Антон Рейха, гений авангарда... в XIX веке!

[Ciaccona D-moll]

Этот мой пост будет чем-то вроде пролога или затравки, а настоящую интродукцию пусть напишет некто более компетентный ... Он давно собирается, но все не соберется. Пусть мое сообщение будет провокацией.

Фамилию Рейхи из-за его дружбы с Бетховеном я знал давно, но лишь совсем недавно познакомился с тем, что такое, собственно, Рейха. Оказалось, что именно ему принадлежит множество идей вполне в духе современного авангарда - политональная, полиритмическая и микротональная техника и др. Бетховен, вообще говоря, неодобрительно относился к экспериментам Рейхи, взять хотя бы его письмо издателю своих 32 вариаций до минор по поводу фуг Рейхи "по новому методу, заключающемуся в том, что фуга - уже не фуга и т.д." (Бетховен).

Собственно, о Рейхе можно прочитать тут:

http://en.wikipedia.org/wiki/Anton_Reicha

(на удивление прекрасная и полная статья, включающая список композиций и музыкальные примеры)

Чем он замечателен с моей, слушательской колокольни? Да вот тем, что, несмотря на технические изощренности, невиданные для его эпохи (и даже теперь совсем не бесспорные) его музыка действительно, без всяких оговорок и скидок, очень красива. Я не могу такого сказать о некоторых фортепианных композициях Скемптона и Кейджа, которые "не раздражают", но - и только. В остальном они мне слышатся пустыми и бессмысленными.

Моей любимой является фуга на тему Д.Скарлатти
http://www.sendspace.com/file/rwv805

Добавлю еще фугу на тему И.С.Баха
http://www.sendspace.com/file/1u7dez

Лука, это для вас!!! Слышите? Авангард бывает красивым!

Мне кажется, что некоторым современным авангардистам неплохо бы иметь ввиду эту особенность музыки их отца-основателя - доступность для слушателей.

[Zya]

Только возникло желание послушать... Бетховена.
А где всякие поли-
или Рейха придумал себе что-то там...

[yohji_nap]

Да, давно пора было Только, наверное, лучше было в Композиторы-История музыки?

А интродукцию я, может, и напишу, но позднее, сейчас времени нет.

[yohji_nap]

Только ты перепутал - op. 36 - самостоятельное сочинение, цикл фуг. А Practische Beispiele содержали упражнения, отдельные т.с., и не всегда фуги (а может, и вообще не фуги - не помню, да и не видел никогда).

[Ciaccona D-moll]

И вправду... Да, там написано such as всего лишь

Поправил. Но там не совсем ошибка - просто часть тех упражнений (а не все) вошла в ор.36.

[yohji_nap]

И вправду... Да, там написано such as всего лишь

Поправил. Но там не совсем ошибка - просто часть тех упражнений (а не все) вошла в ор.36.

Два упражнения

[yohji_nap]

Простое перечисление того, чем занимался Рейха:

- политональность (в т.с. в упражнениях для чтения с листа; типа "одна рука играет в до мажоре, другая - в фа миноре)
- полиритмия (в т.ч. в фугах)
- микротональность (он ничего микротонального не написал, т.к. над этой идеей потешались решительно все; Рейхе же казалось, что введение четвертитонов позволит приблизиться к возможностям человеческого голоса)
- расширенные сонатные формы (способные "втиснуть" до 6 тем)
- разного рода новации в оркестровке (часть которых потом умыкнул Берлиоз, который у Рейхи учился)
- расширение репертуара для духовых (самое знаменитое - пара десятков духовых квинтетов)
- этномузыковедение (реальное; т.е. он собирал фольклорный материал и пытался его принципы - типа полиритмии - использовать в своей музыке. Ещё продвигал идеи типа "если в опере в какой-то момент появляется Польша, то и музыка должна быть польской народной. Всем было смешно, да.)

(Предвидя вопросы типа "а почему же его никто не знает?" - вообще говоря, потому что Рейха в какой-то момент понял, что его никто не понимает, и решил больше не тратить сил на продвижение и публикацию своей музыки; он целиком отдался преподавательской деятельности.)

А музыка, по-моему, неровная - иногда очень здорово (выложенная фуга на тему Скарлатти - на мой взгляд, трудно поверить, что это написано в 1799 году), иногда - технически интересно, но скучновато. К сожалению, Рейху записывают ещё реже, чем старинных композиторов.

[Tatra]

Reicha [Rejcha], Antoine(-Joseph) [Antonín, Anton]

(b Prague, 26 Feb 1770; d Paris, 28 May 1836). Czech composer, active in France and Austria. Though a prolific composer, he was of particular importance as a theorist and teacher in early 19th-century Paris.

