# A Dictionary of Music and Musicians/Rietz, Julius

From volume 3 of the work.
​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 ​Ganz. Zelter was his teacher in composition. Having gained considerable proficiency on his instrument, he obtained, at the age of 16, an appointment in the band of the Königstädter Theatre, where he also achieved his first success as a composer by writing incidental music for Holtei's drama, 'Lorbeerbaum und Bettelstab.' In 1834 he went to Düsseldorf as second conductor of the opera. Mendelssohn, who up to his death showed a warm interest in Rietz, was at that time at the head of the opera, and on his resignation in the summer of 1835, Rietz became his successor. He did not however remain long in that position, for, as early as 1836, he accepted, under the title of 'Städtischer Musikdirector,' the post of conductor of the public subscription-concerts, the principal choral society, and the church-music at Düsseldorf. In this position he remained for twelve years, gaining the reputation of an excellent conductor, and also appearing as a solo violoncellist in most of the principal towns of the Rhine-province. During this period he wrote some of his most successful works—incidental music to dramas of Goethe, Calderon, Immermann and others; music for Goethe's Liederspiel 'Jery and Bätely'—a kind of drawing-room opera, and a very graceful work; his 1st Symphony in G minor; three overtures 'Hero and Leander,' Concert overture in A major, Lustspiel-overture—the latter two perhaps the freshest and most popular of his compositions; the 'Altdeutscher Schlachtgesang' and 'Dithyrambe'—both for men's voices and orchestra, and still stock-pieces in the repertoires of all German male choral societies. He was six times chief conductor of the Lower Rhine Festivals—in 1845, 56, and 69 at Düsseldorf; in 1864, 67 and 73 at Aix. [See vol. ii. p. 547.]
In 1847, after Mendelssohn's death, he took leave of Düsseldorf, leaving Ferdinand Hiller as his successor, and went to Leipzig as conductor of the opera and the Singakademie. From 1848 we find him also at the head of the Gewandhaus orchestra, and teacher of composition at the Conservatorium. In this position he remained for thirteen years. Two operas, 'Der Corsar' and 'Georg Neumark,' were failures, but his Symphony in E♭ had a great and lasting success. At this period he began also to show his eminent critical powers by carefully revised editions of the scores of Mozart's symphonies and operas, of Beethoven's symphonies and overtures for Breitkopf & Härtel's complete edition, and by the work he did for the Bach and German Handel Societies. His editions of Handel's scores contrast very favourably with those of some other editors. An edition of Mendelssohn's complete works closed his labours in this respect.
In 1860 the King of Saxony appointed him Conductor of the Royal Opera and of the music at the Roman Catholic Court-church at Dresden. He also accepted the post of Artistic Director of the Dresden Conservatorium. In 1876 the title of General-Musikdirector was given to him. The University of Leipzig had already in 1859 conferred on him the honorary degree of Doctor of Philosophy.
Rietz was for some time one of the most influential musicians of Germany. He was a good violoncellist, but soon after leaving Düsseldorf he gave up playing entirely. As a composer he showed a rare command of all the resources of the orchestra and a complete mastery of all technicalities of composition. Mendelssohn, in his friendly but candid criticism in the published letter already referred to, says, 'There is something so genuinely artistic and so genuinely musical in your orchestral works'; and further on, 'You understand how to give a really musical interest to every second oboe or trumpet.' Indeed some of his music, especially the two overtures already mentioned, the Symphony in E♭, and some of his choral works, has won general and deserved success, mainly by the qualities Mendelssohn praises in them, and by a certain vigour and straightforwardness of style. Yet we gather clearly enough from Mendelssohn's friendly remarks the reason why so few of Rietz's works have shown any vitality. As a composer he can hardly be said to show distinct individuality; his ideas are wanting in spontaneity, his themes are generally somewhat dry, and their treatment often rather diffuse and laboured. In fact Rietz was an excellent musician, and a musical intellect of the first rank but not much of a poet. His great reputation rested, first, on his talent for conducting, and secondly on his rare acquirements as a musical scholar. An unfailing ear, imperturbable presence of mind, and great personal authority, made him one of the best conductors of modern times. The combination of practical musicianship with a natural inclination for critical research and a pre-eminently intellectual tendency of mind, made him a first-rate judge on questions of musical scholarship. After Mendelssohn and Schumann, Rietz has probably done more than anybody else to purify the scores of the great masters from the numerous errors of text by which they were disfigured. He was an absolute and uncompromising adherent of the classical school, and had but little sympathy with modern music after Mendelssohn; and even in the works of Schubert, Schumann and Brahms was over-apt to see the weak points. As to the music of the newest German School, he held it in abhorrence, and would show his aversion on every occasion. He was, however, too much of an opera-conductor not to feel a certain interest in Wagner, and in preparing his operas would take a special pride and relish in overcoming the great and peculiar difficulties contained in Wagner's scores.
[ P. D. ]