ERNEST See also:

• ERNEST REYER (1823- )

REYER (1823- )  , See also:

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

French composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• MARSEILLES

Marseilles on the 1st of See also:

• DECEMBER (Lat. decent, ten)

December 1823 . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of sixteen he went to See also:

• ALGERIA
• ALGERIA (Algerie)

Algeria, and remained there some years . The out-come of his See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence there was a symphonic See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

ode entitled Le Selam, the musical orientalism of which had, unluckily for him, already been anticipated by Felicien See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David in Le See also:

• DESERT

Desert . Maitre Wolfram. a one-See also:

• ACT (Lat. actus, actum)

act See also:

• OPERA (Italian for " work ")

opera, was produced at the Opera comique II in 1854; and in 1858 Sacuntala, a See also:

• BALLET

ballet, at the Opera . It was the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of La Statue at the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

Theatre lyrique in 1861 that brought See also:

• REYER, ERNEST (1823- )

Reyer's name prominently before the public . But Reyer had to wait several years before obtaining a real and permanent success . Erostrate, an opera produced at See also:

• BADEN
• BADEN, GRAND DUCHY OF

Baden-Baden in 1862, and given at the 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 Opera some ten years later, was a failure . The composer had in the meanwhile set to See also:

• WORK

work on See also:

• SIGURD (Sigur6r)

Sigurd, the subject of which is the same that inspired See also:

• WAGNER, ADOLF (1835- )
• WAGNER, RUDOLPH (1805-1864)
• WAGNER, WILHELM RICHARD (1813-1883)

Wagner in Siegfried and Golterdammerung . It was at last produced in See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels in 1884, and subsequently brought out at the Paris Opera . Sigurd is a work of See also:

• GREAT

great value, displaying its composer's elevated notions as regards the See also:

• FORM (Lat. forma)

form of the " lyrical See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama." Salammbo, founded upon See also:

• FLAUBERT, GUSTAVE (1821-1880)

Flaubert's See also:

• ROMANCE

romance, was successfully produced at Brussels in 189o . See also:

• GLUCK

Gluck, See also:

• WEBER, CARL MARIA FRIEDRICH ERNEST VON (1786–1826)
• WEBER, WILHELM EDUARD (1804-1891)

Weber, See also:

• BERLIOZ, HECTOR (1803-1869)

Berlioz and Wagner exercised most See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence over Reyer . As a musical critic (preceding Berlioz in that capacity for the See also:

• JOURNAL
• JOURNAL (through Fr. from late Lat. diurnalis, daily)

Journal See also:

• DES

des debats) Reyer was a well-known writer; and he became librarian of the Paris Opera, and a member of the See also:

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

Institute .

His Quarante Ans de musique (with See also:

• BIOGRAPHICAL

biographical See also:

• NOTICE

notice by E . Henriot) was published in 1909 .