Josef Gabriel Rheinberger (1839-1901) had an unusually successful career, spanning more than 45 years and encompassing nearly 200 published compositions. In the early part of his career, he also built an illustrious reputation as a virtuoso pianist and organist; later in life he became a sought-after teacher of composition as well as of the organ; though he was born in the principality of Lichtenstein, he spent nearly his entire life in Munich, first as a student, then as a virtuoso and promoter of opera (he was involved in the first performances of Wagner's "Tristan und Isolde" and "Die Meistersinger" by the Royal Opera), and finally in 33 years as professor of counterpoint and organ at the Royal School of Music, where his notable students included Engelbert Humperdinck, Ermanno Wolf-Ferrari, Ludwig Thuille, Wilhelm Furtwängler, and the Americans George Whitefield Chadwick and Horatio Parker (teacher of Charles Ives).
Prior to his first published composition at the age of 20, he had composed over 100 works. He went on to establish a name for himself as a virtuoso keyboardist, but his performing career was ended by a disease which permanently affected his right hand.
In addition to his teaching responsibilities, he was a dedicated researcher and advocate of ancient music, particularly for the keyboard; his acquaintance with older forms had a profound effect on his own compositions. His many works for piano and organ, which were promoted by many virtuosos of the day including von Bülow, reflect not only the influences of 19th century composers, but also of Johann Sebastian Bach.
Rheinberger was one of the few prominent musical figures of his time to successfully avoid the Wagner - Brahms debate, and in the process maintain close and fruitful contacts with composers in both camps. Though he himself was much more of a Brahmsian with respect to his own compositions, he nevertheless recognized and promoted the music of Liszt, Richard Wagner and many others.
Rheinberger's most popular works - the organ music - are really quite different from the works of contemporaries such as from Charles-Marie Widor, Louis Vierne, César Franck and Alexander Guilmant, but in some ways similar to Max Reger's very early work. What is appealing about Rheinberger's organ music is that he tends more toward clean lines and clear textures.
