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Anton Reicha

October 22, 2023

Anton (Antonín, Antoine) Joseph Reicha (Rejcha) (26 February 1770 – 28 May 1836) was a Czech-born, Bavarian-educated, later naturalized French composer and music theorist.[1] A contemporary and lifelong friend of Beethoven, he is now best remembered for his substantial early contributions to the wind quintet literature and his role as teacher of pupils including Franz Liszt, Hector Berlioz and César Franck. He was also an accomplished theorist, and wrote several treatises on various aspects of composition. Some of his theoretical work dealt with experimental methods of composition, which he applied in a variety of works such as fugues and études for piano and string quartet.

Anton Reicha, 1815
Wind Quintets Op. 88
No. 2 in E-flat major – 1. Lento – Allegro Moderato
No. 2 in E-flat major – 2. Allegretto
No. 2 in E-flat major – 3. Poco andante
No. 2 in E-flat major – 4. Allegretto
No. 3 in G major – 1. Lento – Allegro assai
No. 3 in G major – 2. Andante
No. 3 in G major – 3. Scherzo, Allegro vivo
No. 3 in G major – 4. Finale, Allegro vivace
Performed by the Soni Ventorum Wind Quintet
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Wind Quintets Op. 91
No. 1 in C major – 1. Allegro moderato
No. 1 in C major – 2. Andante
No. 1 in C major – 3. Menuetto, Allegretto
No. 1 in C major – 4. Finale, Rondo – Allegro
No. 3 in D major – 1. Lento – Allegro
No. 3 in D major – 2. Adagio
No. 3 in D major – 3. Menuetto
No. 3 in D major – 4. Allegretto
No. 6 in C minor – 1. Marcia Poco adagio – Allegro vivace
No. 6 in C minor – 2. Larghetto
No. 6 in C minor – 3. Minuetto vivace
No. 6 in C minor – 4. Finale – Capriccio, allegro assai
Performed by the Soni Ventorum Wind Quintet
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Wind Quintet Op. 100 No. 4
1. Adagio – Allegro (11:20)
2. Andante con variazioni (5:44)
3. Minuetto allegro (2:49)
4. Finale Allegro vivace (7:37)
Performed by the Soni Ventorum Wind Quintet
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None of the advanced ideas he advocated in the most radical of his music and writings, such as polyrhythm, polytonality and microtonal music, were accepted or employed by other nineteenth-century composers. Due to Reicha's unwillingness to have his music published (like Michael Haydn before him), he fell into obscurity soon after his death and his life and work have yet to be intensively studied.

Life Edit

1770–1805: early years, first visit to Paris and the Viennese period Edit

Reicha was born in Prague. His father Šimon, the town piper of the city, died when Anton was just 10 months old.[2] Apparently Reicha's mother was not interested in her son's education, and so in 1780 he ran away from home following a sudden impulse – as he recounted in his memoirs, he jumped onto a passing carriage.[3] He first visited his paternal grandfather in Klatovy, and then his paternal uncle Josef Reicha, a virtuoso cellist, conductor and composer living in Wallerstein, Bavaria, who adopted him.[2] Josef and his wife, being childless, could give young Anton their full attention: Josef taught him violin and piano, his wife insisted on him being taught French and German, and he was also taught the flute.[4]

In 1785 the family moved to Bonn, where Reicha became a member of the Hofkapelle of Max Franz, Elector of Cologne, playing violin and second flute in the court orchestra under his uncle's direction.[2] The young Beethoven entered the Hofkapelle as violist and organist in 1789 and Reicha befriended him. Christian Gottlob Neefe, one of the most important figures in the musical life of the city at the time, may well have instructed both Reicha and his gifted piano pupil Beethoven in composition and introduced them to the works of Johann Sebastian Bach, such as The Well-Tempered Clavier.

From about 1785 Reicha studied composition secretly, against his uncle's wishes, composing and conducting his first symphony in 1787 and entering the University of Bonn in 1789, where he studied and performed until 1794, when Bonn was attacked and captured by the French. He managed to escape to Hamburg,[2] vowed never to perform in public again and began to earn a living teaching harmony, composition and piano. He continued composing and studied mathematics, philosophy and, significantly, methods of teaching composition. In 1799 he moved to Paris, hoping to achieve success as an opera composer. These hopes were dashed, however: he could neither get his old librettos accepted nor find suitable new ones despite support from friends and influential members of the aristocracy, and moved on to Vienna in 1801.

Once there, like Beethoven and the young Schubert, he studied with Antonio Salieri and Johann Georg Albrechtsberger.[2] Both were renowned teachers, and Albrechtsberger was also an important theorist and acknowledged authority on counterpoint and fugal theory. Reicha called on Haydn, whom he had met several times in Bonn and Hamburg during the 1790s, and renewed his friendship with Beethoven, whom he had not seen since 1792, when the latter moved from Bonn to Vienna. At this time (late 1802–1803) Beethoven's Eroica symphony was in gestation, and it is likely that the two men exchanged ideas on fugues in modern composition.[5] Reicha's move to Vienna marked the beginning of a more productive and successful period in his life. As he wrote in his memoirs, "The number of works I finished in Vienna is astonishing. Once started, my verve and imagination were indefatigable. Ideas came to me so rapidly it was often difficult to set them down without losing some of them. I always had a great penchant for doing the unusual in composition. When writing in an original vein, my creative faculties and spirit seemed keener than when following the precepts of my predecessors."[6] In 1801, Reicha's opera L'ouragan, which failed in Paris, was performed at the palace of Prince Joseph Franz von Lobkowitz, a prominent patron of Beethoven. Empress Maria Theresa (of Naples and Sicily) commissioned another opera after this performance, Argine, regina di Granata, which was only privately performed. His studies in Hamburg came to fruition here with the publication of several semi-didactic, encyclopedic works such as 36 Fugues for piano (published in 1803, dedicated to Haydn)[2] and L'art de varier, a large-scale variation cycle (composed in 1803/04 for Prince Louis Ferdinand), and the treatise Practische Beispiele (published in 1803), which contained 24 compositions.

