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ANTON See also: born at See also: Prague on the 27th of See also: February 1770, and educated chiefly by his See also: uncle, See also: Joseph See also: Reicha (1746-1795), a See also: clever violoncellist, who first received him into his See also: house at Wallerstein in Bohemia, and afterwards carried him to See also: Bonn
.
Here, about 1789, he was made flutist in the orchestra of the elector
.
In 1794 he went to See also: Hamburg and gave See also: music lessons there, also producing the See also: opera Godefroid de Montfort
.
He was in See also: Paris in 1799 and in Vienna from 1802 to 18o8, during which See also: period he saw much of See also: Beethoven and See also: Haydn
.
In the latter See also: year he returned to Paris) where he produced three operas without much success
.
In 1817 he succeeded Maul as professor of counterpoint 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 See also: church music, five operas, a number of symphonies, oratorios and many
See also: miscellaneous See also: 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 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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