Re-assessing Carl Reinecke

[John Boyer]

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.

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. 

[Maury]

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.

[Ilja]

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.

[Maury]

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.

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.

[Maury]

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  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.

[Alan Howe]

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.

[Maury]

Agreed about Serebrier with Glazunov  but his father was Russian.   

[Alan Howe]

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.

[John Boyer]

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

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.)

[Maury]

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

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.

[Maury]

There 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?

[Alan Howe]

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.

[Alan Howe]

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.

[Alan Howe]

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

[Ilja]

[...]

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.