Page:A Dictionary of Music and Musicians vol 3.djvu/148

136 section of the principal subject of the movement. [ J. A. F. M. ]

RINK or RINCK,, the celebrated organist and composer for his instrument, born at Elgersburg in Saxe-Gotha, Feb. 18, 1770, and died at Darmstadt, Aug. 7, 1846. His talent developed itself at an early period, and, like [see that name], he had the advantage of a direct traditional reading of the works of Sebastian Bach, having studied at Erfurt under Kittel, one of the great composer's best pupils. Rink having sat at the feet of Forkel at the University of Göttingen, obtained in 1789 the organistship of Giessen, where he held several other musical appointments. In 1806 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). Rink 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. Rink'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, and never degenerate into the debased and flippant style of the French or English organ-music so prevalent at present.

Rink'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), and '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); 12 chorales for men's voices, etc. [ H.S.O. ]

RIOTTE,, born at St. Mendel, Treves, Aug. 16, 1776. Andre 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 before the assembled royalties at the Congress of Erfurt. In April 1809 his operetta 'Das Grenzstädtchen' was produced at the Kärnthnerthor Theatre, Vienna, 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, Aug. 20. 1856. The list of his theatrical works is immense. His biography in Wurzbach's Lexicon enumerates, between 1809 and 1848, no less than 48 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 The Crusade,' which was performed in the great Redoutensaal, Vienna, with much applause. In other notices he is said to have produced an opera called 'Mozart's Zauberflöte' at Prague about 1820. He left also a symphony (op. 25), 9 solo-sonatas, 6 do. for PF. and violin, 3 concertos for clarinet and orchestra, but these are defunct. He became very popular by a piece called 'The Battle of Leipzig,' for PF. solo, which was republished over half Germany, and had a prodigious sale.

In a letter to the Archduke Rudolph (Thayer, iii. 195), Beethoven mentions that the fineness of the day and his going in the evening to 'Wanda' at the theatre had prevented his attending to some wish of the Archduke's. 'Wanda, Queen of the Samartians* was a tragedy of Z. Werner's, with music by Riotte, played from March 16 to April 20, 1812. [ G. ]

RIPIENO, 'supplementary.' The name given to the accompanying instruments in the orchestras, and especially in the orchestral concertos of the 17th and 18th centuries, which were only employed to fill in the harmonies and to support the solo or 'concertante' parts. [See, vol. i. p. 385b.] [ J. A. F. M. ]

RISELEY,, born at Bristol, Aug. 28, 1845; elected chorister of Bristol Cathedral in 1852, and in Jan. 1862 articled to Mr. John Davis Corfe, the Cathedral organist, for instruction in the organ, pianoforte, harmony, and counterpoint. During the next ten years he was organist at various churches in Bristol and Clifton, at the same time acting as deputy at the Cathedral. In 1870 he was appointed organist to the Colston Hall. Bristol, where he started weekly recitals of classical and popular music, and in 1876 succeeded Mr. Corfe as organist to the Cathedral. During the last five years, Mr. Riseley has devoted his energies to the improvement of orchestral music in Bristol, where he has now collected an excellent orchestra of fifty players. In 1877 he started his orchestral concerts, which have won for him a well-deserved reputation. Notwithstanding considerable opposition, and no small pecuniary risk, he has continued, during each season, to give fortnightly concerts, at which the principal works of the classical masters have been well performed, and a large number of interesting novelties by modern writers, both English and foreign, produced. [ W. B. S. ]

RISPOSTA (Lat. Comes; Eng. Answer). The Answer to the Subject of a Fugue, or Point of Imitation. [See .]

In Real Fugue, the Answer imitates the