1806–1836: departure from Vienna and life in Paris Edit

Reicha's life and career in Vienna were interrupted by Napoleon's November 1805 occupation of the city by French troops. In 1806 Reicha travelled to Leipzig to arrange a performance of his new work, the cantata Lenore (stopping at Prague to see his mother for the first time since 1780), but because Leipzig was blockaded by the French, not only was the performance cancelled but he could not return to Vienna for several months. When he did return it was not for long, because by 1808 the Austrian Empire was already preparing for another war, the War of the Fifth Coalition, so Reicha decided to move back to Paris.[2] He was soon teaching composition privately, future prolific composer George Onslow being one of his pupils by 1808. This time three of his many operas were produced, but they all failed; yet his fame as theorist and teacher increased steadily, and by 1817 most of his pupils became professors at the Conservatoire de Paris. The following year, Reicha himself was appointed professor of counterpoint and fugue at the Conservatoire with the support of Louis XVIII, despite opposition from its influential professor of composition and (from 1822) director Luigi Cherubini [7]

 
Anton Reicha's gravestone at Père Lachaise, Paris

This second Paris period produced several important theoretical writings. Cours de composition musicale, published by 1818, became the standard text on composition at the Conservatoire; the Traité de mélodie of 1814, a treatise on melody, was also widely studied. Another semi-didactic work, 34 Études for piano, was published by 1817. It was also in Paris that Reicha started composing the 25 wind quintets which proved to be his most enduring works:[2] far more conservative musically than the experimental fugues he had written in Vienna, but exploiting the skill of his virtuosi from the Opéra Comique to extend significantly the technique and musical ambitions of future players of the still evolving wind instruments. In 1818 he married Virginie Enaust, who bore him two daughters. Around this time he taught composition to the future pioneer of the modern oboe Henri Brod, and in 1819 he began teaching harmony and music theory to Louise Farrenc; after interrupting her studies for her own marriage, she completed studies at the Paris Conservatory with Reicha in 1825.[8]

Reicha stayed in Paris for the rest of his life. He became a naturalized citizen of his adopted country in 1829[9] and Chevalier of the Légion d'honneur in 1835. That same year, he succeeded François-Adrien Boieldieu at the Académie Française. He published two more large treatises, Traité de haute composition musicale (1824–1826) (Treatise on advanced musical composition) and Art du compositeur dramatique (1833) (Art of dramatic composition), on writing opera. His ideas expressed in the former work sparked some controversy at the Conservatoire. In 1826 Franz Liszt, Hector Berlioz and Henri Cohen became students of his, as did composers Charles Gounod and Pauline Viardot[10] sometime later. Berlioz in his Memoirs[11] acknowledges that Reicha was 'an admirable teacher of counterpoint' who cared about his pupils and whose 'lessons were models of integrity and thoroughness' – high praise indeed from one so critical of the Conservatoire in general. Frédéric Chopin considered studying with him in December 1831 shortly after arriving in Paris from his native Poland, but ultimately decided otherwise. From June 1835 until Reicha's death in May 1836, the young César Franck took private lessons. His notebooks survive (in the Bibliothèque Nationale in Paris) with Reicha's annotations (and a later cryptic comment possibly by Erik Satie),[12] showing how hard Reicha worked his 13-year-old pupil. Reicha was buried at the Père Lachaise Cemetery, and Luigi Cherubini resumed the teaching of counterpoint at the Conservatoire, replacing Reicha's heretical work on fugue with his own as the standard text.

Works Edit

It is difficult to present a coherent list of Reicha's works, because the opus numbers assigned to them at the time of publication are in disarray, some pieces were supposedly lost, and many works were published several times, sometimes as part of larger collections. His surviving oeuvre covers a vast array of genres and forms, from opera to piano fugues. He is best known today for his 25 wind quintets, composed in Paris between 1811 and 1820, which were mostly premiered from 1817 in the foyer of the Théâtre Favart by some of the world's finest wind soloists,[13] to such effect that they were played all over Europe shortly afterward. Reicha claimed in his memoirs that his wind quintets filled a void: "At that time, there was a dearth not only of good classic[al] music, but of any good music at all for wind instruments, simply because the composers knew little of their technique."[14] Indeed, Reicha's experiences as a flautist must have helped in the creation of these pieces, in which he systematically explored the possibilities of the wind ensemble and invented an extended sonata form variant that could accommodate as many as five principal themes.[15] Reicha wrote his first experimental quintet in 1811; the 'incomparably superior' first two of the later published quintets of Opus 88 were written by 1814 after further study of the instruments and collaboration with his players, with the remaining four completed before publication in 1817. Three further sets of six were published as Opus 91 in 1818, Opus 99 in 1819 and Opus 100 in 1820.[13]

 
The final piano exercise of Reicha's Op. 30, featuring two staves of music for each hand, and four different clefs

Musically, the wind quintets represent a more conservative trend in Reicha's oeuvre when compared to his earlier work, namely the compositions of the Viennese period. In the quintets, as he describes in his preface, Reicha wanted to expand the technical limits of the five still evolving wind instruments (hand horn, 'un-rationalised' flute and clarinet, double reeds with fewer keys), and thereby also the ambitions of amateur wind players, by establishing a nucleus for a corpus of substantial work like that available to string players (and consciously more serious than the Harmoniemusik of the last century). His writing combines virtuoso display (often still very challenging today, yet idiomatic for each instrument), popular elements (from the comic opera his soloists played, from his Bohemian folk heritage, from the military background to his life – many marches, 'walking' themes and fanfares), and his lifelong more academic interests in variation form and counterpoint. Four of the quintets have trios in passacaglia form, the repeating theme however being on different instruments in each case so not necessarily in the bass. The earlier Beethoven connection, now severed,[5] is revisited in the scherzo of the quintet in E-flat Op. 100 no. 3, which contains clear musical quotations (most obvious in the horn part) from both the scherzo of his Eroica (also in E-flat major) and the first movement of his 5th symphonies. Berlioz[11] says the quintets "enjoyed a certain vogue in Paris for a number of years. They are interesting pieces but a little cold", while Louis Spohr, who was visiting Paris in 1820–21 and reserved judgment until he had heard several performed, assessed them in a letter home (which he included in his autobiography) as having too many ideas linked carelessly or not at all ("were he less rich, he would be richer"), "yet the minuets and scherzi, as short pieces, are less open to this objection, and some of them are real masterpieces in form and contents".[16] Spohr was generally impressed by the virtuosity of the wind soloists and was very pleased with their performance of his own piano and wind quintet. Berlioz[11] also comments on two of the players (in other works): "Joseph Guillou [de], the first flute...has to dominate...so he transposes the flute line up an octave, thus destroying the composer's intention" (p. 56); of Gustave Vogt's cor anglais playing he says (p. 23): "However remarkable the singer...I find it hard to believe she can ever have made it sound as natural and touching as it did on Vogt's instrument". Reicha was particularly close personally to the horn player L-F Dauprat, who was nominated by the family's lawyer as a surrogate guardian to Reicha's two daughters at his death.[17]

