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 (http://www.amazon.co.uk/Carl-Reinecke-Symphony-Concerto-Romances/dp/B000NOIWOO)
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. :P
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.
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.
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.
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.
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).
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?
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...
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!
This is good to hear. Thanks.
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.
Quote from: Maury on Thursday 22 August 2024, 21:43I 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?
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.
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.
Quote from: Pyramus on Thursday 22 August 2024, 17:06Earlier 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.
Ain't it the truth? Reinecke is not the only composer to have suffered from "the finale problem", but his first symphony exemplifies it as few others do. Its lightweight, balletic character reminds me of the similar let down I feel by the finale of Schumann's first: three movements of German symphonic music, followed by a dance divertissement at the Opera Garnier. This is all the more the pity because Reinecke to that point had offered no few surprises, including a scherzo with a trio that sounds (to me) like a weirdly prescient foreshadowing of Mahler.
I listened to the 2nd the other day and was also let down by the finale, which didn't rise to the level of what preceded it. Still, I think Reinecke's slowly rising reputation, particularly among chamber musicians, is well deserved.
For me Reinecke's Symphony 2 is very interesting and worth listening to. I am less a fan of Sym 1 and the late Sym 3. I am more taken generally though with his Concertos and chamber music.
I've tried on multiple occasions to "get" Reinecke, but although his music should be right up my street, I can muster little love for it – my loss, now doubt. But allow me an attempt to objectivize my lack of appreciation. He's an excellent craftsman, obviously, but he does tend to colour within the lines and there are very few surprises to be found. While that doesn't bother me in someone like Gernsheim, I do eventually find it somewhat off-putting in Reinecke's output. For me, there are some highlights; the 2nd Symphony is great fun, and I do find myself drawn to the Harp Concerto and the Serenade. But overall, it's just a bit too glib for my liking.
Quote from: Alan Howe on Friday 23 August 2024, 08:31Generally 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.
We are very fortunate in the dedication of a few CD labels for many of these recordings. Very little of it was issued in the LP era.
Quote from: Ilja on Friday 23 August 2024, 16:21I've tried on multiple occasions to "get" Reinecke, but although his music should be right up my street, I can muster little love for it But overall, it's just a bit too glib for my liking.
I can understand these comments but a big part of the problem IMO is the lack of outstanding performers playing these and other Unsung composers works so you have to judge unfamiliar works through generic performances. I think Reinecke's strength is in the sequencing of his material as I tried to describe in my prior comment. But yes his music won't grab you by the throat. Glazunov suffers from this too outside of the Russian conductors who put energy into their playing. I am not hearing Reinicke noodling in the afore-mentioned works but some of the performances are rather laid back in their playing.
Well, I'd say that Serebrier really 'gets' Glazunov's Symphonies - and I think that Raudales (cpo) gives as fine an account of Reinecke's 3rd as we're likely to hear. There's real fire there and fine playing in both.
Agreed about Serebrier with Glazunov but his father was Russian. ;D
And his mother was Polish. Not a bad start in life for a potential Glazunov specialist, but he grew up in Uruguay, so his background is South American and his training took place in the USA. So: half-right, but only half! ;)
And the real point here is that there are conductors who really do his music justice. This is much less true of Reinecke, of course, but things are improving - as Raudales' two cpo recordings demonstrate with their dynamic approach to the Symphonies. If only we could be treated to the sort of unflinching commitment shown to Bargiel's Symphony on Toccata in other repertoire. It is possible! Neeme Järvi has also demonstrated what is possible in Raff. So there's progress, but it's patchy. Most of the time we're just fortunate to get this repertoire recorded in the first place.
Oh, and Reinecke's Violin Concerto is an all-time favourite of mine - wonderful melodies throughout.
Quote from: Ilja on Friday 23 August 2024, 16:21I've tried on multiple occasions to "get" Reinecke, but although his music should be right up my street, I can muster little love for it
But what of these favorites of mine?
- Piano Concerto 1 (especially Ponti's blazing performance)
- Piano Quintet
- Cello Sonata 1
- Trio for Clarinet, Viola, and Piano
Do they too fall in the yawn category? (It's OK if they do. We all know composers whom others love but for us inspire little admiration.)
Quote from: John Boyer on Friday 23 August 2024, 20:12Quote from: Ilja on Friday 23 August 2024, 16:21I've tried on multiple occasions to "get" Reinecke, but although his music should be right up my street, I can muster little love for it
But what of these favorites of mine?
- Piano Concerto 1 (especially Ponti's blazing performance)
- Piano Quintet
- Cello Sonata 1
- Trio for Clarinet, Viola, and Piano
Do they too fall in the yawn category?
I happen to like those works but I must say I came to appreciate Reinicke more when looking at the scores (some available on YT), noticing interesting transitions and scoring. Then I started to pay attention more to what was going on. Reinecke was not a fiery composer and his material could be ordinary. But often even great composers have ordinary material. They make something original out of them. In Reinicke's case although he stayed between lines as Ilja noted, there is much apt scoring and interesting transitions in his music which enliven it. Also I don't hear many wandering or noodling sections. I am easily bored with humdrum music and playing so if he is able to hold my attention he is doing something right. But if people are looking for fireworks it isn't going to be there.
