Grove's dictionary of music and musicians

. time
'
—
and
'
;
—
RINALDO RINALDO DI CAPUA 105
director, the new committee lost no time in
re-instating Rimsky-Korsakov in the professorship
of composition and instrumentation which
he had honourably filled since 1871. The
following is a list of Eimsky-Korsakov's numerous
compositions :
ORCHESTRAIi
Symphony No. 1, Eb minor, op. 1, afterwarda tmnsposed into
£ minor; Symphony No, 2, 'Autar,' op. 9, afterwai-da entitled
'Oriental Suite'; Symphony No. 3, C minor, op. 32, 1873, revised
18&4; Sinfouietta on Russian themes, A minor, op. 31. Overture
on Kussian themes, op. 28 ; ' '
Easter,' overture, op. 36, 1888 Sadico,
;
music&l picture, op. 5, 18ff7, revised 1891 ; Serbian Fantasia, op. 6
*
A Tale,' op. 29, subject fium the Prologue of Fouahkin s Russian
'
and Lioudmilla ' ; Capriccio on Spanish themes, op. 34^ 1887 ; Sym.
phonic Suite 'Scheherezade' (from the Arabian Ifighta),OT^S5,lS68i
'
Suites from the operas The Snow Maiden ' TTsar Saltana,' and
the opera-ballet 'Mlada,' op. 57; prelude 'At the Grave,' op. 61;
Suite fivm the opera 'Christmas £ve' (chorus ad lib.),
Cbaubeb Mvbic
String quartet, F major, op. 12 ; string sextet, A major (MS.)
first movement of the string quartet on the theme B-la-f,
(Belaiev) ; third movement of the quartet ' for a F£te Day allegro
' ;
'
of the string quartet in the coUection Fridays ' ;
Serenade for
violoncello and pianoforte, op. 37.
Orchestra and Solo iNStRDBiENis
Kanoforte concerto, Cj^ minor, op. 30 ; Fantasia on Russian
themes for violin and orchestra.
PlASOFORTB
Six variations on the theme B-a-c-h, op. 10 ; four pieces, op. 11 i
three pieces, op. 15 ; six fugues, op. 17 ; eight variations on a folk-
(no op. number); five variations for the 'Paraphrases' (see
BoRoniN).
Chorai, with Orchsstka
Folk-song, op. 20 ; Slava,' op. 21 ; cantata for soprano, teoor, and
'
mixed chorus, op. 44 ; The Fir and the Palm ' (from op. 3) for
baritone ; two ariosos for hass, Anchar ' ' (The Upae Tree) and The
'
Prophet,' op. 49 ; trio for female voices, op. 63 ; The Legend of
St. Olga,' cantate for soli and chorus, op. 58; 'Fragment from
Homer,' cantata for three female voices and chorus, op. fjO.
Chorus Only
Two trios for female voices, op. 13 ; four variations and a fughetta
for female quartet, op. 14; six choruses a cappella, op. 16; two
mixed choruses, op. 18 ; fifteen Russian folk-songs, op. 19 ; four trios
for male voices, op. 23.
Songs, £tc.
Four songs, op. 2 ; four songs, op. 3 ; four songs, op. 4; four songs,
op. 7 ; six songs, op. 8 ; two songs, op. 25 ; four songs, op. 26 ; four
songs, op. 27; four songs, op. 39; foiu: songs, op. 40; four songs,
op. 41 ; four songs, op. 42 ; four songs, op. 43 ; four songs, op. 45
five songs, op. 46 ; two duets, op. 47 ; four duets, op. 50; five duets,
op. 51 ; two duets, op. 52 ; four duets for tenor, op. 55 ; two duets,
op. 56.
Sacred Works
The liturgy of St. John Chrysostom (a portion only), op. 22
six transpositions, including the psalm By the waters '
of Babylon,'
op. 22 o ; We praise Thee, O God ' (MS. 1883).
Operas
'
The Maid of Pskov ' (' Pskovitianka '), libretto from a drama by
Mey (1870-72 ;
performed St. Petersburg, 1873, revised in 1894)
'A Night in May," text from Gogol (1878, St. Petersburg, 1880)
•The Snow Maiden,' text from Ostrovosky (1880-81, St. Petersburg,
1882); 'Mlada,'fairy opera-ballet (St. Petersburg, 1893) ; 'Christmas
Eve,' legendary opera, text from Gogol, 1874 (Maryinsky Theatre, St.