Technical wizardry also prevails in compositions that illustrate Reicha's theoretical treatise Practische Beispiele (Practical Examples) of 1803, where techniques such as bitonality and polyrhythm are explored in extremely difficult sight-reading exercises.[18] 36 fugues for piano, published in 1803, was conceived as an illustration of Reicha's neue Fugensystem, i.e. those new ideas about fugues which had piqued Beethoven.[5] Reicha proposed that second entries of fugue subjects in major keys could occur in keys other than the standard dominant), to widen the possibilities for modulations and undermine the conservative tonal stability of the fugue.[19] The fugues of the collection not only illustrate this point, but also employ a variety of extremely convoluted technical tricks such as polyrhythm (no. 30), combined (nos. 24, 28), asymmetrical (no. 20) and simply uncommon (no. 10 is in 12/4, no. 12 in 2/8) meters and time signatures, some of which are derived from folk music, an approach that directly anticipates that of later composers such as Béla Bartók.[20] No. 13 is a modal fugue played on white keys only, in which cadences are possible on all but the 7th degree of the scale without further alteration. Six fugues employ two subjects, one has three, and No. 15 has six. In several of the fugues, Reicha established a link with the old tradition by using subjects by Haydn (no. 3), Bach (no. 5), Mozart (no. 7), Scarlatti (no. 9), Frescobaldi (no. 14) and Handel (no. 15). Many of the technical accomplishments are unique to fugue literature.

 
Fugue No. 15 from 36 Fugues of 1803 features six subjects developed simultaneously

The études of op. 97, Études dans le genre fugué, published in Paris by 1817, are similarly advanced. Each composition is preceded by Reicha's comments for young composers. Thirty of the 34 études included are fugues, and every étude is preceded by a prelude based on a particular technical or compositional problem. Again an exceptionally large number of forms and textures is used, including, for example, the variation form with extensive use of invertible counterpoint (no. 3), or an Andante in C minor based on the famous Folia harmonic progression. Reicha's massive cycle of variations, L'art de varier, uses the same pedagogical principle and includes variations in the form of four-voice fugues, program music variations, toccata-like hand-crossing variations, etc., foreshadowing in many aspects not only Beethoven's Diabelli Variations, but also works by Schubert, Wagner and Debussy.[21]

Many of Reicha's string quartets are similarly advanced, and also anticipate numerous later developments. The eight Vienna string quartets (1801–1805) are among his most important works. Though largely ignored since Reicha's death, they were highly influential during his lifetime and left their mark on the quartets of Beethoven and Schubert,[22] much as Bach's Well-Tempered Clavier was ignored by the public but well known to Beethoven and Chopin. Reicha also wrote prolifically for various kinds of ensembles other than wind quintets and string quartets, including violin sonatas, piano trios, horn trios, flute quartets, various works for solo wind or string instruments accompanied by strings, and works for voice. He also wrote in larger-scale genres, including at least eight known symphonies, seven operas, and choral works such as a Requiem.

Much of Reicha's music remained unpublished and/or unperformed during his life, and virtually all of it fell into obscurity after his death. This is partly explained by Reicha's own decisions he reflected on in his autobiography: "Many of my works have never been heard because of my aversion to seeking performances [...] I counted the time spent in such efforts as lost, and preferred to remain at my desk."[6] He also frequently advocated ideas, such as the use of quarter tones, that were too far ahead of his time to be understood by his contemporaries.[23]

Writings Edit

Reicha's major theoretical and pedagogical works include the following:

  • Practische Beispiele: ein Beitrag zur Geistescultur des Tonsetzers ... begleitet mit philosophisch-practischen Anmerkungen (1803), a didactic work that includes 25 sight-reading exercises of extreme difficulty, some of which were later published separately or in collections such as the 36 fugues. The exercises are divided into three groups: one for polyrhythm, one for polytonality and one that included exercises written on four staves and so required knowledge of the alto and tenor clefs.
  • Traité de mélodie (Paris, 1814), on melody, translated into German by Czerny
  • Cours de composition musicale, ou Traité complet et raisonné d'harmonie pratique (1818), on composition, translated into German by Czerny (From Chapter 9 of Czerny's Letters to a Young Lady: "My view was only to give you a general idea of Harmony or Thorough Bass; and when you begin the study of it in a regular manner – and I hear with pleasure that you are shortly about to do so, and that your worthy teacher has selected for the purpose the excellent Treatise on Harmony by Reicha...")
  • Traité de haute composition musicale (2 vols. 1824–1826), translated into German by Czerny around 1835. In this late treatise Reicha expressed some of his most daring ideas, such as the use of quarter tones and folk music (which was almost completely neglected at the time).[24] An article in this treatise deals with the problem of irregular resolution of dissonant chords, formulating a simple law for its successful employment; this article was so innovative and celebrated, that it was published even by itself in the past and in the present, the latest English translation being the one by Lorenzo M. A. Giorgi (A new theory for the resolution of discords, according to the Modern Musical System, 2017).[25]
  • L'art du compositeur dramatique (4 vols., 1833), on the writing of opera. Provides an exhaustive account of contemporary performance techniques and is supplemented with examples from Reicha's own operas.
 
Grand Duo – Lento
Performed by Felix Skowronek (flute) and Marshall Winslow (piano)
Variations for bassoon and a string quartet, transcription for bassoon and piano
Performed by Arthur Grossman (bassoon) and Neil O'Doan (piano)
Problems playing these files? See media help.

In addition to these, a number of smaller texts by him exist. These include an outline of Reicha's system for writing fugues, Über das neue Fugensystem (published as a foreword to the 1805 edition of 36 fugues), Sur la musique comme art purement sentimental (before 1814, literally "On music as a purely emotional art"), Petit traité d'harmonie pratique à 2 parties (c. 1814, a short "practical treatise" on harmony), a number of articles and the poem An Joseph Haydn, published in the preface to 36 fugues (which were dedicated to Haydn).

