, and elsewhere. His 'Bismarck-hymn' obtained the prize at Dortmund, and he has composed a symphony, and a large number of part-songs. Reinthaler's style bears a considerable resemblance to that of Mendelssohn and Gade. [App. p.770 "add that he was a pupil of A. B. Marx, and that his cantata 'In der Wüste' has been very successful."] [ F. G. ]

REISSIGER,, son of Christian Gottlieb Reissiger, who published 3 symphonies for full orchestra in 1790. Born Jan. 31, 1798, at Belzig near Wittenberg, where his father was Cantor, he became in 1811 a pupil of Schicht at the St. Thomas School, Leipzig. In 1818 he removed to the University with the intention of studying theology, but some motets composed in 1815 and 1816 had already attracted attention, and the success of his fine baritone voice made him determine to devote himself to music. In 1821 he went to Vienna and studied opera thoroughly. Here also he composed 'Das Rockenweibchen.' In 1822 he sang an aria of Handel's, and played a PF. concerto of his own composition at a concert in the Kärnthnerthor theatre. Soon after he went to Munich, where he studied with Peter Winter, and composed an opera 'Dido,' which was performed several times at Dresden under Weber's conductorship. At the joint expense of the Prussian government and of his patron von Altenstein, a musician, he undertook a tour through Holland, France, and Italy, in order to