Re-assessing Carl Reinecke

[Alan Howe]

The music of Carl Reinecke is regularly the topic of conversation on the forum, with members doing him the inestimable favour of actually listening to his music. Not for us the sort of prejudice trotted out by critics who write him off as a dry-as-dust pedagogue before dismissing his compositions as unworthy of our attention - thank goodness!

So, how good is his music? For me, his music is always better than I imagine it might be (if approaching a hitherto unfamiliar piece) and usually better than I had remembered (if listening again to a work I hadn't auditioned in a while). Let me offer a few estimates of my own: I'd put his Violin Concerto right up there with anything by Bruch and I'd rate his expansive Piano Concerto No.3 as not far short of Brahms' standard. And, as for the 2nd and 3rd Symphonies, I'd say they were fully repertoire-worthy, containing as they do memorable material, interestingly and satisfyingly worked out as befits a master of his craft.

And then one comes to the chamber and instrumental music - conservative, of course, but always able to lead the ear on and again replete with material which sticks obstinately in the memory. So, how to assess Reinecke? Must we agree with Stanford when he said of his teacher: "Of all the dry musicians I have ever known he was the most desiccated"? Perhaps that was what the man was like as a pedagogue, but his compositions are far from dry; on the contrary, they often contain some of the most luscious music written in the conservative tradition in the nineteenth century. Don't believe me? Then the VC's your starting-point - try these reviews at Amazon to whet your appetite:
http://www.amazon.co.uk/Carl-Reinecke-Symphony-Concerto-Romances/dp/B000NOIWOO

[Miles R.]

So far I have heard Reinecke's piano concertos once or twice each. I look forward to improving my acquaintance with them, and eventually to listening to his symphonies, when my progress through various periods, national origins, and genres of classical music hitherto unknown to me goes that way.   

[Balapoel]

I agree with Alan - far from being dry and dessicated, I find Reinecke lively, interesting, and mellifluous. Take, for instance, his Octet in Bb, Op. 216 - wonderful harmonies, melodies, particularly in the first movement (around 1:30-2:30). Tuneful and colorful.

[Mark Thomas]

I assume that Reinecke, like Raff, has been a victim of the repeating of "received wisdom" by critics who have never actually heard a note of his music. No doubt being one of the most trenchant opponents of the school of Wagner and Liszt did his reputation no good once that movement gained the ascendency in music at the end of the 19th century. History is written by the winners after all. Certainly before I'd ever heard anything by him I "knew" that his music was dry and academic, the product of an uninspired Mendelssohn imitator. It may well be that in person Reinecke was as peppery, hidebound and backward-looking as Stanford's quote suggests but his music, although never revolutionary, certainly isn't. In a "blind tasting" one would find a composer who, whilst admittedly not a progressive if one is allowed to know the dates of composition, writes with passion and intelligence, whose strong melodic gift is underpinned with appropriate (if not very surprising) harmonic language, whose music has a definite sense of robustness, momentum and purpose and who, above all, gives pleasure to the listener.

The Violin Concerto and the Second and Third Symphonies are certainly strong works as are all four of the Piano Concertos. His chamber music is a delight and especially the many pieces which he wrote towards the end of his life in a wonderful Indian Summer of inspiration. Alan has nagged away at me over the years to overcome my entirely unjustified prejudice against Reinecke and I'm glad that he did because now I get a great deal of pleasure from his music.

[JimL]

The Harp Concerto is a work I wouldn't do without, as is the Flute Concerto.  What we really need is a decent, professional recording of the Cello Concerto.  I'm afraid the only recording I know of was performed by a Doctors Symphony or something.

[nigelkeay]

I played the clarinet/viola/piano trio about 18 months ago; it's the only CR music I know at this stage, or at least can recall. Some musicians I know are soon going to be recording the oboe/horn/piano in a couple of months and I'll be involved with that. The clarinet trio was nice to play and interesting melodically even if the harmonic language remains conservative. Certainly not dry. It's affable music; any moments where the harmony starts to get interesting with promise of adventure are short-lived and turn back to cosy territory rather quickly as in the slow movement.

[Alan Howe]

There are what I would describe as some really lovely "scrunchy" harmonies in the first and last movements of the VC (when the music builds up a wonderful head of steam).

[Josh]

There is no composer that I've come across in my entire life that has gone up so far in my estimation after first contact.  No other composer even comes close in that.  I can't even explain it.  Reinecke is now one of my favourite composers, whereas some of the works of his that get full marks from me, at one time simply were "okay".

Has someone been re-writing his music over the last few years, then pushing the updates out to my CDs?

[Alan Howe]

I know exactly what you mean, Josh. I feel the same way: I find his music superbly crafted and often thematically memorable too. I return to his music as frequently as I do to my other favourite 19th century composers. To sum up, I think his music has staying power...

[Pyramus]

Earlier this week I listened to Reinecke's first symphony, the finale of which is described by Chris Fifield as an anti-climax, a view with which I have to agree, although the first three movements have much to enjoy. His second symphony is to be performed by the West Mendip Orchestra in Somerset later this year. This is the orchestra whose performance of Robert Volkmann's first symphony I attended earlier this year so they are definitely aware of this repertoire!

[Alan Howe]

This is good to hear. Thanks.

[Maury]

I am not generally impressed by the piano music of the Unsungs, preferring their orchestral and chamber music. However Reinecke's Piano Concerto 1 Op 72 is a model as to how to write conservative  but engaging music. In this work if you examine each short section there is much that is conventional. However Reinecke finds deft ways to vary and juxtapose these segments in a manner that feels logical even though it has a bit of surprise to it.

Some specifics on listening again after a month: the opening piano measures sound slightly unpromising but look at the interesting way he moves on from them. At Mark C the orchestral tutti while again rather conventional in its material is given very lively rhythms and effective scoring. And look at the way he moves out of the Tutti at Mark D before the piano re-enters. Later on the cadenza opens unusually in a very soft mysterious way and is rather more lyrical than conventional cadenzas.The piano part has a bit of Chopinesque flair albeit without the supreme elan of that composer.

[Alan Howe]

I am not generally impressed by the piano music of the Unsungs

How about the Hyperion RPC series? Does nothing impress you from those 87 volumes?

[Maury]

Mr Howe,
 I haven't had the courage to enter the world of 87 volumes. I just wanted to celebrate Reinecke's achievement here and note that it is a good model on how to write conservative music of lasting appeal.  It is worth taking a look at the score if one can read it. Again I choose my words carefully so when I say generally it does not mean absolutely. I do listen occasionally to posted piano  music vids of the Unsungs so I don't exclude it from my listening sojourns. Also there is much Romantic chamber music with significant piano parts. I really like Glazunov's 2 Piano concertos which I think are Unsung Works as much as his symphonies. I also adore Scriabin's piano music which used to be really Unsung but I guess qualifies now as fringe repertoire.  So yes sporadically I hear some interesting piano music but the odds are much higher that I find more interest in their orchestral and chamber music including with piano.  Also I played violin in school not the piano so strings are of more interest to me.

[Alan Howe]

Generally speaking, though, I think Hyperion are to be congratulated on exploring so many worthy Romantic-era piano concertos. I am impressed by most of the ones I have invested in.

And, with that, back to Reinecke.