PETER ELIOT STONE

1. 1770–1805.
Reicha was only ten months old when his father Simon, an Old Town piper, died at the age of 30. About 1780 he felt that his education was suffering and ran away to his grandfather Václav Rejcha (1717–98 ) in Klatovy, Bohemia. Then he went to his aunt and uncle, Lucie Certelet and Josef Reicha, who adopted him. The fragmentary facts of the first 30 years in the life and works of Reicha often have been confused with those of his uncle, a virtuoso cellist, concert director and composer. Reicha learnt the violin and the piano from his uncle and also received instruction in the flute.
After the family moved to Bonn in 1785, Reicha played the violin and the flute (his main instrument) in the Hofkapelle under his uncle’s direction, alongside Beethoven and C.G. Neefe, who may have given both Beethoven and Reicha composition lessons, and introduced them to Bach’s keyboard works. At first, he had to study composition secretly, against the wishes of his uncle; he may have read at this time Marpurg’s Abhandlung von der Fuge and Kirnberger’s Die Kunst des reinen Satzes. In 1787 he conducted his first symphony and several scènes italiennes at Bonn, and in 1789 he entered Bonn University. He met Haydn in the early 1790s at Bonn and again in 1795 in Hamburg (he had moved there at the end of 1794 when the French invaded Bonn). In Hamburg, vowing not to perform any more, he taught the piano, harmony and composition. He also devoted himself to composition, readings in mathematics, philosophy and music, and meditation on the nature of composition and the methods of teaching it. His earliest known opera, Godefroid de Montfort, may have received its second private performance in Hamburg in 1796 with the assistance of Pierre Garat and Pierre Rode.
Hoping for operatic success, Reicha went to Paris on 25 September 1799. Despite the well-received performances by his friends (Rode, Garat, Gossec and Devismes) of the symphonies opp.41 and 42 (with thematically connected movements), an overture (probably op.24) and some scènes italiennes, Reicha could neither get his Hamburg librettos accepted nor find a suitable new one, even with the influential assistance of Mme St Aubin-Schroeder. On Grétry’s recommendation he set Guy’s libretto L’ouragan, but this met with failure; both the Théâtre Feydeau and the Salle Favart closed in 1801. Distraught, Reicha joined Rode at Montmorency and late that year left for Vienna. His early work had shown the influences of Dalayrac, Grétry and his uncle, Josef Reicha; by op.20, the influences of the Mannheim composers, Gluck, Mozart and Haydn predominated.
In Vienna Reicha first went to visit Haydn, whose recent preoccupation with canons provided common ground for a close friendship. He renewed his friendship with Beethoven and took lessons from Albrechtsberger and Salieri. Prince Lobkowitz had L’ouragan performed at his palace c1801. Shortly afterwards, Empress Marie Therese commissioned Reicha to write Argine, regina di Granata, in which she sang at a private performance at the Imperial Palace. In 1802 Reicha rejected an invitation to become teacher and Kapellmeister to Prince Louis Ferdinand, but during the next two years wrote L’art de varier for him. Unified by a large tonal plan, by the common derivation of the 57 variations, and by the occasional recurrence of slightly varied versions of the theme, the work is meant for performance despite its didactic origins.
In Reicha’s output some individual works defy classification as purely musical, theoretical or didactic; this resulted, no doubt, from his Hamburg meditations. Like L’art de varier and Bach’s didactic works, the 36 Fugues (1803, dedicated to Haydn) subsume pedagogical examples within artistic conceptions. No.13 offers modal principles in which cadences are possible on all but the 7th degree of the scale without further alteration; nos.20, 24 and 28 contribute ‘combined metre’ (e.g. 6/8 + 2/8 ), while no.30 displays polymetre. Beethoven owned a copy of these fugues; though he wrote of them that ‘the fugue is no longer a fugue’, changes in his style (e.g. Variations op.35) may derive from Reicha’s ideas on variation and fugue. The exchange of ideas between them was probably reciprocal.
The 24 compositions in Practische Beispiele (1803) include demonstrations of forms and genres, bitonality and fiendishly difficult sight-reading exercises; the text shows that Reicha foresaw how the art of modulation would pervade the new epoch and it reveals his predilection for mathematics and the philosophy of Kant.

2. 1805–24.
In late December 1805 Reicha, acting as interpreter, introduced Baillot and Cherubini (in Napoleon’s entourage) to Haydn. Reicha’s new cantata Lenore could not be performed in occupied Vienna because of Napoleon’s censorship of the works of the librettist, Bürger. Reicha therefore went to Leipzig in 1806 to arrange for a performance, stopping en route at Prague to visit his mother for the first time since he had run away. He continued on his way to Leipzig after several days, never to see Prague again. The French army’s four-month blockade of Leipzig effectively cancelled his performance. He finally returned to Vienna, but in 1808, when Austria once again prepared for war, he left for Paris, to be welcomed home by Louis Adam and Sébastien Erard.
While in Vienna, Reicha wrote about 50 pieces, mostly chamber works rich in melody and folk elements. Wide-ranging tonal schemes characterize the String Trio in F, while cadentially elided, thematically connected movements shape the String Quartet op.52. The Piano Sonata with violin and cello accompaniment op.47 (1804) approaches the true piano trio (see Newman, 1963); Reicha said of his Six Quartets for flute and strings op.98 (probably before 1815) that they were true quartets, not sonatas or solos for flute with string accompaniment. Haydn’s interest in canons and Albrechtsberger’s lifelong devotion to writing instrumental fugues apparently reinforced Reicha’s predilection, so that many of his chamber works of this period include fugal movements.
Cagliostro (1810) lasted for eight performances, a fate similar to that of Reicha’s only other produced operas, Natalie (1816) and Sapho (1822). The recitatives in Natalie and Sapho show the influence of Gluck and Spontini. Despite the failure of Sapho, Reicha considered it, along with the unproduced Philoctète, to be his masterpiece. Berlioz admired a moving duo and several choruses from Sapho; Bücken later noted the prominent role of the chorus, the effective orchestration, musical characterization and the use of reminiscence themes, and the well-integrated dances.
Although Reicha’s operas failed, his fame increased. By 1817 many of his compositions had been published and were being performed, and the Traité de mélodie (1814) was being examined for the Académie by Méhul at the time of his death. Concerned primarily with melodic phraseology, this treatise examines melody apart from its relation to harmony. It distinguishes rhythm from metre, differentiates among cadential goals of unequal strength (using the analogues of 18th-century grammar and rhetoric) and supplies one of the first descriptions of sonata form that emphasizes thematic rather than tonal aspects. Comments on singers’ embellishments and the use of national airs to impart local colour round out the treatise.
The Etudes op.97, published several years after the Traité de mélodie, are in the ‘fugued’ genre, and are preceded by remarks aimed at young composers. With the exception of four of the 34 études, all are fugues, each preceded by a kind of prelude that illustrates in most cases a compositional technique or problem, a form, a texture etc. The prelude to no.3, for example, is a theme and variations in which variations 1, 3, 5 and 7 are in invertible counterpoint, their inversions thus producing variations 2, 4, 6 and 8.
Reicha had had few composition pupils before 1809, but by 1817 the Count de Sèze, recommending Reicha for appointment to the Conservatoire, could point out that eight of Reicha’s students – probably his friends Baillot, Bouffil, Dauprat, Garaudé, Guillou, Habeneck, Rode and Vogt – already were professors there. These men, most of them accomplished musicians when they began studying with Reicha, spread his reputation for being precise, logical, efficient and strict. Berlioz recalled that Reicha gave reasons for the rules and that, unlike Cherubini, his respect for tradition was not fetishistic, and that he promptly recognized innovation.
Reicha was appointed professor of counterpoint and fugue at the Conservatoire in 1818. His Cours de composition musicale, ou Traité … d’harmonie pratique, published about 1816–18, replaced Catel’s treatise, which had been the official one since 1802. One of the first modern classroom harmony textbooks using examples written expressly for the text, the Cours de composition deals with harmony (tempering the proscription against 5ths and octaves), strict and free music, imitation and orchestration. It stresses the point that theory must be justified by practice and that the pupil must learn about contemporary usage, not solely about ancient principles that diametrically opposed what he heard outside the classroom; these ‘ancient principles’ caused many students to believe wrongly that serious study of composition was useless because free music permitted anything.
On 15 October 1818 Reicha married Virginie Enaust; they had two daughters, Antoinette Virginie (b 26 August 1819) and Mathilde Sophie (b 13 April 1824). Reicha’s autobiography, Notes sur Antoine Reicha, perhaps originally dictated about 1824 to his pupil Henri Blanchard, survives in Antoinette Virginie’s hand. In these Notes Reicha mentioned having had the idea of writing a ‘double quartet’ (for wind in E minor and strings in G major) which could be played either as two separate works or as an octet. Though mentioned in several lists of works, this understandably seductive idea (which anticipates Milhaud) may never have materialized.
The autobiography comes from a time when Rossini may have become his friend (1823); when Mendelssohn (who had studied with Moscheles, an owner of the 36 Fugues) sought him out (1825); and when Balzac, in Les employés (set in 1824), could have one of his characters, Colleville, first clarinettist at the Opéra-Comique, convince a friend to attend a soirée by promising him the excitement of a performance of a new wind quintet by Reicha. Reicha’s wind quintets show his refined sense of instrumental colour and have served as models of their genre.

