He caught the style and the phrases, but he could not catch the immortality of his master's work. Technically great as much that he composed was, that indescribable something, that touch of nature, which, in music as elsewhere, makes the whole world kin, was wanting. One work of his, however, will live—the admirable
'Biographical Notices of Ludwig van Beethoven,' which he published in conjunction with Dr. Wegeler (Coblentz, 1838). The two writers, though publishing together, have fortunately kept their contributions quite distinct; Ries's occupies from pp. 76 to 163 of a little duodecimo volume, and of these the last 35 pages are occupied by Beethoven's letters. His own portion, short as it is, is excellent, and it is hardly too much to say that within his small limits he is equal to Boswell. The work is translated into French by Le Gen til (Dentu, 1862), and partially into English by Moscheles, as an Appendix to his version of Schindler's Life of Beethoven.
3. Hubert, brother of the preceding, was born at Bonn in 1802 [App. p.772 "April 1"]. He made his first studies as a violinist under his father, and afterwards under Spohr. Hauptmann was his teacher in composition. Since 1824 he has lived at Berlin. In that year he entered the band of the Königstadter Theatre, and in the following year became a member of the Royal band. In 1835 he was appointed Director of the Philharmonic Society at Berlin. In 1836 he was nominated Concertmeister, and in 1839 elected a member of the Royal Academy of Arts. A thorough musician and a solid violinist, he has ever since been held in great esteem as a leader, and more especially as a methodical and conscientious teacher. His Violin-School for beginners is a very meritorious work, eminently practical, and widely used. He has published two violin-concertos, studies and duets for violins, and some quartets. An English edition of the Violin-School appeared in 1873 (Hofmeister). Three of his sons have gained reputation as musicians:—
Louis, violinist, born at Berlin in 1830, pupil of his father and of Vieuxtemps, has, since 1852, been settled in London, where he enjoys great and deserved reputation as violinist and teacher. He was a member of the Quartet of the Musical Union from 1855 to 1870, and has held the second violin at the Monday Popular Concerts from their beginning in 1859, to the present time. He played a solo at the Crystal Palace Oct. 29, 1864.
Adolph, pianist, born at Berlin in 1837. He is a pupil of Kullak for the piano, and of Boehmer for composition, and lives in London as a pianoforte teacher. He has published a number of compositions for the piano, and some songs.
Franz, violinist and composer, was born at Berlin in 1846. He studied first under his father (violin), and under Boehmer and Kiel (composition). He afterwards entered the Conservatoire at Paris as a pupil of Massart, and gained the first prize for violin-playing in 1868. Some of his compositions, especially two suites for violin, have met with considerable success. He visited London in 1870 and played at the Crystal Palace. He has published an overture, two quartets, a quintet, and a large number of songs. Compelled by ill-health to give up violin-playing entirely, he established a music-publishing business at Dresden in 1874.
RIETER-BIEDERMANN. An eminent German firm of music-publishers. The founder was Jacob Melchior Rieter-Biedermann (born May 14, 1811; died Jan. 25, 1876), who in June 1849 opened a retail business and lending-library at Winterthur. The first work published by the house was Kirchner's 'Albumblätter,' op. 7, on April 29, 1856; since then the business has continually improved and increased. On March 1, 1862, a publishing branch was opened at Leipzig. The stock catalogue of the firm includes music by Berlioz, Brahms (PF. Concerto, PF. Quintet, Requiem, Magelone, Romanzen, May-songs etc.); A. Dietrich; J. O. Grimm; Gernsheim; Herzogenberg; F. Hiller; Holstein; Kirchner; Lachner; F. Marschner; Mendelssohn (op. 98, nos. 2, 3; op. 103, 105, 106, 108, 115, 116); Raff; Reinecke; Schumann (op. 130, 137, 138, 140, 142); Schultz-Beuthen, etc.—in all more than 1200 works.
RIETZ (originally Ritz[1]) Eduard, the elder brother of Julius Rietz, an excellent violinist, was born at Berlin in 1801. He studied first under his father, a member of the royal band, and afterwards for some time under Rode. He died too young to acquire a more than local reputation, but his name will always be remembered in connection with Mendelssohn, who had the highest possible opinion of his powers as an executant,[2] and who counted him amongst his dearest and nearest friends. It was for Ritz that he wrote the Octet, which is dedicated to him, as well as the Sonata for PF. and Violin, op. 4. For some years Rietz was a member of the royal band, but as his health failed him in 1824 he had to quit his appointment and even to give up playing. He founded and conducted an orchestral society at Berlin, with considerable success—but continued to sink, and died of consumption Jan. 23, 1832. Mendelssohn's earlier letters teem with affectionate references to him, and the news of his death, which he received at Paris on his birthday, affected him deeply.[3] The Andante in Mendelssohn's String Quintet, op. 18, was composed at Paris 'in memory of E. Ritz,' and is dated on the autograph 'Jan. 23, 1832,' and entitled 'Nachruf.'
RIETZ, Julius, younger brother of the preceding, violoncellist, composer, and eminent conductor, was born at Berlin Dec. 28, 1812. Brought up under the influence of his father and brother, and the intimate friend of Mendelssohn, he received his first instruction on the violoncello from Schmidt, a member of the royal band, and afterwards from Bernhard Romberg and Moritz
