Contemporary criticism saw in Rheinberger’s Stabat Mater op. 16 from 1864 “one of the most
beautiful works of this type which the present time has to offer. Distinguished through its breadth of conception and its noble tonal effect, with its rich polyphony it reaches the masterpieces of the old Italian school.” In the expressive choral movements rich-sounding homophonic passages are combined with sections worked out in strict
polyphony. The sustained songlike solo pieces are of a profound expression.
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Composer
Josef Gabriel Rheinberger
| 1839-1901During the second half of the 19th century Rheinberger, who was born in 1839 in Vaduz (Liechtenstein), was a major figure of European stature. In demand as a teacher of composition and esteemed as a composer, this professor at the Munich Conservatoire and Bavarian Court Kapellmeister made his mark on a whole generation of musicians. The fact that many of his compositions were no longer performed after his death in 1901, despite their high musical qualities, was largely a result of external circumstances. The change of aesthetic orientation which began about the turn of the century led to a radical move away from the conservative-classical ideals to which Rheinberger – like Brahms – had felt himself committed. It was also a fact that Rheinberger never publicized his own works vigorously. The Josef-Rheinberger-Archiv and Carus published a complete edition of works by Josef Gabriel Rheinberger for the first time. The edition, concluded in 2009, has contributed significantly to the fact that the music of this composition teacher and Bavarian Court Kapellmeister from Munich can once again be heard around the world today. Personal details
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Editor
Han Theill
Reviews
Rheinberger, Josef Gabriel (1839 - 1901): Stabat Mater in C; op
Rheinberger, Josef Gabriel: Stabat Mater in C; op. 16
Vom „Pathetischen” der Textvorlage angezogen, veröffentlichte Rheinberger das „Stabat Mater” op. 16 als erste größere geistliche Komposition. Das von ihm als mit einem Gesellenstück vergleichbar angesehene Chorwerk manifestiert einen grandiosen Umgang mit unterschiedlichen Stilebenen, ist aber nicht Ziel sondern Durchgangsstation auf seinem kompositorischen Weg.
Dieses Werk stand unter anderem auf dem Programm des Einstandskonzertes zu Rheinbergers Leitungsübernahme des Münchener Oratorienvereins. Nach mehr als erfolgreicher Aufführung seines Werkes erfüllte sich Rheinberger einen sehnlichsten Wunsch, den er schon vorab gelübdehaft geäußert hatte. „Wenn dieses ’Stabat Mater’ gelingt, schreibe ich ein Requiem.”
Diese Marianische Komposition ist ein interessantes Werk, das aufgeführt werden will. Bis zum Tod des Komponisten wurde es in der Münchener Ludwigskirche auf Grund einer testamentarischen Stiftung durch seine Frau Fanny alljährlich am Karfreitag aufgeführt.
Peter Bartetzky
Quelle: Musik im Bistum Essen 2/2002, S. 51
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