3. 1824–36.
The most important of Reicha’s treatises, the Traité de haute composition musicale (1824–6), was brought out as a sequel to the earlier published treatises and provoked much controversy. For Reicha, counterpoint was almost synonymous with harmony, but it connoted the elevated work of a savant, a profound harmonist, one who was both creator and scientist; ‘haute composition’, then, extols invertible counterpoint and practical music while belittling simple counterpoint and ‘school music’. The text was the first to use the terms exposition and counter-exposition with regard to fugue; it also extended Reicha’s earlier modal principles which in turn expanded the tonal frame of the fugue and promoted a periodically phrased fugue. Reicha’s ‘fugue phrasée’ attempts to reconcile polyphonic continuity with homophonic periodicity. The attempt results from his view of history in which the ‘incoherent’ phraseology of early music progressively evolved to the clear and regular articulations of forms in their mature, Classical state. Fétis claimed that Reicha had unwittingly rediscovered the 17th-century ricercare di fantasia by not giving priority to real and tonal fugues on the tonic and dominant, thereby also weakening the tonality. The text presents a more thematically orientated scheme for sonata form than that found in the Traité de mélodie, and gives what may be the first clear description of sonata-rondo form. Reicha demonstrated methods for exposing and developing melodic and harmonic ideas and suggested that the study of mathematics helps regulate the feverish imagination. He proposed speaking choruses, quarter-tone notation for declamation and enrichment of the rhythmic language; he formulated a 200-piece orchestra; and included his setting of Kosegarten’s Die Harmonie der Sphären for string orchestra, double chorus, and four pairs of timpani tuned to eight different pitches.
Baini severely criticized Reicha’s approach to counterpoint. The controversy divided the students and faculty of the Conservatoire into adherents of Cherubini, Reicha or Fétis. Antoine Marmontel recalled the courtyard and corridor battles of looks between ‘Italy, Bohemia, and the Netherlands’ (see Emmanuel, pp.35, 48, 50). Though their criticisms had historical validity, Baini (sometimes labelled an ultra-conservative), Cherubini and Fétis represented the rearguard while Reicha, in this instance at least, seems to have represented the future. Excerpts of this treatise were published in English in 1830. Czerny, in 1832, edited a French–German version of the first three published treatises, entitling them Vollständiges Lehrbuch. Within several years English, Italian and Spanish translations of excerpts or complete treatises had appeared in Europe and America.
In 1826 Berlioz and Liszt began studying with Reicha. Berlioz’s frequent fugal passages, his reharmonization of melodies on each recurrence, the asymmetric metre of the ‘Dance of the Soothsayers’ in L’enfance du Christ, his general rhythmic flexibility, his concept of the ideal orchestra, his use of the timpani and his emphasis on the wind instruments all reflect Reicha’s influence, regardless of Berlioz’s silence on that subject. Liszt suggested that his own idiosyncratic use of fugue and his attitudes toward formal and rhythmic experiments might derive from Reicha. Gounod and Onslow also numbered among Reicha’s pupils.
Following his naturalization in 1829, Reicha was made a Chevalier of the Légion d’honneur in 1831. In December of that year Chopin, who had wanted to study with Reicha, heard unfavourable comments from some pupils and decided not to work with him. Reicha’s health had been failing since about 1828, and a letter to Cherubini from Reicha in July 1832 states that he would welcome his pupils to his home for lessons.
In 1833 Art du compositeur dramatique, a manual devoted to the technique of writing opera, appeared. It also describes performing practice at a time when Rossini and Meyerbeer dominated the French musical stage. Typically French, and also typically Czech, is Reicha’s attention to declamation. The volume of plates accompanying the manual contains many excerpts in vocal score from Natalie, Sapho and Philoctète. About 1835 Czerny produced a German translation of this treatise.
Stylistic generalizations about Reicha’s late works are difficult to make because the dating of many is not certain; some late Parisian publications with high opus numbers contain works whose manuscripts originate in the Viennese period. But it seems clear that Reicha treated fugue more conservatively in works known to be later ones. The influence of Handel is apparent in large choral works such as Der neue Psalm and the Te Deum.
Reicha succeeded Boieldieu at the Académie in 1835, one year before his death. In June César Franck became a pupil of Reicha for ten months, a period of study that was to affect Franck’s formal and tonal conceptions. Both the brevity of personal contact and the late date at which evidence of Reicha’s influence surfaces in Franck’s work call into question that influence. Franck’s notebook (as well as Antoinette Virginie’s) attests to Reicha’s thoroughness and speed. Further argument for latent influence lies in the fact that Franck’s subsequent teachers, Le Borne and Reicha’s friend Benoist, continued to use Reicha’s treatises in their instruction. Similarly, Ambroise Thomas’s notebook indicates familiarity with Reicha’s ideas and texts because he studied with Barbereau, a Reicha student.
Hence Reicha’s students and the treatises themselves in their many translations broadcast Reicha’s theories beyond Paris and beyond his own time. As early as 1815 Meyerbeer wrote to Gottfried Weber about the Traité de mélodie; by 1834 Meyerbeer owned at least two other treatises. Schumann noted that Reicha’s ‘often peculiar ideas about fugue’ should not be ignored; Sechter listed Reicha among the most important theorists of his time; and Smetana knew Reicha’s ideas through the Czerny edition used by his teacher Joseph Proksch. Until more is known of Reicha’s music the judgment of time on his importance as a composer must tacitly be accepted; his role as a seminal figure, however, seems clear.

