Wikipedia:
Heinrich Reimann (* March 12, 1850 in Rengersdorf, district of Glatz, province of Silesia; † May 24, 1906 in Charlottenburg) was a German musicologist, organist and composer.
Heinrich Reimann was the son of the composer Ignaz Reimann (1820-1885), who gave him his first music lessons. He attended the grammar school in Glatz. During that period, he was active as a choir and orchestra conductor. From 1870 to 1874, he studied classical philology at the University of Breslau and at the same time organ playing and composition with cathedral organist Moritz Brosig. After receiving his doctorate in 1875, he worked as a school teacher in Strehlen (from 1876), Wohlau (from 1878), Berlin (from 1879), Ratibor (from 1880), and Glatz (from 1884), until he became school director in Gliwice in 1885. In 1880, he married Cécile Schallowetz and converted to the Protestant Church.
After conflicts with his superior authority, he resigned and moved to Leipzig. In 1887, he relocated to Berlin, where he pursued various professions, including music critic, librarian at the Royal Library, organist at the Berlin Philharmonic, and teacher of organ and theory at the Klindworth-Scharwenka Conservatory.
In 1890, the singer Amalie Joachim, who was giving historical song recitals in Berlin on the development of the ''German Lied'', asked him for assistance, and a fruitful collaboration developed. Reimann also published the songs arranged for Amalie Joachim in print.
In 1895, he became organist at the Kaiser Wilhelm Memorial Church, where Albert Schweitzer was his deputy in 1899. In 1897, he received the title of professor, and in 1898 he founded a Bach Society. He was Karl Straube's teacher and as a publicist one of Max Reger's first mentors.
Heinrich Reimann died in 1906 at the age of 56 in his apartment at Knesebeckstraße 77 in Charlottenburg. His final resting place is in the Kaiser Wilhelm Memorial Cemetery in Berlin-Westend. The gravestone is a pillar with a plinth wall made of shell limestone, written in the reform style of the time, but also showing echoes of Art Nouveau. A three-part bronze relief with music-making putti quotes a work by Donatello for the singer's pulpit in Florence Cathedral. Several components of the tomb have been lost, including the edging of the burial field with chains.
Note: Translated from the German version of Wikipedia into English.