Quote from: Alan Howe on Friday 23 August 2024, 19:20There are conductors who really do [Glazunov] justice. This is much less true of Reinecke, of course, but things are improving - as Raudales' two cpo recordings demonstrate with their dynamic approach to the Symphonies. If only we could be treated to the sort of unflinching commitment shown to Bargiel's Symphony on Toccata in other repertoire. It is possible! Neeme Järvi has also demonstrated what is possible in Raff. So there's progress, but it's patchy. Most of the time we're just fortunate to get this repertoire recorded in the first place.
Oh, and Reinecke's Violin Concerto is an all-time favourite of mine - wonderful melodies throughout.
I agree that there has been some performance improvement but not enough in many cases. I greatly respect Neeme Jarvi's interest in this repertoire. Raff to me should be standard repertoire with performances and orchestras to match. Thanks for the Raudales rec on Sym 3 as I had listened to a different one by a Frankfurt Orch. which was a bit hamhanded IMO. Again performance quality is important with these unknown works. The Raudales is much better and I will have to give it a closer second listen. And yes Reinicke seemed to have a particular gift for the Concerto form.
I would note that there is a Classical Music Listening Thread on the US based Steve Hoffman Music Forum. There are a very respectable number of thread posters who are posting definite Unsung recordings fairly often so things are percolating and these artists are at least getting some name recognition. What would have been the fate of the Glazunov and Korngold Violin Concertos without Heifetz and Milstein playing them?
I don't think we're going to get much further with the 'inadequate performance' argument unless members have actually heard all the releases available. And we should remember that not every performance or recording of the standard repertoire is excellent - in fact far from it. I'd venture that there's as much dross currently being put out in, for example, Bruckner as there is excellence. The real problem when listening to the unsungs is lack of choice - and lack of a performing tradition.
However, things are improving, I believe. And to return to Reinecke, I agree wholeheartedly with John Boyer - and for this reason: sometimes well-made, shapely and melodious music is sufficient in itself to give pleasure. Comparisons with other music are often odious - and sometimes pointless if the composer's intention isn't to 'grab' but 'merely' to entertain or delight. I say 'merely', but that word seriously downplays my enjoyment of his music.
My university German supervisor fifty years ago objected to the aural assault perpetrated on the listener by Wagner. Now, in my later years, I think I know what he meant - because not all music has to 'grab' you in the same way. For me, and it's a personal view, the Bruckner/Mahler industry (for example) has much to answer for in narrowing the repertoire and skewing listener expectations of what unsung classical music has to offer.
Personally, I think this is pretty terrific:
https://www.youtube.com/watch?v=d-wmnIXpGvs
It's dynamic, well-played and concise. Masterly, in fact.
Rather posting about this elsewhere, I thought I'd do so here...
...I'm talking about Reinecke's superb Zenobia Overture, Op.193 (fp.1887) which is featured on the new cpo CD of the composer's 2nd Symphony. Dramatic stuff, superbly done here:
https://www.youtube.com/watch?v=Hy3A5gtzi8E
Quote from: Alan Howe on Friday 23 August 2024, 21:53[...]
However, things are improving, I believe. And to return to Reinecke, I agree wholeheartedly with John Boyer - and for this reason: sometimes well-made, shapely and melodious music is sufficient in itself to give pleasure. Comparisons with other music are often odious - and sometimes pointless if the composer's intention isn't to 'grab' but 'merely' to entertain or delight. I say 'merely', but that word seriously downplays my enjoyment of his music.
My university German supervisor fifty years ago objected to the aural assault perpetrated on the listener by Wagner. Now, in my later years, I think I know what he meant - because not all music has to 'grab' you in the same way. For me, and it's a personal view, the Bruckner/Mahler industry (for example) has much to answer for in narrowing the repertoire and skewing listener expectations of what unsung classical music has to offer.
While I agree with most that you write here, I was rather referring to "grabbing" in the sense of clicking with one's musical sensibilties rather than a Wagner-esque jump-scare. The case that I'll mention again (sorry) is Gernsheim, whose musical position in this respect isn't all that different from Reinecke's, but whose music (and all of it) I adore.
However, I think you hit the nail on the head with the last paragraph. Moreover, I'd say that the "sandwich formula" of the overture/concerto/symphony concerto (and particularly the obsession with the symphony in general) to the detriment of all other forms has caused a great loss in the classical music world. Which is becoming greater since short opening pieces are apparently falling out of favour.
Try Zenobia, Ilja, turned up loud and see what you think...
Personally I have never been a fan of the short opening works, not because they are short but due to the frequent poor judgments in selecting such works. To me also it makes more sense to open with the Concerto and then have a well chosen "intermezzo" before the so-called major work at the end. The times that I went to concerts with this arrangement seemed much better paced than the ones with a short "curtain raiser" of no particular consequence.
Zenobia's rather a fine piece...
Agreed. I think the works of the Unsungs would be excellent to include as openers and intermezzos. Reinicke, Raff etc have interesting candidates for this role which would at least introduce them to good effect. And as has been noted here, they were often in circumstances where the priority was to create enjoyable quality music rather some epic innovation.