WORKS

Unlocated works mentioned in: A. Reicha: Traité de haute composition musicale (Paris, 1824–6) [H]A. Reicha: Art du compositeur dramatique (Paris, 1833) [A]J. Vysloužil, ed.: Zápisky o Antonínu Rejchovi/Notes sur Antoine Reicha (Brno, 1970) [R]

theatrical

Armide (scene, R. di Calzabigi), c1787, lost, mentioned in R, ?scène italienne
Godefroid de Montfort [Godfried von Montfort] (op), ?c1794, Hamburg, ?1796, mentioned in FétisB
L’ermite dans l’île Formose (Spl, A. von Kotzebue), ?1794–8, lost, mentioned in R
Obaldi, ou Les français en Egypte (op, 2), before 1798, F-Pc 12011, 12044
Amor, der Joujou-Spieler (Spl), before c1800; Ach! Amor Herzenzieler, aria, D-Lr, ed. in Auswahl der besten Compositionen für das Clavier, i/3 (Hanover, c1800), no.20; ?by J. Reicha
Rosalia (Spl), ?before 1800, Rtt
L’ouragan (op, 3, J.H. Guy), c1800, Vienna, Prince Lobkowitz’s palace, c1801 [in Ger. trans.], F-Pc 12016
Télémaque (grand op, ?Devismes), ?1800–01, inc., lost, mentioned in R
Argine, regina di Granata (heroic op, 2, ?Calzabigi), Vienna, Imperial Palace, c1802, Pc 12034 (autograph), A-Wn 9993 (copy)
Cagliostro, ou La séduction (Les illuminés] (oc, 3, J.A. Reveroni de Saint-Cyr and E. Mercier-Dupaty), 1808–10, Paris, Feydau, 27 Nov 1810, F-Pc 2509, 12018; Act 1 by V.C.P. Dourlen
Gusman d’Alfarache (oc, 1, E. Scribe, J.H. Dupin), after c1809, Pc 12017
Bégri ou Le chanteur à Constantinople (oc, 1), after c1809, Pc 12014
Natalie ou La famille russe (grand op, 3, Guy), c1810–12, Paris, Opéra, 30 July 1816, Pc 2585 (frag.), Po 415 (2 versions), A 447.II–III; excerpts in A ii, 28, 75; ov. and selected scenes (Paris, n.d.)
Olinde et Sophronie (op), c1819, inc., mentioned in Emmanuel
Philoctète (grand op, 2, ? after Sophocles), before 1822, lost except for 3 choruses in A ii, 59, 62, 68
Sapho (os [tragédie lyrique], 3, H Cournol, A.J.S. Empis), Paris, Opéra, 16 Dec 1822, Pc 12024 (almost complete), Po 435, A 468.I–IV; excerpts in A ii, 24, 40, 65, 72; ov. and selected scenes (Paris, c1822)
Gioas, re di Giuda (op, Metastasio), before 1826, aria and chorus in H ii, 188, 198; ? never composed as complete op
Venne ed il nostro addio, frag., ? scène italienne, ? from Argine, A-Wn 10687–8
Unidentified frag., F-Pn fr. 12760, 419–20

choral

with orchestra

Requiem, ?1802–8, ?lost, mentioned in R; ? same as Missa pro defunctis
Lenore (cant., G.A. Bürger), with solo vv, c1805, F-Pc 10096 (1–2)
Der neue Psalm (cant., A. Mahlmann), with 2 S, A, T, B, 1807, Pc 2504
Missa pro defunctis (Requiem), with S, A, T, B, ? after 1809, Pc 12023
Hommage à Grétry, cant., with S, 2 T, B, 1814, Pc 12010
Choeur dialogué par les instruments à vent, Es, chorus, fl, ob, cl, bn, hn, vc, db, before 1824, ed. in H i, 74
TeD, with S, A, T, B, org, 1825, Pc 6185
Die Harmonie der Sphären (‘Horch, wie orgelt’) (L.G. Kosegarten), double chorus, str, 8 timp, before 1826, D-BS 18176, ed. in H ii, 331
Le peuple saint (C. Ménard), with org, before 1826, Bsb 18175, ed. in H ii, 168
2 fugues, D, F; double fugue, e; Cum sanctis tuis in aeternum; Dona nobis pacem, chorus, str: all before 1826, ed. in H ii, 133, 138, 143, 151, 182
Passion orat, with S, A, T, B, pf score in Rtt

