Organ Concerto No. 2, op. 177
Performances: Nov 10/11, 2007

 

The music of Joseph Gabriel Rheinberger (1839-1901) returns by popular demand to the Chamber Orchestra of the Springs season.  His First Organ Concerto and the Suite in C Minor were enthusiastically received by our audiences in recent years.  Rheinberger was one of the most distinguished personalities of the Munich cultural scene in the latter 19^th century and one of the most influential composition teachers in Europe, yet his remarkably colorful and inspired music would have to wait until the late 20^th century to be rediscovered and take its place in the repertoire.

Born in Vaduz on March 17, 1839, Rheinberger became the organist at his town church at the age of seven.  At twelve, Rheinberger traveled to Munich to study music, and remained there for the rest of his life.  His early skills created a sensation with his teachers and fellow students.  Between 1853 and 1859, he completed no fewer than 124 works, including three operas and three symphonies that he later disowned.  From 1860 to 1866 he was organist at the court church of St. Michael, from 1864 to 1877 conductor of the Oratorio Association.  In 1867, he became professor of organ and composition at the Royal School Music, which had been reorganized by Wagner and von Bülow, and remained on the faculty until his death on November 25, 1901.  A highly honored figure in Munich, Rheinberger received the title of Kapellmeister to the Court in 1877, was granted personal nobility in 1894, and in 1899 the University of Munich awarded him an honorary doctorate.

          Rheinberger’s organ music stems from the German tradition, originating from Bach and handed down through Mendelssohn, reaching its peak with Rheinberger’s works and those of Max Reger.  Rheinberger’s two organ concerti are his largest-scale organ compositions.  Soaring melodies, strong diatonicism, and inspired climaxes define his music.  His Concerto for Organ and Orchestra, op. 177, thrives on a diverse dialogue between a rather independent orchestra and the solo organ.  Rheinberger’s trademark ringing hymnic tone predominates in the outer movements.  The first movement, beginning with a brusque dotted rhythm and somber first theme, soon gives way to one of Rheinberger’s soaring melodies, which becomes something of a rallying point for the soloist and orchestra, culminating in an heroic climax.  More tender colors prevail in the Andante, with another of Rheinberger’s soaring melodies, while the energetic finale takes up the first movement’s energy anew and, dispensing with the contrapuntal complications of the first concerto, ends in triumph, with perhaps a nod to Mendelssohn.