Not less valuable are the many monologues and fughettes and the organ concerto with accompaniment of strings and horns. A review of Rheinberger’s pianoforte compositions may justly be opened with his beautiful concerto in A flat, dedicated to Carl Baermann. It is written in a truly symphonic style and contains throughout in its three extended movements noble and sympathetic music, rich in colors, contrasts and climaxes, the orchestra accompaniment being raised to great importance, yet the solo part always remaining brilliant and effective, especially in the splendid cadenza. The same thorough mastery of the classic forms also appears in several of the great sonatas for either two or four hands; yet the old forms breathe all the modern romantic spirit and even their construction occasionally shows modern influences. Particularly interesting is the great “symphonic sonata,” opus 47, with a charming minuet and a magnificent tarantella in the last movement, the entire work betraying quite a distinct influence of Brahms and his early sonatas. In tarantellas Rheinberger has been as fertile as successful, illustration being found in the violin sonata in E flat and in several independent piano works for two, four, or even eight hands. This happy combination of old strict forms with modern expression and feeling is also the distinguishing feature of his several toccatas, some of which require a great virtuosity of playing. And thus it is with his Fugues, Capriccios, Gavottes, Scherzinos, Etudes, etc., while many other pieces such as Humoresken, Romances, Mazurkas or the collections “From Italy” and “Vacation Pieces” remind us more of the character-pieces which Mendelssohn and Schumann had cultivated. With a Scherzoso and Capriccio on a theme by Handel, Rheinberger paid a special tribute to his admiration of the genius of Brahms, whereas a most interesting improvisation on themes from Mozart’s “Magic Flute” bears some resemblance to Liszt’s virtuoso style, yet showing a decidedly better musical workmanship In looking at Rheinberger’s chamber works we at once admire his complete familiarity with the old quartet style, and his eminent skill in counterpoint, but these do not hide the bright, charming, sympathetic character of his music, the energetic life of the allegros, the broad, smooth, coherent cantilena of the slow movements, and the grace and spirit of the Scherzos. Beauty of feeling and sound go most happily hand in hand. Of the two violin sonatas in E flat major and E minor the former has become particularly well known, and the effective treatment of this string instrument makes us regret that Rheinberger has never written a complete violin concerto in a great symphonic style. He has, however, composed several suites for violin or violoncello with organ.