with keyboard

Urians Reise um die Welt (M. Claudius), unison vv, pf, op.56 (Vienna, ?1804)
Do-do, l’enfant do, S, chorus, pf/hp, ? after 1810 (Paris, n.d.)
Regina coeli, double chorus, org, bc, before 1818, in Cours de composition musicale, 217
Fugue, g, 8vv, org, bc, 1822, A-Wn 16458, ed. in H ii, 116
Fugue, e, double chorus, org, bc, before 1824, D-Dl 4234/G/1, ed. in H i, 80
Prière, chorus, org, ded. Cherubini, before 1826, ed. in A ii, 98
Sonetto: Hymnus an den Karfunkel, 2 S, T, B, chorus, pf, D-SWl 4405A

unaccompanied

Das lacedämonische Lied (‘Einst fühlen wir’) (Plutarch), fugue, 4 male vv, 3 Jan 1805, BS
Je prends mon bien partout, canon, 4vv, ed. in Euterpe vosgienne, iv (Paris, c1823), 41
Duo dans le style rigoureux, Es, S, A, T, B, before 1824, ed. in H i, 10
2 fugues, 4vv: F, Es, before 1826, ed. in H ii, 49, 68
Fugue, double chorus, Dl B.262.11
Cantique, 4 solo vv, double chorus, mentioned in Emmanuel; ? same as Hommage à Grétry

solo voices
with orchestra

Donne, donne, chi vi crede (cavatina), S, orch, ?1786–94, F-Pc 12021, ? scene italienne
Basta ti credo … Quanto e fiero (recit and aria, ? P.L. Moline), 1v, orch, ?1800, Pc D.14855, arr. 1v, pf (Leipzig, 1807), ? scène italienne
Abschied der Johanna d’Arc (melodrama, F. Schiller), S, musical glasses, orch, 12 March 1806, Pc 12045
Aure amiche ah non spirate (scena and aria), S, orch, c1810, ? autograph in D-Rtt, copy in Hs, ? scène italienne
Prelude, T, orch, before 1826, ed. in H ii, 322
Voici le moment favorable (?op frag.), S, T, 3 B, orch, F-Pc 13107

without orchestra

Romance nouvelle ‘Quel est, hélas! la tourmente que j’endure!, 1v, pf (Paris, ?1800)
Das Andenken (Matthison), S, pf, ?1801–9 (n.p., n.d.), mentioned in Bücken (1912)
Der Brüder Graürock und die Pilgerin (cant., G.A. Bürger), S, pf, ?1801–9, Pc 2503
Die Sehnsucht (C.L. Reissig), 1v, pf, after 1809 (Vienna, ?1817)
Hamlets Monolog (‘Sein oder nicht sein’), 1v, pf (Leipzig, c1810)
Air, S/ob, pf, before 1818, ed. in Cours de composition musicale, 158
Je vais cherchant pour rencontrer un coeur, 1v, pf/hp, ed. in Euterpe vosgienne, iii/1 (Paris, c1822), 30
Voi sole o luci belle, canon à 2, S, T, bc, before 1824, ed. in H i, 210
Das Grab (Salis), 1v, pf, ed. in Euterpe vosgienne, v/2 (Paris, c1824), 60
Fra mille vari moti, 2 S, T, B, db ad lib, bc, ed. in Euterpe vosgienne, viii/1 (Paris, c1827), 90
Circé, cant., S, pf, mentioned in Emmanuel
12 Gesänge, 1v, pf (Brunswick, n.d.)
Liebe und Freundschaft [Láska a přátelství], ed. O. Pulkert, Písně (Prague, 1962), 56
Raccolta di [6] arie, di [5] duetti e di [13] terzetti, 2 S, T, pf, Pc 10942, ? scènes italiennes [2 terzettos unacc.]
Quatuor vocal, mentioned in Emmanuel [Ger., Fr., It. texts]

orchestral

symphonies

Sym., perf. Bonn, 1787, lost, mentioned in R
Sym. à grand orchestre (‘First Sym.’), Es, ?1799–1800, F-Pc 13107; op.41 (Leipzig, 1803)
Sym. à grand orchestre, Es, ?1799–1800, op.42 (Leipzig, 1803)
Sym. no.1, G, completed 13 July 1808, Pc 14498 (inc.)
Sym. no.2, ?before 1808, mentioned in Emmanuel
Sym. no.3, F, completed 4 Sept 1808, Pc 14499
Grande symphonie no.2, ?1808, mentioned in Borrel
Sinfonie à grand orchestre, D, ?1809, Pc 13107 (1st movt)
2/?4 syms. à grand orchestre, no.1, 1809, no.2, 1811, mentioned in Emmanuel and Borrel
Sym., C, before 1824, frag. in H i, 141
Sym., C, before 1824, frag. in H i, 166
Sym./Ov., C, before 1824, frag. in H i, 175
Sym. à petit orchestre, no.1, c, Pc 14500
Sym., Es, Pn 9153
Sym., f, Pc 14501
Sym., US-Bpm ** M.403.107
Undated sym. movts and frags., CH-E 19.08, F-Pn 9152–3, Pc 13107

overtures

Ov., C, op.24 (Brunswick, ?c1795)
Grand Ov., D, d’un concert ou d’une académie de la musique, c1803–23, versions in Pc 2511, Pn 9154, Pc 13107, 12037, B-Bc X 8128 [in estimated order of completion]
Ov. en l’honneur de l’Impératrice Marie Thérèse, ?c1805, mentioned in Emmanuel, ? an ov. for Argine; see doubtful and spurious works
Ov., C, before 1810, orig. for Cagliostro, Pc 12036
Ov., C, before 1822, orig. for Sapho, Pc 12039
Ov., E-e, ? op.34, ? after 1813, GB-Lbl RPS loan collection 854
Ov., D, ?1823, F-Pc 12038
Ov./Sym., C, before 1824, frag. in H i, 175
Ov., D, ?1824, Pc 13107
Ov., Es, ?1824, Pc 12041
Ov., Es, ?1824, Pn 9151
Ov., C, ?1825, mentioned in Emmanuel
Undated ovs. and frags., Pn 9152, Pc 12040, 12042–3, 13107

concertos etc.

