REJCHA, Antonín (1770-1836) - Sinfonia in Es-Dur (c.1799)

Antonín Rejcha (1770-1836) - Sinfonia in Es-Dur, Op.41 (c.1799)

Performers: Die Prager Virtuosen; Oldrich Vlcek (conductor)

Drawing: Unknown artist (19th Century) - Entry of Pius VII and Napoleon into Paris

Further info: Die Prager Virtuosen

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

(Prague, 26 February 1770 - Paris, 28 May 1836)

Bohemian composer. Nephew and pupil of Joseph Rejcha (1752-1795), in 1785 the family moved to Bonn, where he became a member of the Hofkapelle of Max Franz, Elector of Cologne, playing violin and second flute in the court orchestra under his uncle's direction. The young Beethoven entered the Hofkapelle as violist and organist in 1789 and he befriended him. From about 1785 he studied composition secretly, against his uncle's wishes, composing and conducting his first symphony in 1787 and entering the University of Bonn in 1789, where he studied and performed until 1794, when Bonn was attacked and captured by the French. He managed to escape to Hamburg. In 1799 he moved to Paris, hoping to achieve success as an opera composer but in 1801 he moved on to Vienna. Once there, he studied with Antonio Salieri and Johann Georg Albrechtsberger. Reicha's life and career in Vienna were interrupted by Napoleon's November 1805 occupation of the city by French troops. Then Reicha decided to move back to Paris. He was soon teaching composition privately, future prolific composer George Onslow being one of his pupils by 1808. This time three of his many operas were produced, but they all failed; yet his fame as theorist and teacher increased steadily, and by 1817 most of his pupils became professors at the Conservatoire de Paris. The following year, Reicha himself was appointed professor of counterpoint and fugue at the Conservatoire with the support of Louis XVIII. In 1818 he married Virginie Enaust, who bore him two daughters. Reicha stayed in Paris for the rest of his life. He became a naturalized citizen of his adopted country in 1829 and Chevalier of the Légion d'honneur in 1835. That same year, he succeeded François-Adrien Boieldieu at the Académie française. Though a prolific composer, he was of particular importance as a theorist and teacher in early 19th-century Paris.

HARST, Coelestin (1698-1776) - Suite de pièces pour le clavecin (1745)

Coelestin Harst (1698-1776) - Suite (Fa majeur) de pièces pour le clavecin ... Ier livre (1745)

Performers: Marc Schаеffеr (harpsichord)

Painting: Johann Christoph Frisch (1738-1815) - Elisabeth Mara

Further info: Concert at the Chateau of the Rohans in Strasbourg

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Coelestin (Célestin) Harst

(Sélestat, 1698 - Gerberschweier, 1776)

Alsatian priest and composer. After preliminary studies in Sélestat he entered the Benedictine convent of Ebersmünster, where he became master of the novices, teacher, and in 1745 prior, at the same time acquiring sufficient reputation as a harpsichordist to play before Louis XV during the king's visit to Strasbourg in 1744. His knowledge of the organ led to invitations to examine new instruments. As a superior he insisted upon strict adherence to the rule of his order, but he could also be amusing and entertaining. At his death he was provost of the convent of St Marx near Gerberschweier. Harst's only known work is his 'Recueil de différentes pièces de clavecin' (1745). He was one of the very few composers to use François Couperin's term ordre for a group of pieces in the same key, and his style is an amalgam of Couperin, Jean-Philippe Rameau and Jean-François Dandrieu.

GOMES DA ROCHA, Francisco (1745-1808) - Novena De Nossa Senhora Do Pilar (1789)

Francisco Gomes da Rocha (1745-1808) - Novena De Nossa Senhora Do Pilar (1789)

Performers: Orquestra e Coro Vox Brasiliensis; Ricardo Kanji (1948-2025, conductor)

Drawing: Johann Jacob Steinmann (1800-1844) - Largo do Paço (1839)

Further info: HISTÓRIA DA MÚSICA BRASILEIRA

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Francisco Gomes da Rocha

(Vila Rica, 1745 - Rio de Janeiro, 1808)

Brazilian composer, instrumentalist, and conductor in the Captaincy of Minas Gerais. A bassoonist and timpanist for the Regiment of Dragoons, he also served as a contralto singer and eventually succeeded José Joaquim Emerico Lobo de Mesquita as music director at the Matriz do Pilar in 1800. In addition to his musical professional career, he held administrative roles, including treasurer and clerk, within several religious brotherhoods. While historical estimates suggest a prolific output of approximately 200 compositions, only a small number of manuscripts have been preserved. His extant catalog is defined by sacred works for voices and chamber orchestra, most notably the Novena de Nossa Senhora do Pilar (1789) and the Matins Spiritus Domini (1795).