Notable recordings Edit

  • Horn Trios (1980). Zdeněk Tylšar, Bedřich Tylšar, Emanuel Hrdina. Supraphon, VT 2976-2[26]
  • Complete Wind Quintets (1990). The Albert Schweitzer Quintet. 10 CDs, CPO, 9992502[27]
  • 36 Fugues Op. 36 (1991–1992). Tiny Wirtz (piano). 2 CDs, CPO 999 065-2[28]
  • Complete Wind Quintets (2005-2012). The Westwood Wind Quintet. 12 CDs, Crystal Records, CD260[29]
  • 36 Fugues (2006). Jaroslav Tůma (fortepiano Anton Walter, 1790). 2 CDs, ARTA F101462[30]
  • Complete Symphonies (2011). Ondřej Kukal conducting Prague Radio Symphony Orchestra. 2 CDs, Radioservis, CR0572-2[31]
  • Musique de Chambre (2017). Solistes de la Chapelle Musicale Reine Elisabeth. 3 CDs, ALPHA369[32]
  • Reicha Rediscovered, Volume 1 (2017). Ivan Ilić (piano). 1 CD, CHAN 10950[33]
  • Reicha Rediscovered, Volume 2, Études dans le genre Fugué, Op.97 Nos 1-13 (2018). Ivan Ilić (piano). 1 CD, CHAN 20033[34]
  • Reicha Rediscovered, Volume 3, L'Art de varier ou 57 variations pour le piano, Op. 57 (2021). Ivan Ilić (piano). 1 CD, CHAN 20194[35]

Notes Edit

  1. ^ The Harvard Biographical Dictionary of Music. p. 735.
  2. ^ a b c d e f g h Černušák, Gracián; Štědroň, Bohumír; Nováček, Zdenko, eds. (1963). Československý hudební slovník II. M–Ž (in Czech). Prague: Státní hudební vydavatelství. p. 415.
  3. ^ Hoyt, Peter A. (March 1993). "Review of Olga Sotolova's Antonin Rejcha (Deryck Viney, translator)". Notes. Second Series. Music Library Association. 49 (3): 996–998. doi:10.2307/898945. JSTOR 898945.
  4. ^ Demuth 1948, p. 166.
  5. ^ a b c Rice, John A. . Archived from the original on 6 December 2022. Retrieved 30 August 2018.
  6. ^ a b Reicha's autobiography, Notes sur Antoine Reicha, quoted in Ron Drummond, "Program Notes for a Performance of Antonín Rejcha's C Minor String Quartet".
  7. ^ Stove 2012, p. 21.
  8. ^ Friedland, Bea (1980). Louise Farrenc, 1804–1875: Composer, Performer, Scholar. UMI Research Press. pp. 10–14. ISBN 0-8357-1111-0.
  9. ^ Demuth 1948, p. 167.
  10. ^ Jezic, Diane Peacock; Wood, Elizabeth (1994). Women Composers: The Lost Tradition Found. Feminist Press at the University of New York. p. 103. ISBN 1-55861-074-X.
  11. ^ a b c Berlioz, Hector, translated by Cairns, David (1865, 1912, 2002). The Memoirs of Hector Berlioz. Hardback. Everyman's Library/Random House. ISBN 0-375-41391-X pp. 20–21
  12. ^ Stove 2012, pp. 22–23.
  13. ^ a b "John Humphries' liner note for CD 8.550432 by Michael Thompson Wind Quintet". Naxos.com. Retrieved 19 November 2019.
  14. ^ Reicha's autobiography, Notes sur Antoine Reicha, quoted in Bill McGlaughlin's "A World of Winds: Making Your Own Quintet – The Father of the Wind Quintet", see [1]
  15. ^ Ron Drummond, "Anton Reicha: A Biographical Sketch"
  16. ^ Spohr, Louis (1865). Louis Spohr's Autobiography. London: Longman, republished Travis & Emery Music Bookshop(2010). p. 131. ISBN 978-1-84955-111-3.
  17. ^ Bernard de Raymond 2013, p. 22.
  18. ^ Demuth 1948, p. 171.
  19. ^ Walker, Alan (1987). Franz Liszt: Volume One, the Virtuoso Years, 1811–1847. Ithaca, NY: Cornell University Press. p. 94. ISBN 0-8014-9421-4.
  20. ^ Václav Jan Sýkora. Preface to an edition of 36 Fugues for Piano, Kassel: Bärenreiter, 1973, Nos. 19117–19119.
  21. ^ Jan Racek. Foreword to the critical edition of "L'art de varier", Praha: Státní hudební vydavatelství, 1961
  22. ^ Ron Drummond: "The String Quartets of Anton Reicha – Introduction"
  23. ^ Demuth 1948, pp. 169–170.
  24. ^ Demuth 1948, p. 172.
  25. ^ Giorgi, Lorenzo MA (2017). A new theory for the resolution of discords, according to the Modern Musical System. CreateSpace Independent Publishing Platform. ISBN 978-1546308607.
  26. ^ "Rejcha: Tria pro lesní rohy – Zdeněk Tylšar, Bedřich Tylšar, Emanuel Hrdina". Supraphon (in Czech). Retrieved 26 April 2023.
  27. ^ "Reicha's Wind Quintets". Presto Classical. Retrieved 12 June 2016.
  28. ^ . ArkivMusic. Archived from the original on 20 December 2016. Retrieved 12 June 2016.
  29. ^ "Complete Recordings of Reicha's Wind Quintets by Westwood Wind Quintet". Crystal Records. Retrieved 12 June 2016.
  30. ^ "Reicha: 36 Fugues for Piano". Amazon. Retrieved 12 June 2016.
  31. ^ "Reicha: Four Symphonies". Amazon. Retrieved 12 June 2016.
  32. ^ "Reicha: Musique de Chambre". Presto Music. Retrieved 7 August 2022.
  33. ^ . ArkivMusic. Archived from the original on 12 September 2017. Retrieved 12 September 2017.
  34. ^ "Reicha Rediscovered, Volume 2". Chandos. Retrieved 4 February 2021.
  35. ^ "Reicha Rediscovered, Volume 3". Chandos. Retrieved 4 February 2021.

Sources

  • Bernard de Raymond, Louise (2013). Schneider, Herbert; Bartoli, Jean-Pierre (eds.). Antoine Reicha, compositeur et théoricien (Actes du Colloque international tenu à Paris du 18 au 20 avril 2013). Olms Verlag. ISBN 978-3-4871-5096-3.
  • Demuth, Norman (April 1948). "Antonin Reicha". Music & Letters. 29 (2): 165–172. doi:10.1093/ml/XXIX.2.165. JSTOR 730884.
  • Stove, R. J. (2012). César Franck: His Life and Times. Lanham, Maryland: Scarecrow Press. ISBN 978-0-8108-8207-2.

Further reading Edit

External links Edit

 
Wikimedia Commons has media related to Anton Reicha.

