Heinrich RINCK (1770–1846) Gott sorgt für uns, Op. 98 [13.06] Postludium in F, Op. 55 [3.07] Lobe den Herrn, Op. 88 (1828) [6.33] Postludium in g, Op. 55 [3.07] Christmas Cantata, Op. 73 (1823) [15.13]
Angela Froemer (alto)
Andreas Post (tenor)
Sebastian Klein (bass)
Peter Scholl (organ)
Collegium vocale Siegen/Ulrich Stötzell
rec. 28-29 September 2006, Martinkirche, Siegen HÄNSSLER CLASSIC
the time of his death in Darmstadt in 1846, Christian Heinrich
Rinck was one of the most respected composers of church music
in Germany. He was best known for his organ works which were
considered most suitable for religious worship. Rinck’s view
of such pieces was that they should be earnest and dignified.
was born a dozen or so years after Mozart in Elgersburg in
Thuringia. His first lessons were with his father, himself
a director of the local church choir. He eventually started
lessons with the organist Johann Christian Kittel in Erfurt.
Kittel was a pupil of Bach’s. Rinck spent three years with
him receiving a good grounding in organ playing and composition,
as well as becoming familiar with the works of Bach and other
took up post in Giessen, but found the money, the state of
the organ and the artistic stimulus all rather inadequate.
Eventually, in 1805, he moved to Darmstadt first as Town
Organist and then as organist in the Schlosskirche.
wrote extensively for the organ, but also composed for piano
and chamber music. His choral music was all written for practical
use within the church.
occupies a position between Bach and Brahms. He writes his
choral pieces in the same chorale tradition as Bach, but
is less inclined to the adventurousness shown by Brahms when
he came to this genre. There is certainly no hint of influence
from Rinck’s great contemporary Beethoven.
new disc of Rinck’s choral music comes from the Collegium
Vocale Siegen, a sub-grouping of the Siegen Bach Choir which
numbers some thirty voices. They are directed by Ulrich Stötzel
who founded the Siegen Bach Choir.
works are essentially practical works; rarely does he ever
push his singers. The pieces are well made and interesting
with an attractive melodic cast. Rinck is heavily dependent
on the choral-based nature of his art, producing music that
is charming if predictable, tuneful but which never challenges
most complex work on the disc is probably the motet Lobe
den Herrn, meine Seele,published in 1828. Here
Rinck alternates between soli and chorus and indulges in
some stylish fugue-making.
Thanksgiving cantata Gott sorgt für uns is rather
simpler. In his introduction to the work Rinck suggests that
the piece is intended for smaller country choirs who need
a piece accompanied by organ. The resulting organ part is
quite extensive and Rinck varies the textures by inserting
an attractive solo and a duet.
Christmas cantata is based on the hymn Ehre sei Gott in
der Höhe. Like the Thanksgiving cantata it is multi-part
mixing choral, solo, duet and trio.
though it is, Rinck's music can often be rather short-breathed,
his fugues in particular. And the lack of any real chromatic
development means that the music can seem a little too relentlessly
good natured at times.
disc is rather short measure and it is a shame that time
could not have been found to record some more of Rinck’s
organ works, so that we could gain a better opinion of his
art. The CD booklet contains an informative article about
Rinck along with texts and translations for the pieces performed.
works on this disc form a fascinating picture of Lutheran
church music in the early 19th century. They are
given confident and stylish performances by Collegium vocale
Siegen. Though whether pieces on the disc are strong enough
to be of interest to a wider public, I am not sure.
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