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Scan 78
Groves Dictionary of Music and Musicians, 1918
14 lines. Read by computer on 10 September 2026. Printed page 52. See the scan on archive.org.
1Theresa was of great service to him, and at her request he composed an Italian opera, 'Argina, regina di Granata.' During this happy period of his life he published symphonies, oratorios, a requiem, six string quintets, and many solos for PF. and other instruments. He himself attached great importance to his '36 Fugues pour le piano,' dedicated to Haydn, but they are not the innovations which he believed them to be; in placing the answers on any and every note of the scale he merely reverted to the Ricercari of the 17th century, and the only effect of this abandonment of the classic laws of Real fugue was to banish tonality.
3The prospect of another war induced Reicha to leave Vienna, and he settled finally in Paris in 1808. He now realised the dream of his youth, producing first 'Cagliostro' (Nov. 27, 1810), an opéra-comique composed with Dourlen; and at the Académie, 'Natalie' (three acts, July 30, 1816), and 'Sapho' (Dec. 16, 1822). Each of these works contains music worthy of respect, but they had not sufficient dramatic effect to take with the public.
5Reicha's reputation rests on his chamber-music, and on his theoretical works. Of the former the following deserve mention: a diecetto for five strings and five wind instruments; an octet for four strings and four wind instruments; twenty-four quintets for flute, oboe, clarinet, horn and bassoon; six quintets and twenty quartets for strings; one quintet for clarinet and strings; one quartet for PF., flute, violoncello, and bassoon; one do. for four flutes; six do. for flute, violin, tenor, and violoncello; six string trios; one trio for three violoncellos; twenty-four do. for three horns; six duets for two violins; twenty-two do. for two flutes; twelve sonatas for PF. and violin, and a number of sonatas and pieces for PF. solo. He also composed symphonies and overtures. These works are more remarkable for novelty of combination and striking harmonies, than for abundance and charm of ideas. Reicha's faculty for solving musical problems brought him into notice among musicians when he first settled in Paris, and in 1818 he was offered the professorship of counterpoint and fugue at the Conservatoire. Among his pupils there were Boilly, Jelensperger, Bienaimé, Millaut, Lefebvre, Elwart, Pollet, Lecarpentier, Danel, and others.
7His didactic works, all published in Paris, are: Traité de Mélodie, etc. (4to, 1814); Cours de composition musicale, etc. (1816); Traité de haute composition musicale (first part 1824, second 1826), a sequel to the other two; and Art du compositeur dramatique, etc. (4to, 1833).
9Fétis has criticised his theories severely, and though highly successful in their day, they are now abandoned, but nothing can surpass the clearness and method of his analysis, and those who use his works will always find much to be grateful for. Czerny published a German translation of the Traité de haute composition (Vienna, 1834, four vols. folio), and in his Art d'improviser obviously made use of Reicha's Art de varier—fifty-seven variations on an original theme.
11Reicha married a Parisian, was naturalised in 1829, and received the Legion of Honour in 1831. He presented himself several times for election to the Institut before his nomination as Boieldieu's successor in 1835. He only enjoyed his honours a short time, being carried off by inflammation of the lungs, May 28, 1836. His death was deplored by the many friends whom his trustworthy and honourable character had attached to him. A life-like portrait, somewhat spoiled by excessive laudation, is contained in the Notice sur Reicha (Paris, 1837, 8vo), by his pupil Delaire. G. C.
13REICHARDT, ALEXANDER, a tenor singer, was born at Packs, Hungary, April 17, 1825. He received his early instruction in music from an uncle, and made his first appearance at the age of eighteen at the Lemberg theatre as Rodrigo in Rossini's 'Otello.' His success there led him to Vienna, where he was engaged at the Court Opera, and completed his education under Gentiluomo, Catalani, etc. At this time he was much renowned for his singing of the Lieder of Beethoven and Schubert, and was in request at all the soirées; Prince Esterhazy made him his Kammersänger. In 1846 he made a tournée through Berlin, Hanover, etc., to Paris, returning to Vienna. In 1851 he made his first appearance in England, singing at the Musical Union, May 6, and at the Philharmonic, May 12, at many other concerts, and before Queen Victoria. In the following season he returned and sang in Berlioz's 'Romeo and Juliet,' at the new Philharmonic Concert of April 14, also in the Choral Symphony, Berlioz's 'Faust,' and the 'Walpurgisnight,' and enjoyed a very great popularity. From this time until 1857 he passed each season in England, singing at concerts, and at the Royal Opera, Drury Lane, and Her Majesty's Theatre, where he filled the parts of the Count in 'The Barber of Seville,' Raoul in 'The Huguenots,' Belmont in the 'Seraglio,' Don Ottavio in 'Don Juan,' and Florestan in 'Fidelio.' The last was a very successful impersonation, and in this part he was said 'to have laid the foundation of the popularity which he has so honourably earned and maintained in London.' He also appeared with much success in oratorio. In 1857 he gave his first concert in Paris, in the Salle Erard, and the following sentence from Berlioz's report of the performance will give an idea of his style and voice. 'M. Reichardt is a tenor of the first water—sweet, tender, sympathetic and charming. Almost all his pieces were demanded, and he sang them again without a sign of fatigue.' In 1860 he settled in Boulogne,
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