WAGNER, Richard (1813-1883) - Sinfonia in C-Dur (1832)

Richard Wagner (1813-1883) - Sinfonia in C-Dur (1832), WWV 29

Performers: Tοkyο Metrοpοlitan Symphοny Orchestra; Hiroshi Wakasugi (1935-2009, conductor)

Painting: Carl Friedrich Heinrich Werner (1808-1894) - Festival of the Artists at Tor dé Schiavi (1846)

Further info: Richard Wagner (1813-1883) - Sinfonia (E-Dur) Nr. 2 (1834)

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(Wilhelm) Richard (Ricardo, Richardus) Wagner [Vagner, Waguna, Karl Freigedank]

(Leipzig, 22 May 1813 - Venice, 13 February 1883)

German composer. He was the ninth child of Carl Wagner, a clerk in the Leipzig police service. Richard’s father died six months after his birth. Soon after, Richard’s mother started living with her late husband’s friend named Ludwig Geyer. After a while, she and her family moved to Geyer’s residence in Dresden. Richard lived here until he turned 14. Geyer loved theater and this interest was shared by Richard who took part in his performances. In 1820, Richard was enrolled at Pastor Wetzel’s school near Dresden. Here, he received piano instruction from a Latin teacher. After Geyer’s death in 1821, Richard was sent to a boarding school of Dresdner Kreuzchor, which was paid for by Geyer’s brother. When Richard turned nine, he was impressed by the Gothic elements of Carl Weber’s opera Der Freischutz. During this time, Richard entertained ambitions as a playwright. By 1827, the family went back to Leipzig. His first lessons in harmony were taken between 1828 and 1831. In January of 1828, he heard Beethoven’s 7th Symphony and later in March, the same composer’s 9th Symphony. In 1831, Richard joined Leipzig University. He became a member of the Saxon student fraternity. Richard also took composition lessons from Thomaskantor Weinlig. In 1833, Richard’s brother managed to get a position for him as a choir master at a theatre in Wurzburg. When he turned 20 that same year, Richard composed his first complete opera entitled Die Feen, which means The Fairies. In 1834, he went back to Leipzig where he held a short appointment as a musical director at the Magdeburg opera house. During this time, he wrote Das Liebesverbot, or The Ban on Love. This composition was based on Shakespeare’s Measure for Measure. In 1840, Richard completed Rienzi. With a lot of support from Giacomo Meyerbeer, this was accepted for performance by the Dresden Court Theatre in 1842. Richard lived in Dresden for the next six years. 

During his time here, he was appointed the Royal Saxon Court-Conductor. However, his involvement with left-wing politics terminated his stay in Dresden. After leaving Dresden, Richard was unable to enter Germany for the next 11 years due to great political instability. During this time, he wrote Opera and Drama and then started developing his popular Ring Cycle. This work combined literature, music, and visual elements in a way that would anticipate the future of film. In 1843, Wagner completed The Flying Dutchman, which was considered one of the greatest works of the time. In 1845, Richard produced Tannhauser and then started working on Lohengrin. In 1862, Richard returned to Germany. He was invited by the king to settle in Bavaria. In 1869 and 1870, Richard’s first two operas were presented in Munich. Richard died of a heart attack on February 13, 1883. He was 69 years old and died while on vacation in Venice. His body was shipped back to Bayreuth where he was buried. Until his final years, Richard’s life was characterized by political exile, poverty, turbulent love affairs and repeated flight from creditors. His controversial music, drama and politics have attracted extensive comment in the recent decade. The effect of his ideas can actually be traced in many arts throughout 20th century. Their influence spread beyond composition to philosophy, visual arts, theatre and literature. During his lifetime, his work was deeply loved by many and influenced other composers. He was able to revolutionize opera through his concept of Gesamtkunstwerk, which translates to “total work of art.” His compositions, and especially those of later years, are notable for their complex textures, orchestration, rich harmonies and elaborate use of leitmotifs. His musical language composed of extreme use of chromaticism and shifting tonal centers greatly influenced the development of classical music.

HOTTETERRE, Jean (c.1666-1720) - Suite 'La Noce Champetre'

Jean Hotteterre (c.1666-1720) - Suite 'La Noce Champetre' des

'Pièces pour la muzette qui peuvent aussi se jouer sur la flûte, sur le haubois etc... oeuvre posthume'

Performers: The Telemann Society Orchestra; Richard Schulze (1928-2001, conductor)

Painting: Jan Steen (c.1626-1679) - The Dancing Couple

Further info: A Country Wedding Festival From 17th Century France

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Jean Hotteterre [Haulteterre, Hautetére, Otteterre et al.]

(Paris?, c.1666 - Paris, 5 March 1720)

French composer. Born into a family of woodwind instrument makers, instrumentalists and composers, he was son of Martin Hotteterre (c.1635-1712). He served in the hautbois et musettes de Poitou. On his father's death in 1712 he succeeded to the business, continuing the workshop on the rue de Harlay until his death. His only extant collection of 'Pièces pour la muzette qui peuvent aussi se jouer sur la flûte, sur le haubois etc... oeuvre posthume' was published by his brother Jacques Hotteterre (1673-1763) in 1722. During the 17th century various members of the family moved to Paris, where they gained fame as instrument makers and players, serving royal music-making. They are credited with developing early prototypes of the Baroque oboe, bassoon, musette and flute. Their talents in instrument making, playing, composition and pedagogy converged to form the foundation of the French school of woodwind playing.