Grove's dictionary of music and musicians

58 REINER EEINHOLD
1872 he made extensive tours ; in England
he played at the Musical Union, Crystal Palace,
and Philharmonic, on the 6th, 17th, and 19th
of April, 1869, respectively, and met with great
success hoth as a virtuoso and a composer. He
reappeared in this country in 1872, and was
equally well receivedi [In 1895 he resigned
the post of conductor of the Gewaudhaus
concerts, but kept his position in the Conservatorium,
being appointed in 1897 director of
musical studies until 1902, when he retired
altogether.]
Eeinecke's industry in composition is great,
his best works, as might be expected, being those
for piano ; his three PF. sonatas indeed are exoellent
compositions, carrying outMendelssohn's
technique without indulging the eccentricities of
modern virtuosi ; his pieces for two PFs. are also
good ; his PF. Concerto in FJt minor, » wellestablished
favourite both with musicians and
the public, was followed by two others in E
minor and C respectively. Besides other instrumental
music—a wind octet, quintets, four string
quartets, seven trios, concertos for violin and
violoncello, etc.—he has composed an opera in
live acts, ' Konig Manfred,' and two in one act
each, Der ' vierjahrigen Posten ' (after Kbmer)
and Ein ' Abenteuer Handel's ;
'
'
Auf hohen
Befehl' (1886), and ' Der Gouvemeur von Tours'
(1891); incidental music to Schiller's 'Tell';
an oratorio, ' Belsazar' ; cantatas for men's voices
'
Hakon Jarl ' and ' Die Flucht nach Aegypten '
;
overtures, 'Dame Kobold,' 'Aladdin,' 'Friedensfeier,
' an overture, ' Zenobia, ' and a funeral march
for the Emperor Frederick (op. 200) ; two
masses, and three symphonies, (op. 79 in A,
op. 134 in minor, and op. 227 in 6 minor) ;
and a large number of songs and of pianoforte
pieces in all styles, including valuable studies
and educational works. Of his settings of fairy
tales as cantatas for female voices, Schneewittohen,'
'
' Dornrbschen,' ' Aschenbrodel,' and
'
several others are very popular. His style
is refined, his mastery over counterpoint .ind
form is absolute, and he writes with peculiar
clearness and correctness. He has also done
much editing, for Breitkopfs house. His
position at Leipzig speaks for his ability as a
conductor ; as a pianist (especially in Mozart)
he kept up a high position for many years ; as
an accompanist he is first-rate ; and as an
arranger for the pianoforte he is recognised as
one of the first of the day. Various contributions
to musical literature will be found
enumerated in Eiemann's Lexikon. [See also
E. Segnitz, Carl Ileineeke.'\ ri G.
REINER, Jacob, born about 1559 or 1560
at Altdorf in Wurtemberg, was brought up at
the Benedictine Monastery of Weingarten, where
he also received his first musical training. We
have it on his own authority that he was afterwards
a pupil of Orlando Lassus at Munich,
where also his first publication, a volume of
Motets a 5-6, appeared in 1579.
Incidentally
it may be mentioned that in 1589 Lassus dedicated
a book of six masses, the eighth volume
of the Patrocmki/m Musices, to the Abbot of
Weingarten. Reiner himself returned to Weingarten,
and from at least 1586 to his death on
August 12, 1606, was engaged as lay singer and
choir-master to the monastery. His publications
are fairly numerous, and consist of several
volumesof motets, masses, andmagnifieats, which
need not here be specified in detail, especially
since part -books are frequently missing, also
two volumes of German songs a 3-5. Three
settings a 5 of the Passion exist in MS., of a
similar character to those by Lassus. The first
volume of Reiner's Motets was reproduced in
lithograph score by Ottomar Dresel in 1872,
and one of the numbers also appears in the
supplement to Proske's 'Musica Divina,' edited
by F. X. Haberl in 1876. J. K. M.
EEINHOLD, Hugo, bom March 3, 1854, in
Vienna, was a choir-boy of the Hofkapelle of his
native city and a pupil of the Conservatorium
der Musikfreuude till 1874, where he worked
with Bruckner, Dessofl', and Epstein under the
endowment of the Duke of Saxe-Coburg and
Gotha, and obtained a silver medal. He has
presented various compositions, numbering up
to op. 59, to the public, including piano
music and songs, a string quartet (op. 18 in A
major), a suite in five movements for piano and
strings, and a Prelude, Minuet, and Fugue for
stringed orchestra. The two latter were performed
at the Vienna Philharmonic Concerts of
Dec. 9, 1877, and Nov. 17, 1878, respectively,
and were praised by the Vienna critic of the
Monthly Mimeal Secord for their delicate character
and absence of undue pretension. The
quartet was executed by Hellmesberger. H. v. H.
EEINHOLD, Theodor Christlieb, bom in
1682, died in 1755, was the teacher of Johann
Adolf Hiller (Hiiller), the composer of numerous
motets, and cantor of the Kreuzkirche at Dresden
from 1720 till his death. h. v. h.
EEINHOLD, Thomas, born at Dresden about
1690, was the reputed nephew, or, as some said,
son, of the Archbishop of that city. He had an
early passion for music, and having met Handel
at the Archbishop's residence conceived so
strong a liking for him that after a time he
quitted his abode and sought out the great composer
in London, where he appeared in various
works of Handel's, after making his first appearance
in July 1731 at the Haymarket Theatre
as a singer in 'The Grub Street Opera.' He
died in Chapel Street, Soho, in 1751.
His son, Charles Frederick, bom in 1737,
received his musical education first in St. Paul's
and afterwards in the Chapel Eoyal. On Feb. 3,
1755, he made his first appearance on the stage
at DrUry Lane as Oberon in J. C. Smith's opera,
'The Fairies,' being announced as 'Master
Eeinhold.' He afterwards became organist of