Pf: Conc. (‘no.1’), Es, 1804, Pc D.11708(1–2), inc.; Conc., ?1815, mentioned in MGG1
Vn Conc., E,? H-Bn, mentioned in Bücken (1912), ? by J. Reicha
Va Conc., mentioned in RiemannL12
Vc: Conc., ded. de Lamare, ?1803 (?1823), mentioned in Emmanuel; Conc., D, perf. before 1789 or between 1812 and 1814 (Paris, n.d.), ? by J. Reicha; Conc., Des, D-Rp, ? by J. Reicha; Variations on a theme of Dittersdorf, F-Pc 12013
Fl: Andante varié, mentioned in Emmanuel, ? for pf
Eng hn: Scène, 22 Jan 1811, Pc 2515
Cl Conc., ?1815, mentioned in Emmanuel
Hn: Rondo, ?1820; 2 Solos (no.1, alto horn in G, ?1823): all mentioned in Emmanuel
Musical glasses: Grand solo, 25 June 1806, Pc 12019
Pf, vn: Grand duo concertant, Pc D.11709
Fl, vn: Concertante, G, Pc 13107, inc.
2 vn: Concertante, op.1 (Bonn, n.d.), ? by J. Reicha
2 vc: Concertante, ?1807, mentioned in Emmanuel
Wind qnt: Concertante, mentioned in Emmanuel, but see chamber music without piano (wind instruments)

other orchestral

Musique pour célébrer la mémoire des grands hommes, military band, ?1809–15, Pc 2495, 8425
Befiehl du deine Wege, str, in Cäcilia, ii (1824), 272
Rondo del Sigre A. Reicha, small orch, CH–E 19.08
Mesdemoiselles, voulez-vous danser?, air, mentioned in Emmanuel

chamber music without piano

wind instruments

op.
12
Qt, D, 4 fl (Brunswick, ?1796–8 )
18
Harmonique imitée ou 3 adagios, 4 fl (Brunswick, ?1796–8 )
19
Sonata, 4 fl (Brunswick, ?1796–8 )
20
Variations, 2 fl (Brunswick, ?1796–8 )
21
Three Romances, e, G, D. 2 fl (Brunswick, ?1796–8 )
22
[12] Little Duos, 2 fl (Brunswick, ?1796–8 )
25
Eight Duos, 2 fl (Brunswick, ?1796–8 )
26
Trios, 3 fl (Brunswick, ?1796–8 )
27
Qt, 4 fl (Brunswick, ?1796–8 )
—
Sonata, 4 fl, ?c1797, mentioned in Bücken (1912), ? A-Wgm, ? op.19
82
Twenty-Four Trios, 3 hn/(2 hn, bn) (Paris, before 1815)
—
Concertante, fl, ob, cl, bn, hn, ?1817, perf. Paris Conservatoire, 13 Jan 1819
—
Two Andantes, Adagio, eng hn, fl, cl, bn, hn, 1817–19, F-Pc 12022
88
Six Qnts, e, Es, G, d, B, F, fl, ob/fl, cl, bn, hn, 1811–17 (Paris, 1817)
91
Six Qnts, C, a, D, g, A, c, fl, ob/fl, cl, bn, hn (Paris, ?1817–19)
99
Six Qnts, C, f, F, D, b, G, fl, ob/fl, cl, bn, hn, 1811–19 (Paris, 1819)
100
Six Qnts, F, d, Es, e, a, B, fl, ob/fl, cl, bn, hn, ?1820 (Paris, 1820)
—
Four movts, G, f, G, D, wind qnt, before 1826, ed. in H ii, 263, 274, 293, 312

strings

1
Six Duos, vn, vc (Bonn, (c1796), ? by J. Reicha
3
Three Duos, vn, vc (Bonn, ?1796–8 ), ? by J. Reicha
4
Three Duos, G, D, D, vn, vc (Bonn, ?1798 ), ? by J. Reicha
90
Six Qts, Es, G, C, e, F, D, ?1801–8 (Paris, 1819)
94
Three Qts, ?1801–8 (Paris, 1824)
95
Three Qts, ?1801–8 (Paris, 1824)
45
Three Duos, A, D, B, 2 vn (Leipzig, 1804)
48
Three Qts, C, G, Es (Leipzig, 1804)
49
Three Qts, c, D, B (Leipzig, ?1804–5)
52
Qt, C, I-Bc RR 539.1 (Leipzig, ?1804–5)
53
Grand Duo, C, 2 vn (Leipzig, ?1804–5)
58
Qt, A (Leipzig, ?1804–5)
—
Variations on a Russian theme, vc, str qt, 26 Aug 1805, F-Pc 12015
—
Six Qnts, Pc 12027–31, 12033; nos.1–2 for vc, str qt (no.1, 1805), nos.3–6 for va, str qt (1807)
92
Three Qnts, va, str qt, F, D, Es, ?1805–7 (Vienna, 1820)
—
La pantomime, fantasia, str qt, 24 April 1806, Pc 12020
—
Quatuor scientifique, str qt, ?1806, Pc 12020 [incl. nos.3, 4, 7 of 36 Fugues for pf]
—
Qnt, E, vc, str qt, 1807, Pc 12026
—
Trio, 3 vc, 15 June 1807, Pc 12009
—
Fugue on a theme from Les deux journées, str qt, c1808, lost, perf. Paris Conservatoire, ?1808–9
—
Trio, F, vn, va, vc (Vienna, before 1809)
84
Twelve Duos, vn, vc (Paris, c1814)
—
Ouverture générale pour les séances des quatuors, str qt, 1816, Pc 12035
—
Harmonie retrograde à 4 and Marche funèbre, both ? for str qt, before 1824, ed. in H i, 220, 181
—
Four fugues and a variation set, str qt, before 1826, ed. in H ii, 73, 92, 127, 223, 305
—
Fugue, a/C, à 2 sujets en contrepoint à la 12ième, str qt, before 1826, Pc 2518 (4); ed. in H ii, 78
—
Canon, vn, va, vc, 22 June 1833, Pc w.23, 22 (37–8 )
—
Armonia al revescio, ? str qt, 11 June 1834, US-Wcm ML 96.D44, 29
—
Six Duos, 2 vn (? op.1), mentioned in Bücken (1912)
—
Five or six str trios, mentioned in Bücken (1912)
—
Qt, frag., F-Pc 13107

