REICHA, ANTON JOSEPH (1770-1836)

This article appears in Volume V23, Page 48 of the Encyclopedia Britannica.

Encyclopedia Britannica - Main :: RAY-RHU

REICHA, ANTON JOSEPH (1770-1836) , French musical theorist and teacher of composition, was born at Prague on the 27th of

February

FEBRUARY

1770, and educated chiefly by his uncle, Joseph Reicha (1746-1795), a clever violoncellist, who first received him into his

house

HOUSE
HOUSE (O. Eng. hiss, a word common to Teutonic
languages
- LANGUAGES
, cf. Dut. huis, Ger. Haus; in
Gothic
- GOTHIC
it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

at Wallerstein in Bohemia, and afterwards carried him to

Bonn

BONN

. Here, about 1789, he was made flutist in the orchestra of the elector. In 1794 he went to Hamburg and gave music lessons there, also producing the opera Godefroid de

Montfort

MONTFORT
MONTFORT, SIMON DE, EARL OF LEICESTER (d. 1265)

. He was in Paris in 1799 and in Vienna from 1802 to 18o8, during which period he saw much of Beethoven and Haydn. In the latter year he returned to Paris) where he produced three operas without much success. In 1817 he succeeded Maul as professor of

counterpoint

COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

at the Conservatoire. In 1829 he was naturalized as a Frenchman, and in 1835 he was admitted as a member of the Institute in the place of Boieldieu. He died in Paris on the 28th of May 1836. He produced a vast quantity of

church

CHURCH
CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other
languages
- LANGUAGES
under various forms—Scottish
kirk
- KIRK, SIR JOHN (1832- )
, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
CHURCH, FREDERICK EDWIN (1826-1900)
CHURCH, GEORGE EARL (1835–1910)
CHURCH,
RICHARD
WILLIAM (1815–189o)
CHURCH, SIR
RICHARD
(1784–1873)

music, five operas, a number of symphonies, oratorios and many miscellaneous works. Though clever and ingenious, his compositions are more remarkable for their novelty than for the beauty of the ideas upon which they are based. His fame is, indeed, more securely based upon his didactic works. His Traite de melodie (Paris, 1814), Cours de composition musicale (Paris, 1818), Traite de haute composition musicale (Paris, 1824-26), and Art du compositeur dramatique (Paris, 1833), are valuable and instructive essays for the student, though many of the theories they set forth are now condemned as erroneous.

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