Petersburg, 1895); 'Sadko,' epic-opera, 1895-96 (Private Opera,
Moscow, 1S&7 ; St. Petersburg, 1901) ; ' Mozart and Salieri,' dramatic
'
scenes, op. 48, 1898 (Private Opera, Moscow, 1898) ;
Boyarina Vera
'
Sheloga,' musical dramatic prologue to The Maid of Pskov,' op. 54
'
(Private Opera, Moscow. 1899 ; St. Petersburg, 1902) ;
The Tsar's
Bride,' 1898 (Private Opera, Moscow, 1899 ; St. Peteraburg, Maryinsky
Theatre, 1902); "The Tale of Tsar Saltana, etc,' 1899-1900 (Private
Opera, Moscow, 1900): 'Servilia' (Maryinsky Theatre, St. Peteraburg,
1902) ;
'
Kostchei the Immortal,' an autumn legend (Private
Opera, Moscow, 1902) Pan Voyevoda,' ; ' ' The Tale of the Invisible
City of Kitezh and the Maiden Fevronia.'
One hundred Russian folk-songs, op. 24 (1877) ; forty Russian
folk-sougs (1882) ; A Practical Guide to the Study ofHarmony (1888).
R. N.
RINALDO. (1.) Handel's first opera in England
;
composed in a fortnight, and produced
at the King's Theati-e in the Haymarket, Feb.
24, 1711. The libretto was founded on the
episode of Rinaldo and Armida in Tasso's
Gervsalemme liberata (the same on which
Gluck based his Armida ' '). Rossi wrote it in
Italian, and it was translated into English by
Aaron HUl. The opera was mounted with
extraordinary magnificence, and had an uninterrupted
run of fifteen nights—at that time
unusually long. The march, and the air ' II
tricerbero, ' were long popular as Let us ' take
the road' ('Beggar's Opera'), and 'Let the waiter
bring clean glasses. '
' Lascia ch'io pianga
'
made out of a saraband in Handel's earlier opera
'
Almiia ' (1704)—is still a favourite with singers
and hearers. [John Walsh published the songs
in folio with the title Arie ' del' opera di Rinaldo
composta dal Signor Hendel, Maestro di Capella
di sua Altezza Elettorale d'Hannover. London,
printed for J. Walsh, Servant in ordinary to her
Britannick Majesty.' It is said that Walsh
made £1500 by the publication, and that the
composer addressed to him a satirical letter :
'
My dear Sir, as it is only right that we should
be on an ei^ual footing, you shall compose the
next opera, and I will sell it.' F. K,] G.
^ii.) Cantata for male voices, set to Goethe's
words, by Johannes Brahms (op. 50). First
performed by the Akademisehes Gesangverein,
Vienna, Feb. 28, 1869.
RINALDO DI CAPUA, an Italian composer
of the 18th century, of whose life very little
is known. Burney made his acquaintance in
Rome in 1770, and since he describes him as
an old man we may suppose him to have been
born about 1700-10. F6tis gives 1715 as the
year of his birth, and Rudh^rdt 1706, but
neither wi'iter states his authority for the date.
According to Burney he was ' the natural son
of a person of very high rank in that country
[i.e. the kingdom of Naples], and at first studied
music only as an accomplishment ; but being
left by his father with only a small fortune,
which was soon dissipated, he was forced to
make it his profession.' It has been assumed
that he was born at Capua, and took his name
from that place ; but it may be noted that
whether Rinaldo had a legitimate claim to it
or not, Di Capua was a fairly common surname
in the neighbourhood of Naples at that time.
He composed his first opera at the age of seventeen,
at Vienna, according to Burney ; Spitta
showed that no opera by Rinaldo was ever
produced at Vienna, but thought it probable
that he had some connection with that city,
since Metastasio's Giro Riconosciuto,' which
'
formed the libretto of an opera by Rinaldo produced
at Rome in 1737, was set to music for the
first time by Caldara for performance at Vienna
on August 28, 1736. A further connection
with the imperial court is shown by the fact
that he composed a special work to celebrate
the election of Francis I. in 1745. It seems,
therefore, not unreasonable to take Burney's
words literally, and to understand that the
opera 'Giro Riconosciuto,' though performed
in Rome, was composed in Vienna. If this
was his first opera, it would settle 1720 as the
year of Rinaldo's birth. Spitta was, however,
not aware of the existence of a few airs from a
comic opera, the title of which has not been
h