Scan 88
Grove's dictionary of music and musicians;, 1904
10 lines. Read by computer on 7 September 2026. Printed page 80. See the scan on archive.org.
1same year the King decorated him with the Order of Saint Michel, and appointed him Surintendant de la Chapelle. According to Fétis and Brenet, Rey conducted the orchestra of the Concert Spirituel between 1782 and 1786, and some of his compositions were performed there. After the French Revolution, he was elected a member of the Committee of Administration for the Affairs of the Opera, and the decree which established the Conservatoire of Music in 1795, named him one of the professors of harmony. It was there that F. J. Fétis became a pupil of Rey, and was instructed by him according to the complicated principles of Rameau. So staunch was his adherence to bygone traditions that he became involved in the turbulent discussions which were roused by Catel's innovations. Finally his championship of his friend Lesueur brought about his dismissal from the Conservatoire in 1802. Napoleon soothed his wounded feelings by nominating him his Maître de Chapelle two years later. He held this appointment for five years, but the death of his daughter, who was a talented pianist, plunged him into an abandonment of grief, which caused his death, July 15, 1810. As a conductor, Rey was closely associated with all the great composers of his day and assisted in the productions of the masterpieces of Piccini, Gluck, Paisiello, Grétry, Lemoine, and Méhul. Sacchini, on his death-bed, entrusted the completion of his opera 'Armire et Evelina' to his friend Rey. This commission was conscientiously executed by him, and the opera was produced April 29, 1788. He is also said to have written all the ballet music in the same composer's opera 'Oedipe à Colone,' and in Salieri's 'Tarare.'
3His original compositions comprise some MS. motets with orchestra, several of which were performed in the Chapelle du Roi, and some solfège studies which are included in the third part of the 'Solfèges du Conservatoire de Paris.' His two-act opera 'Diana and Endymion' was produced in Paris in 1791, and the opera in one act, entitled 'Apollon et Coronis,' was performed at the Académie Royale de Musique, in 1781. This last was written in conjunction with his brother,
5REY, LOUIS CHARLES JOSEPH, who was born at Lauzerte, Oct. 26, 1738, and died May 12, 1811. Also a chorister at the Abbey of St. Sernin, Toulouse, he became a violoncellist in the theatre orchestra at Montpellier, and came to Paris in 1755 to profit by Berteau's teaching. Two years later he occupied the post of violoncellist at the principal theatre in Bordeaux, an appointment which he held for nine years. At the end of the year 1766, he became a member of the Paris opera orchestra, and in 1772 was admitted into the orchestra of the Chapelle du Roi. After forty years' service Rey retired from the orchestra with a pension in 1806. Fétis says that he cut his throat in delirium caused by a nervous fever. He wrote some trios for two violins and violoncello; some duos for violin and violoncello, etc., and a brochure entitled: Mémoire justicatif des Artistes de l'Académie Royale de Musique, ou response à la lettre qui leur a été adressée le 4 Sept. 1789. This last was a reply to Papillon de Laferte's complaints of the behaviour of the members of the opera orchestra.—Brenet, M., Les Concerts en France; Saint Laurent, Dictionnaire Encyclopédique; Nouvelle Biographie Générale, Paris, 1843; Fétis, Biog. des Mus. Journal de Paris, July 19, 1810.
7REY, JEAN BAPTISTE, (II), born at Tarascon about 1760, is said to have taught himself the harpsichord, violin, and violoncello; occupied the post of Maître de Musique at the cathedrals of Verviers and Uzes, and went to Paris in 1785, establishing himself there as a professor of music. A year later he was admitted into the opera orchestra, and held an appointment as violoncellist until his death, at Paris in 1822. A potpourri (op. 1) of his for pianoforte was published by Leduc, in Paris, and Nadermann of Paris brought out his Cours élémentaire de Musique et de Piano. In 1807 the same firm published his Exposition élémentaire de l'harmonie; théorie générale des accords d'après les différents genres de Musique. Copies of this last work are in the Bibliothèque at Brussels, in the British Museum, London, and also in Glasgow. The Quellen-Lexikon mentions twelve sonatas for violoncello, op. 4.—J. B. Wekerlin, Bibl. du Conservatoire Nat. de Paris; Fétis, Biog. des Mus.
9REYER, ERNEST, whose real name is Rey, was born at Marseilles, Dec. 1, 1823. As a child he learned solfège at the free school of music founded by Barsotti (born in Florence, 1786; died at Marseilles, 1868), and became a good reader, though he did not carry his musical education far. At sixteen he went to Algiers as a government official, but continued his pianoforte practice, and began to compose without having properly learned harmony and counterpoint. He was soon able to write romances which became popular, and composed a mass which was solemnly performed before the Duc and Duchesse d'Aumale. The Revolution of 1848 deprived him of the support of the Governor-General, and he returned to Paris, and placed himself in the hands of his aunt Mme. Louise Farrenc, who completed his musical education, and before long he found an opportunity of coming before the public. From his friend Théophile Gautier he procured the libretto of 'Le Selam,' an oriental 'Symphony' in four parts, on the model of David's 'Le Désert.' It was produced with success, April 5, 1850, and then Méry furnished him with 'Maître Wolfram,' a one-act opera, which was also successful, at the Théâtre Lyrique, May 20,
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