an annual musical gathering on the completest and most satisfactory scale as to materials, selection, and execution—one which would do honour to any city either of Great Britain or Germany. To have achieved so splendid a result in the teeth of so many difficulties does honour to the tact, ability, and devotion of Sir Herbert Oakeley, and is sufficient, even without his popularisation of the organ, to perpetuate his name in Scotland.
REINAGLE, Joseph, son of a German musician resident in England, was born at Portsmouth. He was successively trumpeter and horn-player, violoncellist, violinist, and violoncellist again, and a very able performer. About 1785 he visited Dublin, where he remained two years. Returning to London he obtained a prominent position in the best orchestras, and was principal cello at Salomon's concerts when directed by Haydn. He afterwards settled at Oxford. He composed violin concertos, violoncello concertos, string quartets, duets and trios for violin and pianoforte, etc., and was author of 'A Treatise on the Violoncello.'
His younger brother, Hugh, an eminent violoncellist, died at an early age at Lisbon, where he had gone for the benefit of his health.
His son, Alexander Robert, born at Brighton, Aug. 21, 1799, for some time organist of St. Peter-in-the East, Oxford, was the composer of several psalm and hymn tunes. He retired to Kidlington, near Oxford, where he died April 6, 1877.
REINE DE CHYPRE, LA. Opera in 5 acts; words by Saint-Georges, music by Halévy. Produced at the Grand Opéra, Paris, Dec. 22, 1846 [App. p.770 "1841"].
REINE DE SABA, LA. Opera in 4 acts; words by Barbier and Carré, music by Gounod. Produced at the Opéra Feb. 28, 1862. It was adapted to English words under the title of 'Irene' by H. B. Farnie, and in this form was produced as a concert at the Crystal Palace, Aug. 12, 1865. The beautiful Airs de ballet contain some of Gounod's best music, and are frequently played at the same place.
REINE TOPAZE, LA. Opera comique in 3 acts; words by Lockroy and Battes, music by Victor Massé. Produced at the Théâtre Lyrique Dec. 27, 1856. In English, as Queen Topaze, at Her Majesty's Theatre, Dec. 24, 1860.
REINECKE, Karl, composer, conductor, and performer, director of the Gewandhaus concerts at Leipzig, the son of a musician, born June 23, 1827 [App. p.770 "1824"], at Altona, was from an early age trained by his father, and at 11 performed in public. As a youth he was a first-rate orchestral violin player. At 18 he made a concert tour through Sweden and Denmark, with especial success at Copenhagen. In 1843 he settled in Leipzig, where he studied diligently, and eagerly embraced the opportunities for cultivation afforded by the society of Mendelssohn and Schumann, with a success which amply shows itself in his music. In 1844 he made a professional tour with Wasielewski to Riga, returning by Hanover and Bremen. He was already in the pay of Christian VIII. of Denmark, and in 1846 he again visited Copenhagen, and played before the court. On both occasions he was appointed court-pianist. In 1851 he went with Otto von Königslöw to Italy and Paris; and on his return Hiller secured him for the professorship of the piano and counterpoint in the conservatoire of Cologne. In 1854 he became conductor of the Concertgesellschaft at Barmen, and in 1859 Musikdirector to the University of Breslau. On Julius Rietz's departure from Leipzig to Dresden in 1860 Reinecke succeeded him as conductor at the Gewandhaus, and became at the same time professor of composition in the Conservatorium. Between the years 1867 and 1872 he made extensive tournées; 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 both as a virtuoso and a composer. He reappeared in this country in 1872 and was equally well received.
Reinecke's industry in composition is great, his best works, as might be expected, being those for piano; his three PF. sonatas indeed are excellent compositions, carrying out Mendelssohn's technique without indulging the eccentricities of modern virtuosi; his pieces for 2 PFs. are also good; his PF. Concerto in F♯ minor is a well-established favourite both with musicians and the public. Besides other instrumental music—quintets, quartets, concertos for violin and cello, etc.—he has composed an opera in 5 acts, 'König Manfred,' and two in one act each 'Der vierjährigen Posten' (after Körner) and 'Ein Abenteuer Händel's'; incidental music to Schiller's 'Tell'; an oratorio, 'Belsazar'; a cantata for men's voices, 'Hakon Jarl'; overtures, 'Dame Kobold,' 'Aladin,' 'Friedensfeier'; 2 masses, and 2 symphonies; and a large number of songs and of pianoforte pieces in all styles, including valuable studies and educational works, numbering in all more than 160. His style is refined, his mastery over counterpoint and form is absolute, and he writes with peculiar clearness and correctness. He has also done much editing for Breitkopf's house. His position at Leipzig speaks for his ability as a conductor; as an accompanyist he is first-rate; and as an arranger for the pianoforte he is recognised as one of the first of the day. [App. p.770 "To the list of his works add 'Die Flucht nach Aegypten,' cantata for male voices; an opera, 'Auf hohem Befehl' (Schwerin, Mar. 13, 1887); an overture 'Zenobia,' and a funeral march for the late Emperor of Germany (op. 200). Of his settings of fairy tales as cantatas for female voices 'Schneewittchen,' 'Dornröschen' and 'Aschenbrödel,' are very popular."]
REINHOLD, Hugo, a very promising young Austrian musician, born at Vienna March 3, 1854. He began, like Haydn and Schubert, by being a choir-boy in the Imperial Chapel, after which, in 1868, at the instance of Herbeck, he entered the Conservatorium, under the endowment of the Duke of Coburg-Gotha, where he was put under Bruckner, Dessoff, and Epstein, remained till 1874, and obtained a silver medal. His published works have reached op. 18. They consist of pianoforte music and songs; of a suite in five movements for pianoforte and strings, of a prelude, minuet and fugue also for stringed orchestra, and of a string-quartet in A (op. 18). The two larger works were played at the Vienna