string and wind instruments

51
Eighteen Variations and a Fantasia on a theme of Mozart, G, fl, vn, vc (Leipzig, 1804)
89
Qnt, B, cl, str qt, ?before 1809 (Paris, (c1820)
93
Twelve Trios, 2 hn, vc, after 1810 (Paris, c1820)
—
Double Qt, fl, ob, cl, bn, str qt, ?1811, mentioned in R and Emmanuel, ? never written
98
Six Qts, fl, vn, va, vc, c1813 (Paris, before 1815)
—
Grand Trio, fl, vn, vc (Vienna, before 1815)
96
Octet, Es, ob/fl, cl, bn, hn, str qt, ?1817 (Paris, 1820)
107
Qnt, F, ob/cl, str qt, ?1821–6 (Paris, 1829) [as cl qnt, in G]
105
Qnt, A, fl, str qt, ?1824–6 (Paris, 1829)
106
Qnt, E, hn, str qt (db ad lib), ?1824–6 (Paris, 1829)
—
Grande symphonie de salon, ob, cl, bn, hn, str qt, db, ?1825, mentioned in Emmanuel
—
Qnt, bn, str qt, 1826, Pc 12032
—
Grande symphonie de salon [no.1], fl, ob, cl, bn, hn, str qt, db ?1827, mentioned in Emmanuel
—
Grande symphonie de salon no.2, fl, ob, cl, bn, hn, str qt, db ?1827, mentioned in Emmanuel
—
Diecetto, A, fl, ob, cl, bn, hn, str qt, db, ?1827–8, mentioned in Emmanuel; ? same as Grande symphonie de salon no.1 or 2
—
Qnt [no.4], Es, fl, cl, bn, hn, va, A-Wn
—
Two qts, fl, vn, va, vc, ? from op.98, F-Pc 9154
—
Variations, bn, str qt, Pc 12012
—
Grand duo concertant, B-cl, A-cl, str qt (?db ad lib), mentioned in R and Bücken (1912) [? never written]
—
Octet, ob, cl, bn, hn, str qt, db ad lib, mentioned in Emmanuel
—
Concertante, Pc 13107

chamber music with piano

—
Rondeau, vn, pf, ?1800, F-Pc 2514
47
Sonata, C, vn, vc, pf, ?1800 (Leipzig, 1804)
44
Sonata, C, vn, pf, ?1802–3 (Leipzig, 1804)
54
Sonata, G, fl, pf, ?1802–3 (Leipzig, ?1804–5)
55
Two Sonatas, vn, pf, ?1802–3 (Leipzig, ?1804–5)
62
Sonata, A, vn, pf, ?1802–3 (Leipzig, 1808 )
—
Qnt, 2 vn, va, ?va/vc, musical glasses, ?1806, mentioned in Emmanuel and Bücken (1912)
—
Duo, bn, pf, ?1810–15, Pc 2513
—
Solo, e, hn, pf, ?1810–15, Pc 2500
103
Grand duo concertant, D, fl, pf, ?1818–20 (Paris, 1824)
104
Grand quatuor concertant, fl/vn, vc, bn/vc, pf (Paris, 1824)
101
Six trios concertants, vn, vc, pf, 1824 (Paris, 1824)
—
Grand Trio no.6, vn, vc, pf, 1824, Pc 12008
—
Grand duo concertant, A, vn, pf, 1826, Pc 2499
—
Pf Qnt, 1826, Pc 12025
—
Twelve Sonatas, vn, pf, mentioned in RiemannL12
—
Adagio from a vc conc., arr. for vc, pf (Berlin, n.d.), mentioned in R
—
Trio, vn, vc, pf, C 1075

piano solo

dated

23
Différentes pièces (Brunswick, ?1796–8 )
—
Rondos, Fantasia (Brunswick, ?1796–8 )
–
Twelve Fugues, ?1799 (Paris, 1800–01)
30
Etudes ou Exercices (Paris, c1800–01) [incl. nos.2, 9, 23–4 of Practische Beispiele: see theoretical works]
31
Etude de transitions et 2 fantaisies (Paris, 1802)
32
Fugue on a theme of D. Scarlatti (Paris, 1802)
—
Thirty-Six fugues (Vienna, 1803) [incl. op.32, fantasia from op.31, no.9 from op.30, nos.10 and 22 of Practische Beispiele (see theoretical works) and 12 Fugues, 1799]
40
Sonata, E (Leipzig, 1803)
57
L’art de varier (Leipzig, ?1803–4) [57 variations on an original theme]
43
Sonata, Es (Leipzig, 1804)
46
Three Sonatas, G, B, E (Leipzig, 1804)
—
Sonata, Es, ?1804–5, F-Pc 2497
59
[2] Fantasias, C, F (Leipzig, 1805)
61
Fantasia, e (Leipzig, 1807) [no.13 of Practische Beispiele: see theoretical works]
81
Six Fugues (Paris, 1810)
83
Variations on an original theme (Paris, before 1815)
85
Variations on the air ‘Charmante Gabrielle’ (Paris, before 1815)
86
La victoire (Allegro brillant) (Paris, before 1815)
87
Variations on a theme of Gluck (Paris, before 1815)
—
L’enharmonique, 1815, Pc 12069, no. 16 of op.97
97
[34] Etudes dans le genre fugué [La fugue et le contrepoint; 34 études de fugues et contrepoint], ?1815–17 (Paris, n.d.)
—
Fugue analysée sous le rapport de l’harmonie, before 1818, in Cours de composition musicale, 263
102
Etudes de piano ou 57 variations sur un theme [by Grétry], suivies d’un rondeau (Paris, c1820)
—
Allegretto, A, 1822, US-NH
—
Harmonie retrograde, 18 Nov 1825, F-Pc w.7(9)
—
Fugue à 3 dans le style moderne, before 1826, ed. in H ii, 41

