Scan 87
Grove's dictionary of music and musicians;, 1904
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11697 to 1703. In 1712, he succeeded Fux as Capellmeister to the Gnadenbild in St. Stephen's, and in 1715 became Capellmeister of the cathedral itself. He died August 29, 1738. His church music (see list in the Quellen-Lexikon), was sound, without being remarkable. On Jan. 8, 1695, he was knighted in Rome by Count Francesco Sforza, on whose family Pope Paul III. had bestowed the privilege of conferring that honour in 1539. His son,
3GEORG KARL (generally known by his first name only), according to the cathedral register, was born in Vienna, April 6, 1708, became Court-composer in 1731, and succeeded his father in 1738 as Capellmeister of the cathedral. In 1746 he was appointed second Court-capellmeister, his duty being to conduct the music of the Emperor's church, chamber, and dinner-table. On Predieri's retirement in 1751 Reutter exercised the functions of chief Court-capellmeister, but did not receive the title till the death of the former in 1769. As an economical measure he was allowed the sum of 20,000 gulden (£2000) to maintain the court-capelle (the whole body of musicians, vocal and instrumental), and he enjoys the melancholy distinction of having reduced the establishment to the lowest possible ebb. Reutter composed for the court numerous operas, cantatas d'occasion, and Italian oratorios for Lent; also a requiem, and smaller dramatic and sacred works. His grand masses are showy, with rapid and noisy instrumentation, so much so that 'rushing(rauschende) violins à la Reutter' became a proverb. Burney heard one of them during his visit to Vienna in 1772, and says 'it was dull, dry stuff; great noise and little meaning characterised the whole performance' (Present State of Music in Germany, i. 361). In 1731 Reutter married Therese Holzhauser, a court singer of merit, who died in 1782. His own death took place March 12, 1772. He was much favoured at court owing to his great tact; and Maria Theresa ennobled him in 1740 as 'Edler von Reutter.' His name is inseparably associated with that of Haydn, whom he heard sing as a boy in the little town of Hainburg, and engaged for the choir of St. Stephen's, where he sang from 1740 to 1748. His treatment of the poor chorister, and his heartless behaviour when the boy's fine voice had broken, are mentioned under HAYDN, vol. ii. pp. 349-350. See Stollbrock's biography in the Vierteljahrsschrift, 8, p. 165 ff., also the Quellen-Lexikon, where a list of his compositions will be found.
5C. F. P.
7RÊVE, LE. Lyric drama in four acts, text by Louis Gallet after Zola, music by Alfred Bruneau. Produced at the Opéra-Comique, Paris, June 18, 1891, and at Covent Garden, Oct. 29, 1891.
9REVEILLÉ. See Military Sounds and Signals, vol. iii. pp. 204-209.
11REVERSE. See Recte et Retro, Rovescio.
13REVUE ET GAZETTE MUSICALE, the oldest and most complete of French musical periodicals. This branch of literature has taken root in France with great difficulty. So far back as Jan. 1770, M. de Breuilly and other amateurs founded the Journal de Musique (monthly, 8vo), which after a troubled existence of three years was dropped till 1777, and then resumed for one year more. In 1810 Fayolle started Les Tablettes de Polyphonic (8vo), but it did not survive beyond 1811. Undeterred by these failures, Fétis brought out the first number of the Revue musicale in January 1827. It appeared four times a month, each number containing twenty-four pages 8vo, till Feb. 5, 1831, when it was published weekly, in small 4to, double columns. La Gazette musicale de Paris, started Jan. 5, 1834, was similar in size to Fétis's Revue and also weekly, but issued on Sunday instead of Saturday. The two were united on Nov. 1, 1835, since which date the Revue et Gazette musicale twice enlarged its form, in 1841 and in 1845, at which date it became what it was till its last number, Dec. 31, 1880.
15The property of the publishers Schlesinger & Brandus, this periodical was always noted for the reputation and ability of its editors. Amongst its regular contributors have been: Berlioz, P. Bernard, M. Bourges, Chouquet, Comettant, Danjou, Ernest David, F. J. Fétis, O. Fouque, Heller, A. Jullien, Kastner, Lacome, A. de La Fage, Liszt, d'Ortigues, Pougin, Monnais ('Paul Smith'), Richard Wagner, and Johannes Weber. A careful reader of the forty-seven volumes will easily recognise the sentiments of the various editors through whose hands it passed; among those deserving special mention are Fétis, Édouard Monnais, and M. Charles Bannelier, who conducted it from 1872 with equal learning and taste. The indexes given with each volume are a great boon, and constitute one of its advantages over other French periodicals of the same kind.
17G. C.
19REY, JEAN BAPTISTE (I), born at Lauzerte (Tarn et Garonne), France, Dec. 18, 1724. His musical studies began at an early age at Toulouse, where he became a chorister at the Abbey of Saint Sernin. There he remained until the age of seventeen, when he competed for and obtained the position of Maître de Chapelle at the Cathedral of Auch. Three years later, in 1739, a dispute with the authorities caused him to resign this position and return to Toulouse, where he became chef d'orchestre at the opera. Until the age of forty he filled similar posts at Montpellier, Marseilles, Bordeaux, and Nantes. It was at the last-named town that a summons to Paris to assist in the production of Gluck's 'Alceste' reached him in 1776. Three years later Louis XVI. appointed him Maître de la Musique de Chambre, with a salary of 2000 frs. In the
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