A review of Rheinberger’s published compositions shows at once his great versatility; no field was neglected by him, in many he has written excellent works, in others, if he did not reach the same degree, at least his musical skill and fine musicianship awaken our sincere interest and high consideration. If he was not in every work guided by inspiration, his rare knowledge, ability and artistic instinct preserved him against failure or triviality. Even in his compositions of smaller forms the hand of a master is always to be recognized. What a truly musical character have his themes, how clever and tasteful is his use of all the different instrumental or vocal means, how broad and melodic his cantilena, how fine and charmingly rich and varying his modulations, how fresh and energetic his rhythm, how well does he understand how to find the right tone for the intended mood, and how carefully are all the details finished and connected into a most harmonious whole! Often his pieces give the impression that the composer had really found the truest expression and most beautiful form for what he wished to say or illustrate. Certain chamber works, piano or organ pieces, are so delightful, that they awaken a desire for their immediate repetition, and there are quite a number of his choral compositions which one cannot hear or sing often enough. [Illustration: JOSEPH RHEINBERGER. From a photograph by Karl Lützel, Munich. ] As a sincere Catholic, Rheinberger has contributed very considerably to the sacred literature of his church, these works being directly intended for the service more than for concert purposes. They are partly in a plain, easy style, and partly on a grander scale, where the composer found ample opportunity to show his complete mastery of contrapuntal and polyphonic art, especially of the fugue. Yet he always keeps himself free from uninteresting features and all mere exhibition of learning. A mood of pious devotion prevails in these works, among the large number of which special mention must be made of the great mass for double chorus, dedicated to Pope Leo XIII., two settings of the Stabat Mater and the Requiem for the victims of the war of 1870–71; besides many hymns and motets. Of even greater importance are Rheinberger’s compositions for the musical instrument of the church, the organ. His many sonatas, belong to the most valuable contributions to organ literature. They have the usual three or four movements, an intermezzo taking the place of the less appropriate scherzo, and a great fugue forming the finale. And they are by no means tedious, antiquarian imitations of old masters, but are full of warm, modern sentiment, in spite of the strictness of form bearing a thoroughly modern physiognomy, yet never going beyond the limits of dignity, becoming this sacred instrument. Some movements have become especially famous and are favorite numbers of organ recitals, as for instance, the Passacaglia of No. 8.