Harvey Grace draws a comparison between Beethoven's 32 piano sonatas and Rheinberger's 20 organ sonatas, emphasizing that both collections are exceptional and comprehensive for their respective instruments. He poses the provocative question of whether there are truly twenty Beethoven sonatas that surpass Rheinberger's works. Despite potential objections, Grace thus encourages a re-evaluation of the composer often considered conservative. Today, the church organ is frequently regarded as outdated, which has led to composers like Reger, Vierne, Widor, and Rheinberger, who primarily dedicated themselves to organ music, receiving less attention. Although Rheinberger was esteemed as a composition teacher and conductor, his versatility largely went unnoticed outside the organ world.
Born in Liechtenstein in 1839, Joseph Rheinberger displayed remarkable musical talent from a young age. Despite being considered a child prodigy, his father initially had to be persuaded to send him to Munich to study music. There, Rheinberger received instruction from renowned teachers and composed his own works at an early stage. His teaching career took him, among other places, to the Munich Conservatory, where he taught composition. As a teacher, he was highly influential, imparting musical clarity to students such as Humperdinck and Wolf-Ferrari without hindering their openness to new ideas. Despite numerous honors, Rheinberger felt a certain despondency toward the end of his life, fearing that his music had become outdated.
The Suite for Organ, Violin, and Cello, Op. 149, demonstrates Rheinberger's mastery of musical forms and themes. His music is characterized by skillful modulations, classical balance in form, and a pronounced lyrical expression. The Six Pieces for Violin and Organ, Op. 150, contain variations and traditional forms that underscore Rheinberger's melodic power and structural clarity. Expressiveness and virtuosity merge in each of these pieces, reflecting his distinctive style.