General reference

  • "Anton Reicha". Classical.net. from the original on 14 December 2007. Retrieved 30 August 2018.
  • Essay on Anton Reicha by Charles-David Lehrer for the International Double Reed Society
  • Bill McGlaughlin's article on Reicha for Saint Paul Sunday
  • Beethoven's Contemporaries: Anton Reicha
  • Letters 11 March 2016 at the Wayback Machine written by or concerning Reicha and portraits 11 March 2016 at the Wayback Machine of him in the Digital archives of the Beethoven-Haus, Bonn.
  • Dr David Whitwell's essay on Reicha's pioneering composition for wind band, including extensive quotation from Berlioz' tribute to Reicha in his column for the Journal des débats, 1836
  • "John Humphries' liner note for CD 8.550432 by Michael Thompson Wind Quintet". Naxos.com. Retrieved 19 November 2019.
  • (in Dutch)

Scores

October 22, 2023
anton, reicha, anton, antonín, antoine, joseph, reicha, rejcha, february, 1770, 1836, czech, born, bavarian, educated, later, naturalized, french, composer, music, theorist, contemporary, lifelong, friend, beethoven, best, remembered, substantial, early, contr. Anton Antonin Antoine Joseph Reicha Rejcha 26 February 1770 28 May 1836 was a Czech born Bavarian educated later naturalized French composer and music theorist 1 A contemporary and lifelong friend of Beethoven he is now best remembered for his substantial early contributions to the wind quintet literature and his role as teacher of pupils including Franz Liszt Hector Berlioz and Cesar Franck He was also an accomplished theorist and wrote several treatises on various aspects of composition Some of his theoretical work dealt with experimental methods of composition which he applied in a variety of works such as fugues and etudes for piano and string quartet Anton Reicha 1815Wind Quintets Op 88 No 2 in E flat major 1 Lento Allegro Moderato source source No 2 in E flat major 2 Allegretto source source No 2 in E flat major 3 Poco andante source source No 2 in E flat major 4 Allegretto source source No 3 in G major 1 Lento Allegro assai source source No 3 in G major 2 Andante source source No 3 in G major 3 Scherzo Allegro vivo source source No 3 in G major 4 Finale Allegro vivace source source Performed by the Soni Ventorum Wind Quintet Problems playing these files See media help Wind Quintets Op 91 No 1 in C major 1 Allegro moderato source source No 1 in C major 2 Andante source source No 1 in C major 3 Menuetto Allegretto source source No 1 in C major 4 Finale Rondo Allegro source source No 3 in D major 1 Lento Allegro source source No 3 in D major 2 Adagio source source No 3 in D major 3 Menuetto source source No 3 in D major 4 Allegretto source source No 6 in C minor 1 Marcia Poco adagio Allegro vivace source source No 6 in C minor 2 Larghetto source source No 6 in C minor 3 Minuetto vivace source source No 6 in C minor 4 Finale Capriccio allegro assai source source Performed by the Soni Ventorum Wind Quintet Problems playing these files See media help Wind Quintet Op 100 No 4 1 Adagio Allegro 11 20 source source 2 Andante con variazioni 5 44 source source 3 Minuetto allegro 2 49 source source 4 Finale Allegro vivace 7 37 source source Performed by the Soni Ventorum Wind Quintet Problems playing these files See media help None of the advanced ideas he advocated in the most radical of his music and writings such as polyrhythm polytonality and microtonal music were accepted or employed by other nineteenth century composers Due to Reicha s unwillingness to have his music published like Michael Haydn before him he fell into obscurity soon after his death and his life and work have yet to be intensively studied Contents 1 Life 1 1 1770 1805 early years first visit to Paris and the Viennese period 1 2 1806 1836 departure from Vienna and life in Paris 2 Works 3 Writings 4 Notable recordings 5 Notes 6 Further reading 7 External linksLife Edit1770 1805 early years first visit to Paris and the Viennese period Edit Reicha was born in Prague His father Simon the town piper of the city died when Anton was just 10 months old 2 Apparently Reicha s mother was not interested in her son s education and so in 1780 he ran away from home following a sudden impulse as he recounted in his memoirs he jumped onto a passing carriage 3 He first visited his paternal grandfather in Klatovy and then his paternal uncle Josef Reicha a virtuoso cellist conductor and composer living in Wallerstein Bavaria who adopted him 2 Josef and his wife being childless could give young Anton their full attention Josef taught him violin and piano his wife insisted on him being taught French and German and he was also taught the flute 4 In 1785 the family moved to Bonn where Reicha became a member of the Hofkapelle of Max Franz Elector of Cologne playing violin and second flute in the court orchestra under his uncle s direction 2 The young Beethoven entered the Hofkapelle as violist and organist in 1789 and Reicha befriended him Christian Gottlob Neefe one of the most important figures in the musical life of the city at the time may well have instructed both Reicha and his gifted piano pupil Beethoven in composition and introduced them to the works of Johann Sebastian Bach such as The Well Tempered Clavier From about 1785 Reicha studied composition secretly against his uncle s wishes composing and conducting his first symphony in 1787 and entering the University of Bonn in 1789 where he studied and performed until 1794 when Bonn was attacked and captured by the French He managed to escape to Hamburg 2 vowed never to perform in public again and began to earn a living teaching harmony composition and piano He continued composing and studied mathematics philosophy and significantly methods of teaching composition In 1799 he moved to Paris hoping to achieve success as an opera composer These hopes were dashed however he could neither get his old librettos accepted nor find suitable new ones despite support from friends and influential members of the aristocracy and moved on to Vienna in 1801 Once there like Beethoven and the young Schubert he studied with Antonio Salieri and Johann Georg Albrechtsberger 2 Both were renowned teachers and Albrechtsberger was also an important theorist and acknowledged authority on counterpoint and fugal theory Reicha called on Haydn whom he had met several times in Bonn and Hamburg during the 1790s and renewed his friendship with Beethoven whom he had not seen since 1792 when the latter moved from Bonn to Vienna At this time late 1802 1803 Beethoven s Eroica symphony was in gestation and it is likely that the two men exchanged ideas on fugues in modern composition 5 Reicha s move to Vienna marked the beginning of a more productive and successful period in his life As he wrote in his memoirs The number of works I finished in Vienna is astonishing Once started my verve and imagination were indefatigable Ideas came to me so rapidly it was often difficult to set them down without losing some of them I always had a great penchant for doing the unusual in composition When writing in an original vein my creative faculties and spirit seemed keener than when following the precepts of my predecessors 6 In 1801 Reicha s opera L ouragan which failed in Paris was performed at the palace of Prince Joseph Franz von Lobkowitz