undated

—
Air de ballet, Pc 12067
—
Allegretto, Pc 12065
—
Andante varié, Pc L.13.810
—
Andantino, A, Pn 3830(2)
—
Capriccio, Pc 12077
—
Fantaisie sur l’harmonie précédente, 5 fantasias, Pc 12068
—
Fantaisie sur un seul accord, Pc 12063
—
Fantasia on a theme of Frescobaldi, Pc 12062
—
La chercheuse d’esprit, arr. of 13 Fr. 16th-cent. ariettas, Pc 12066
—
L’espiègle, Pc 12070
—
Marche funèbre, G, Pc 2501
—
Marche funèbre, Pc 2516, ? from Musique pour célébrer, see ‘Other orchestral’
—
Prelude, Es, Pn 3830(3), inc.
—
Three rondos, Pc 12064, 2 in Pc 12078(1–2)
—
Sonate facile (La pastorale), Pc 12061
—
Sonata, F (Variations on a theme of Mozart), Pc 2501
—
Six sonatas, C, Pc 2498, D, 1st movt and finale (‘La folie’), Pc 2502, 3 in Pc 8458, Pc 12072
—
Variations, Es, Pc L.13.809
—
Untitled pieces, sonata movts, Pc 12065, 12069, 12071, 12073–6, 12079(1–7)
—
Fugue à 2 sujets en contrepoint à la 12ième, mentioned in Bücken (1912), = Fugue a/C, str qt; see chamber music without piano (strings)

organ

—
Fugue, A, ed. H.G. Nägeli, Die Contrapunktisten des 19. Jahrhunderts (Zürich, n.d.)

other works

Scènes italiennes, 1787, mentioned in R
Canons, 5 Dec 1804, F-Pc 2517
Canon à 3 on the air ‘Charmante Gabrielle’, before 1824, H i, 194
Canon à 6, in Cäcilia, ii (1824), after p.272
Fugue à 3 octaves, before 1826, H ii, 177
Ressources harmoniques, 6 Nov 1835, Pc w.24.44, p.72
Ariette, mentioned in Emmanuel
Ariettes italiennes, mentioned in R
Canon à 4 voix, ed. M. Pincherle, Musiciens peints par eux-mêmes (Paris, 1939), 89
Many sketches and frags. in Pn 3828–32

doubtful and spurious works

probably by Josef Reicha
Concertante, 2 vn/?vn, vc, orch, op.1 (Bonn, n.d.)
6 Duos concertants, vn, vc, op.1 (Bonn, ?1796–8 )
3 Concertos, vc, op.2 (Offenbach, ?1799)
Sinfonie concertante, 2 vn/vn, vc, orch, op.3 (Bonn, ?1795)
4 Duetti concertanti, vn, vc, ?orch, ?op.3, CZ-Pnm xxvi D 306 [nos.1–3]; copy in Tepelského monastery archives
2 vc concs., D-Mbs 1268–9
Adagio à la mort de la grande Marie-Thérese, impératrice d’Autriche, vc, mentioned in R, almost certainly by J. Reicha
See also chamber music without piano (strings), opp.1, 3, 4; orchestral (concertos)

theoretical works, writings

dated

Practische Beispiele: ein Beitrag zur Geistescultur des Tonsetzers … begleitet mit philosophisch-practischen Anmerkungen, Vienna, 1803, F-Pc 2496, 2510
An Joseph Haydn, poem in preface to 36 Fugues, pf (Vienna, 1803)
Über das neue Fugensystem, foreword for 1805 edn of 36 Fugues, pf
Sur la musique comme art purement sentimental, ?before 1814, Pc Rés.F. 1645–6
Traité de mélodie (Paris, 1814); ed. C. Czerny as Vollständiges Lehrbuch der musikalischen Composition, ii (Vienna, 1832) [Fr. and Ger. text]
Petit traité d’harmonie pratique à 2 parties, op.84 (Paris, c1814)
Cours de composition musicale, ou Traité complet et raisonné d’harmonie pratique (Paris, ?1816–18; Eng. trans., 1854/R); ed. C. Czerny as Vollständiges Lehrbuch, i (Vienna, 1832)
Traité de haute composition musicale (Paris, 1824–6); ed. C. Czerny as Vollständiges Lehrbuch, iii–iv (Vienna, 1832)
A messieurs les membres de l’Académie des beaux-arts à l’Institut de France (Paris, 1831)
Art du compositeur dramatique, ou Cours complet de composition vocale (Paris, 1833); ed. C. Czerny as Die Kunst der dramatischen Composition (Vienna, 1835)
‘Contrepoint’, Encyclopédie des gens du monde, vi/1 (Paris, 1836), 716

undated

Cours de mélodie, F-Pc Rés. 1935
Die Grundsätze der practischen Harmonie, Pc 2512
Haute composition musicale, Pc 8°: C2.244
Kunst der practischen Harmonie, Pc 13376
La musique chez les grecs dans l’antiquité, lost, mentioned in Emmanuel
Notes et exemples musicaux sur la permutation, Pc Rés.F. 1647

[-Бу-]

а музыкальных примеров "авангарда" нет? а то в данных двух примерах звучат какие-то скучные вещи, старомодные и неинтересые даже для начала 18 века, а вроде бы это на 100 лет позже писалось.

[Daddy]

Вариации на тему Баха не произвели впечатления.
Опус "по Скарлатти" интереснее (чем-то напомнило некоторые поздние багатели Бетховена), но его "авангардизм", на мой взгляд, несколько преувеличен. Подчеркиваю, что высказываю свои впечатления от первого прослушивания конкретных сочинений и ничего не берусь сказать о творчестве Рейхи (или все же Райхи? А, знатоки немецкого?) в целом, ибо оно мне неизвестно.

Выражаю искреннюю благодарность энтузиастам.

PS. Как-то Горовиц восторгался "авангардизмом" некоторых клавирных сонат Клементи, противопоставляя его "традиционализму" моцартовских сонат.
Не спорю, у Клементи есть выдающиеся вещи, но... художественно (трудно это объяснить, конечно) и Гайдн, и Моцарт - выше.
Опять же на мой взгляд.