Grove's dictionary of music and musicians

EEMBT REMOTE 63
Rellstab's novels and essays are to be found
for the most part in his Gesammelte Schriften,
24 vols. (Leipzig, Broekhaus). A musical
periodical, Iris im Gebiet der Tonjcwnst, founded
by him in 1830, survived till 1842. His
reeoUeetions of Berger, Schroeder-Devrient,
Mendelssohn, Klein, Dehn, and Beethoven
(whom he visited in March 1825) will be found
in Aus meinem Leben (2 vols. Berlin, 1861).
He was thoroughly eclectic in his taste for
music, and, though not an unconditional supporter,
was no opponent of the modem school
of Liszt and Wagner. He died during the
night of Nov. 27, 1860. f. g.
EEMBT, JoHANN Ernst, was born in 1749
or 1 750 at Suhl, in the Thuringer-Wald, where
in 1773 he was also appointed organist, and
remained till his death on Feb. 26, 1810. He
was distinguished as a performer, and, devoting
himself to the study of the works of Sebastian
Bach, he worthily upheld the more solid traditions
of the Bach school of organ-playing against
the prevailing shallowness of his time. Messrs.
Breitkopf & Hartel stiU retain in their catalogue
some of his works originally published by
them, such as his six Fugued Chorale-preludes,
six Organ Trios, and various Chorale-preludes in
Trio-form. Various Fughettas for the Organ also
appear in Volkmar's ' Orgel-Album. ' j. n. M.
REMENYI, Edtjard (real name Hoffmann),
a famous violinist, was bom in 1830 at Heves
(according to another account at Miskolc) in
Hungary, and received his musical education
at the Vienna Conservatorium during the years
1842-45, where his master on the violin was
Joseph Bbhm, the famous teacher of Joachim.
In 1848 he took an active part in the insurrection,
and became adjutant to the famous general
Gorgey, under whom he took part in the cam-
"paign against Austria. After the revolution
had been crushed he had to fly the country,
and went to America, where he resumed his
career as a virtuoso. [The details of his German
tour in 1852-53, which indirectly had so
great an influence on the career of Brahms, may
be read in Florence May's lAfe of Brahms, vol.
i. pp. 92-104.] In 1853 he went to Liszt in
Weimar, who at once recognised his genius
and became his artistic guide and friend. In
the following year he came to London and was
appointed solo violinist to Queen Victoria. In
1855 he was in America, and in 1860 he obtained
his amnesty and returned to Hungary,
where some time afterwards he received from
the Emperor of Austria a similar distinction
to that granted him in England. After his
return home he seems to have retired for a,
time from public life, living chiefly on an
estate he owned in Hungary. In 1865 he
appeared for the first time in Paris, where he
created a perfect furore. Repeated tours in
Germany, Holland, and Belgium further spread
his fame. In 1875 he settled temporarily in
Paris, and in the summer of 1877 came to
London, where also he produced a sensational
effect in private circles. The season being far
advanced he appeared in public only once, at
Mapleson's benefit concert at the Crystal Palace,
where he played a fantasia on themes from the
' Huguenots.' In the autumn of 1878 he again
visited London, and played at the Promenade
Concerts. He was on his way to America, where
he gave concerts and took up his residence. In
1887 he undertook a tour of the world, in the
course of which he appeared in private in
London in 1891 and 1893. As an artist he
combined perfect mastery over the technical
difficulties of his instrument with a strongly
pronounced individuality. His soul was in
his playing, and his impulse carried him away
as he warmed to his task, the impression produced
on the audience being accordingly in
an ascending scale. Another important feature
in Rem&yi's playing was the national element.
He strongly maintained against Liszt the
genuineness of Hungarian music, and showed
himself thoroughly imbued with that spirit by
writing several Hungarian ' melodies,' which
have been mistaken for popular tunes and
adopted as such by other composers. The same
half-Eastern spirit was observable in the strong
rhythmical accentuation of Remenyi's style, so
rarely attained by artists of Teutonic origin.
Remenyi's compositions are of no importance,
being mostly confined to arrangements for his
instrument, and other pieces written for his own
immediate use. [His name is known to musiclovers
in the present day by the circumstance
that Brahms went on a tour with him as his
accompanist, and was discovered ' ' by Joachim
in this capacity. Rem^nyi died during a concert
at which he was playing at San Francisco,
May 15, 1898.] E. h-a.
REMOTE is a term used in speaking of
modulation from one key to another, or in
regard to the succession of keys in a work in
several movements. A remote key has little in
common with the key which may be called the
starting-point. Thus a key with many sharps
or flats in the signature will probably be very
'
remote ' from the key of C. In the early days
of the harmonic period, the nearest keys to a
major key were considered to be its dominant,
subdominant, relative and tonic minors ; and
the nearest to a minor key were its relative and
tonic majors, the dominant major, and the subdominant
minor. As the art progressed, it was
gradually admitted that keys which stood to
each other in the relation of a third, whether
major or minor, were not to be considered
remote from each other. Beethoven, in the
piano sonata in C, op. 2, No. 3, puts his slow
movement into the key of E major ; in op. 106,
in B flat, the slow movement is in F sharp
minor ; and Schubert, in his sonata in the same
key, employs C sharp minor for his slow move-