a prominent patron of Beethoven Empress Maria Theresa of Naples and Sicily commissioned another opera after this performance Argine regina di Granata which was only privately performed His studies in Hamburg came to fruition here with the publication of several semi didactic encyclopedic works such as 36 Fugues for piano published in 1803 dedicated to Haydn 2 and L art de varier a large scale variation cycle composed in 1803 04 for Prince Louis Ferdinand and the treatise Practische Beispiele published in 1803 which contained 24 compositions 1806 1836 departure from Vienna and life in Paris Edit Reicha s life and career in Vienna were interrupted by Napoleon s November 1805 occupation of the city by French troops In 1806 Reicha travelled to Leipzig to arrange a performance of his new work the cantata Lenore stopping at Prague to see his mother for the first time since 1780 but because Leipzig was blockaded by the French not only was the performance cancelled but he could not return to Vienna for several months When he did return it was not for long because by 1808 the Austrian Empire was already preparing for another war the War of the Fifth Coalition so Reicha decided to move back to Paris 2 He was soon teaching composition privately future prolific composer George Onslow being one of his pupils by 1808 This time three of his many operas were produced but they all failed yet his fame as theorist and teacher increased steadily and by 1817 most of his pupils became professors at the Conservatoire de Paris The following year Reicha himself was appointed professor of counterpoint and fugue at the Conservatoire with the support of Louis XVIII despite opposition from its influential professor of composition and from 1822 director Luigi Cherubini 7 nbsp Anton Reicha s gravestone at Pere Lachaise ParisThis second Paris period produced several important theoretical writings Cours de composition musicale published by 1818 became the standard text on composition at the Conservatoire the Traite de melodie of 1814 a treatise on melody was also widely studied Another semi didactic work 34 Etudes for piano was published by 1817 It was also in Paris that Reicha started composing the 25 wind quintets which proved to be his most enduring works 2 far more conservative musically than the experimental fugues he had written in Vienna but exploiting the skill of his virtuosi from the Opera Comique to extend significantly the technique and musical ambitions of future players of the still evolving wind instruments In 1818 he married Virginie Enaust who bore him two daughters Around this time he taught composition to the future pioneer of the modern oboe Henri Brod and in 1819 he began teaching harmony and music theory to Louise Farrenc after interrupting her studies for her own marriage she completed studies at the Paris Conservatory with Reicha in 1825 8 Reicha stayed in Paris for the rest of his life He became a naturalized citizen of his adopted country in 1829 9 and Chevalier of the Legion d honneur in 1835 That same year he succeeded Francois Adrien Boieldieu at the Academie Francaise He published two more large treatises Traite de haute composition musicale 1824 1826 Treatise on advanced musical composition and Art du compositeur dramatique 1833 Art of dramatic composition on writing opera His ideas expressed in the former work sparked some controversy at the Conservatoire In 1826 Franz Liszt Hector Berlioz and Henri Cohen became students of his as did composers Charles Gounod and Pauline Viardot 10 sometime later Berlioz in his Memoirs 11 acknowledges that Reicha was an admirable teacher of counterpoint who cared about his pupils and whose lessons were models of integrity and thoroughness high praise indeed from one so critical of the Conservatoire in general Frederic Chopin considered studying with him in December 1831 shortly after arriving in Paris from his native Poland but ultimately decided otherwise From June 1835 until Reicha s death in May 1836 the young Cesar Franck took private lessons His notebooks survive in the Bibliotheque Nationale in Paris with Reicha s annotations and a later cryptic comment possibly by Erik Satie 12 showing how hard Reicha worked his 13 year old pupil Reicha was buried at the Pere Lachaise Cemetery and Luigi Cherubini resumed the teaching of counterpoint at the Conservatoire replacing Reicha s heretical work on fugue with his own as the standard text Works EditIt is difficult to present a coherent list of Reicha s works because the opus numbers assigned to them at the time of publication are in disarray some pieces were supposedly lost and many works were published several times sometimes as part of larger collections His surviving oeuvre covers a vast array of genres and forms from opera to piano fugues He is best known today for his 25 wind quintets composed in Paris between 1811 and 1820 which were mostly premiered from 1817 in the foyer of the Theatre Favart by some of the world s finest wind soloists 13 to such effect that they were played all over Europe shortly afterward Reicha claimed in his memoirs that his wind quintets filled a void At that time there was a dearth not only of good classic al music but of any good music at all for wind instruments simply because the composers knew little of their technique 14 Indeed Reicha s experiences as a flautist must have helped in the creation of these pieces in which he systematically explored the possibilities of the wind ensemble and invented an extended sonata form variant that could accommodate as many as five principal themes 15 Reicha wrote his first experimental quintet in 1811 the incomparably superior first two of the later published quintets of Opus 88 were written by 1814 after further study of the instruments and collaboration with his players with the remaining four completed before publication in 1817 Three further sets of six were published as Opus 91 in 1818 Opus 99 in 1819 and Opus 100 in 1820 13 nbsp The final piano exercise of Reicha s Op 30 featuring two staves of music for each hand and four different clefsMusically the wind quintets represent a more conservative trend in Reicha s oeuvre when compared to his earlier work namely the compositions of the Viennese period In the quintets as he describes in his preface Reicha wanted to expand the technical limits of the five still evolving wind instruments hand horn un rationalised flute and clarinet double reeds with fewer keys and thereby also the ambitions of amateur wind players by establishing a nucleus for a corpus of substantial work like that available to string players and consciously more serious than the Harmoniemusik of the last century His writing combines virtuoso display often still very challenging today yet idiomatic for each instrument popular elements from the comic opera his soloists played from his Bohemian folk heritage from the military background to his life many marches walking themes and fanfares and his lifelong more academic interests in variation form and counterpoint Four of the quintets have trios in passacaglia form the repeating theme however being on different instruments in each case so not necessarily in the bass The earlier Beethoven connection now severed 5 is revisited in the scherzo of the quintet in E flat Op 100 