ANTON See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

JOSEPH See also:

• ANTON JOSEPH REICHA (1770-1836)

REICHA (1770-1836)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French musical theorist and teacher of See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• PRAGUE (Ger. Prag; Bohemian Praha)

Prague on the 27th of See also:

• FEBRUARY

February 1770, and educated chiefly by his See also:

• UNCLE

uncle, See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph See also:

• REICHA, ANTON JOSEPH (1770-1836)

Reicha (1746-1795), a See also:

• CLEVER

clever violoncellist, who first received him into his See also:

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

house at Wallerstein in Bohemia, and afterwards carried him to See also:

• BONN

Bonn . Here, about 1789, he was made flutist in the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra of the elector . In 1794 he went to See also:

• HAMBURG

Hamburg and gave See also:

• MUSIC

music lessons there, also producing the See also:

• OPERA (Italian for " work ")

opera Godefroid de See also:

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

Montfort . He was in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris in 1799 and in See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna from 1802 to 18o8, during which See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period he saw much of See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven and See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn . In the latter See also:

• YEAR

year he returned to Paris) where he produced three operas without much success . In 1817 he succeeded Maul as See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of See also:

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

counterpoint at the See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire . In 1829 he was naturalized as a Frenchman, and in 1835 he was admitted as a member of the See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute in the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of See also:

• BOIELDIEU, FRANCOIS ADRIEN (1775-1834)

Boieldieu . He died in Paris on the 28th of May 1836 . He produced a vast quantity of See also:

• 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 under various forms—Scottish kirk, 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)

church music, five operas, a number of symphonies, oratorios and many See also:

• MISCELLANEOUS

miscellaneous See also:

• WORKS

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 See also:

• ART

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 .