no 3 which contains clear musical quotations most obvious in the horn part from both the scherzo of his Eroica also in E flat major and the first movement of his 5th symphonies Berlioz 11 says the quintets enjoyed a certain vogue in Paris for a number of years They are interesting pieces but a little cold while Louis Spohr who was visiting Paris in 1820 21 and reserved judgment until he had heard several performed assessed them in a letter home which he included in his autobiography as having too many ideas linked carelessly or not at all were he less rich he would be richer yet the minuets and scherzi as short pieces are less open to this objection and some of them are real masterpieces in form and contents 16 Spohr was generally impressed by the virtuosity of the wind soloists and was very pleased with their performance of his own piano and wind quintet Berlioz 11 also comments on two of the players in other works Joseph Guillou de the first flute has to dominate so he transposes the flute line up an octave thus destroying the composer s intention p 56 of Gustave Vogt s cor anglais playing he says p 23 However remarkable the singer I find it hard to believe she can ever have made it sound as natural and touching as it did on Vogt s instrument Reicha was particularly close personally to the horn player L F Dauprat who was nominated by the family s lawyer as a surrogate guardian to Reicha s two daughters at his death 17 Technical wizardry also prevails in compositions that illustrate Reicha s theoretical treatise Practische Beispiele Practical Examples of 1803 where techniques such as bitonality and polyrhythm are explored in extremely difficult sight reading exercises 18 36 fugues for piano published in 1803 was conceived as an illustration of Reicha s neue Fugensystem i e those new ideas about fugues which had piqued Beethoven 5 Reicha proposed that second entries of fugue subjects in major keys could occur in keys other than the standard dominant to widen the possibilities for modulations and undermine the conservative tonal stability of the fugue 19 The fugues of the collection not only illustrate this point but also employ a variety of extremely convoluted technical tricks such as polyrhythm no 30 combined nos 24 28 asymmetrical no 20 and simply uncommon no 10 is in 12 4 no 12 in 2 8 meters and time signatures some of which are derived from folk music an approach that directly anticipates that of later composers such as Bela Bartok 20 No 13 is a modal fugue played on white keys only in which cadences are possible on all but the 7th degree of the scale without further alteration Six fugues employ two subjects one has three and No 15 has six In several of the fugues Reicha established a link with the old tradition by using subjects by Haydn no 3 Bach no 5 Mozart no 7 Scarlatti no 9 Frescobaldi no 14 and Handel no 15 Many of the technical accomplishments are unique to fugue literature nbsp Fugue No 15 from 36 Fugues of 1803 features six subjects developed simultaneouslyThe etudes of op 97 Etudes dans le genre fugue published in Paris by 1817 are similarly advanced Each composition is preceded by Reicha s comments for young composers Thirty of the 34 etudes included are fugues and every etude is preceded by a prelude based on a particular technical or compositional problem Again an exceptionally large number of forms and textures is used including for example the variation form with extensive use of invertible counterpoint no 3 or an Andante in C minor based on the famous Folia harmonic progression Reicha s massive cycle of variations L art de varier uses the same pedagogical principle and includes variations in the form of four voice fugues program music variations toccata like hand crossing variations etc foreshadowing in many aspects not only Beethoven s Diabelli Variations but also works by Schubert Wagner and Debussy 21 Many of Reicha s string quartets are similarly advanced and also anticipate numerous later developments The eight Vienna string quartets 1801 1805 are among his most important works Though largely ignored since Reicha s death they were highly influential during his lifetime and left their mark on the quartets of Beethoven and Schubert 22 much as Bach s Well Tempered Clavier was ignored by the public but well known to Beethoven and Chopin Reicha also wrote prolifically for various kinds of ensembles other than wind quintets and string quartets including violin sonatas piano trios horn trios flute quartets various works for solo wind or string instruments accompanied by strings and works for voice He also wrote in larger scale genres including at least eight known symphonies seven operas and choral works such as a Requiem Much of Reicha s music remained unpublished and or unperformed during his life and virtually all of it fell into obscurity after his death This is partly explained by Reicha s own decisions he reflected on in his autobiography Many of my works have never been heard because of my aversion to seeking performances I counted the time spent in such efforts as lost and preferred to remain at my desk 6 He also frequently advocated ideas such as the use of quarter tones that were too far ahead of his time to be understood by his contemporaries 23 Writings EditThis section needs additional citations for verification Please help improve this article by adding citations to reliable sources in this section Unsourced material may be challenged and removed Find sources Anton Reicha news newspapers books scholar JSTOR February 2018 Learn how and when to remove this template message Reicha s major theoretical and pedagogical works include the following Practische Beispiele ein Beitrag zur Geistescultur des Tonsetzers begleitet mit philosophisch practischen Anmerkungen 1803 a didactic work that includes 25 sight reading exercises of extreme difficulty some of which were later published separately or in collections such as the 36 fugues The exercises are divided into three groups one for polyrhythm one for polytonality and one that included exercises written on four staves and so required knowledge of the alto and tenor clefs Traite de melodie Paris 1814 on melody translated into German by Czerny Cours de composition musicale ou Traite complet et raisonne d harmonie pratique 1818 on composition translated into German by Czerny From Chapter 9 of Czerny s Letters to a Young Lady My view was only to give you a general idea of Harmony or Thorough Bass and when you begin the study of it in a regular manner and I hear with pleasure that you are shortly about to do so and that your worthy teacher has selected for the purpose the excellent Treatise on Harmony by Reicha Traite de haute composition musicale 2 vols 1824 1826 translated into German by Czerny around 1835 In this late treatise Reicha expressed some of his most daring ideas such as the use of quarter tones and folk music which was almost completely neglected at the time 24 An article in this treatise deals with the problem of irregular resolution of dissonant chords formulating a simple law for its successful employment this article was so innovative and celebrated that it was published even by itself in the past and in the present the latest English translation being the one by Lorenzo M A Giorgi A new theory for the resolution of discords according to the Modern Musical System 2017 25 L art du compositeur dramatique 4 vols 1833 on the writing of opera Provides an exhaustive account of contemporary performance techniques and is supplemented with examples from Reicha s own operas nbsp Grand Duo Lento source source Performed by Felix Skowronek flute and Marshall Winslow piano Variations for bassoon and a string quartet transcription for bassoon and piano source source Performed by Arthur Grossman bassoon and Neil O Doan piano Problems playing these files See media help In addition to these a number of smaller texts by him exist These include an outline of Reicha s system for writing fugues Uber das neue Fugensystem published as a foreword to the 1805 edition of 36 fugues Sur la musique comme art purement sentimental before 1814 literally On music as a purely emotional art Petit traite d harmonie pratique a 2 parties c 1814 a short practical treatise on harmony a number of articles and the poem An Joseph Haydn published in the preface to 36 fugues which were dedicated to Haydn Notable recordings EditHorn Trios 1980 Zdenek Tylsar Bedrich Tylsar Emanuel Hrdina Supraphon VT 2976 2 26 Complete Wind Quintets 1990 The Albert Schweitzer Quintet 10 CDs CPO 9992502 27 36 Fugues Op 36 1991 1992 Tiny Wirtz piano 2 CDs CPO 999 065 2 28 Complete Wind Quintets 2005 2012 The Westwood Wind Quintet 12 CDs Crystal Records CD260 29 36 Fugues 2006 Jaroslav Tuma fortepiano Anton Walter 1790 2 CDs ARTA F101462 30 Complete Symphonies 2011 Ondrej Kukal conducting Prague Radio Symphony Orchestra 2 CDs Radioservis CR0572 2 31 Musique de Chambre 2017 Solistes de la Chapelle Musicale Reine Elisabeth 3 CDs ALPHA369 32 Reicha Rediscovered Volume 1 2017 Ivan Ilic piano 1 CD CHAN 10950 33 Reicha Rediscovered Volume 2 Etudes dans le genre Fugue Op 97 Nos 1 13 2018 Ivan Ilic piano 1 CD CHAN 20033 34 Reicha Rediscovered Volume 3 L Art de varier ou 57 variations pour le piano Op 57 2021 Ivan Ilic piano 1 CD CHAN 20194 35 Notes Edit The Harvard Biographical Dictionary of Music p 735 a b c d e f g h Cernusak Gracian Stedron Bohumir Novacek Zdenko eds 1963 Ceskoslovensky hudebni slovnik II M Z in Czech Prague Statni hudebni vydavatelstvi p 415 Hoyt Peter A March 1993 Review of Olga Sotolova s Antonin Rejcha Deryck Viney translator Notes Second Series Music Library Association 49 3 996 998 doi 10 2307 898945 JSTOR 898945 Demuth 1948 p 166 a b c Rice John A Beethoven Reicha and the Eroica Archived from the original on 6 December 2022 Retrieved 30 August 2018 a b Reicha s autobiography Notes sur Antoine Reicha quoted in Ron Drummond Program Notes for a Performance of Antonin Rejcha s C Minor String Quartet Stove 2012 p 21 Friedland Bea 1980 Louise Farrenc 1804 1875 Composer Performer Scholar UMI Research Press pp 10 14 ISBN 0 8357 1111 0 Demuth 1948 p 167 Jezic Diane Peacock Wood Elizabeth 1994 Women Composers The Lost Tradition Found Feminist Press at the University of New York p 103 ISBN 1 55861 074 X a b c Berlioz Hector translated by Cairns David 1865 1912 2002 The Memoirs of Hector Berlioz Hardback Everyman s Library Random House ISBN 0 375 41391 X pp 20 21 Stove 2012 pp 22 23 a b John Humphries liner note for CD 8 550432 by Michael Thompson Wind Quintet Naxos com Retrieved 19 November 2019 Reicha s autobiography Notes sur Antoine Reicha quoted in Bill McGlaughlin s A World of Winds Making Your Own Quintet The Father of the Wind Quintet see 1 Ron Drummond Anton Reicha A Biographical Sketch Spohr Louis 1865 Louis Spohr s Autobiography London Longman republished Travis amp Emery Music Bookshop 2010 p 131 ISBN 978 1 84955 111 3 Bernard de Raymond 2013 p 22 Demuth 1948 p 171 Walker Alan 1987 Franz Liszt Volume One the Virtuoso Years 1811 1847 Ithaca NY Cornell University Press p 94 ISBN 0 8014 9421 4 Vaclav Jan Sykora Preface to an edition of 36 Fugues for Piano Kassel Barenreiter 1973 Nos 19117 19119 Jan Racek Foreword to the critical edition of L art de varier Praha Statni hudebni vydavatelstvi 1961 Ron Drummond The String Quartets of Anton Reicha Introduction Demuth 1948 pp 169 170 Demuth 1948 p 172 Giorgi Lorenzo MA 2017 A new theory for the resolution of discords according to the Modern Musical System CreateSpace Independent Publishing Platform ISBN 978 1546308607 Rejcha Tria pro lesni rohy Zdenek Tylsar Bedrich Tylsar Emanuel Hrdina Supraphon in Czech Retrieved 26 April 2023 Reicha s Wind Quintets Presto Classical Retrieved 12 June 2016 Reicha 36 Fugues Op 36 ArkivMusic Archived from the original on 20 December 2016 Retrieved 12 June 2016 Complete Recordings of Reicha s Wind Quintets by Westwood Wind Quintet Crystal Records Retrieved 12 June 2016 Reicha 36 Fugues for Piano Amazon Retrieved 12 June 2016 Reicha Four Symphonies Amazon Retrieved 12 June 2016 Reicha Musique de Chambre Presto Music Retrieved 7 August 2022 Reicha Rediscovered Volume 1 ArkivMusic Archived from the original on 12 September 2017 Retrieved 12 September 2017 Reicha Rediscovered Volume 2 Chandos Retrieved 4 February 2021 Reicha Rediscovered Volume 3 Chandos Retrieved 4 February 2021 Sources Bernard de Raymond Louise 2013 Schneider Herbert Bartoli Jean Pierre eds Antoine Reicha compositeur et theoricien Actes du Colloque international tenu a Paris du 18 au 20 avril 2013 Olms Verlag ISBN 978 3 4871 5096 3 Demuth Norman April 1948 Antonin Reicha Music amp Letters 29 2 165 172 doi 10 1093 ml XXIX 2 165 JSTOR 730884 Stove R J 2012 Cesar Franck His Life and Times Lanham Maryland Scarecrow Press ISBN 978 0 8108 8207 2 Further reading EditOlga Sotolova Antonin Rejcha A Biography and Thematic Catalogue Deryck Viney translator Supraphon Prague 1990 ISBN 80 7058 169 7 The standard monograph on Reicha Contains numerous errors but is richly informative on many aspects of Reicha s life see Hoyt 1993 above Stone Peter Eliot 2001 Antoine Reicha In Sadie Stanley Tyrrell John eds The New Grove Dictionary of Music and Musicians 2nd ed London Macmillan Publishers ISBN 978 1 56159 239 5 External links Edit nbsp Wikimedia Commons has media related to Anton Reicha General reference Anton Reicha Classical net Archived from the original on 14 December 2007 Retrieved 30 August 2018 Essay on Anton Reicha by Charles David Lehrer for the International Double Reed Society Bill McGlaughlin s article on Reicha for Saint Paul Sunday Beethoven s Contemporaries Anton Reicha Letters Archived 11 March 2016 at the Wayback Machine written by or concerning Reicha and portraits Archived 11 March 2016 at the Wayback Machine of him in the Digital archives of the Beethoven Haus Bonn Dr David Whitwell s essay on Reicha s pioneering composition for wind band including extensive quotation from Berlioz tribute to Reicha in his column for the Journal des debats 1836 John Humphries liner note for CD 8 550432 by Michael Thompson Wind Quintet Naxos com Retrieved 19 November 2019 Klassiekemuziek Anton Reicha in Dutch Scores Free scores by Anton Reicha at the International Music Score Library Project IMSLP Anton Reicha Wind Quintets free scores The Royal Library Copenhagen Retrieved 29 October 2008 Portals nbsp Biography nbsp Classical music Retrieved from https en wikipedia org w index php title Anton Reicha amp oldid 1174385184, wikipedia, wiki, book, books, library,

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