Grove's dictionary of music and musicians

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52 REICHA EEICHARDT
Theresa was of great service to him, and at her
request he composed an Italian opera, ' Argina,
regina di Granata.' During this happy period
of his life he published symphonies, oratorios,
a requiem, six string quintets, and many solos
for PF. and other instruments. He himself
attached great importance to his '36 Fugues
pour le piano,' dedicated to Haydn, but they
are not the innovations which he believed them
to be ; in placing the answers on any and every
note of the scale he merely reverted to the
Eicercari of the 17th century, and the only
effect of this abandonment of the classic laws of
Real fugue was to banish tonality.
The prospect of another war induced Reicha
to leave Vienna, and he settled finally in Paris
in 1808. He now realised the dream of his
youth, producing first 'Cagliostro' (Nov. 27,
1810), anopera-oomique composed withDourlen
and at the Academie, ' Natalie ' (three acts, July
30, 1816), and Sapho ' ' (Dec. 16, 1822). Each
of these works contains music worthy of respect,
but they had not sufficient dramatic effect to
take with the public.
Reicha's reputation rests on his chambermusic,
and on his theoretical works. Of the
former the following deserve mention : a diecetto
for five strings and five wind instruments ; an
octet for four strings and four wind instruments ;
twenty-four quintets for flute, oboe, clarinet,
horn and bassoon ; six quintets and twenty
quartets for strings ; one quintet for clarinet
and strings ; one quartet for PF., flute, violoncello,
and bassoon ; one do. for four flutes ; six
do. for flute, violin, tenor, and violoncello ; six
string trios ; one trio for three violoncellos ;
tweuty-four do. for three horns ; six duets for
two violins; twenty -two do. for two flutes;
twelve sonatas for PF. and violin, and a number
of sonatas and pieces for PF. solo. He also
composed symphonies and overtures. These
works are more remarkable for novelty of combination
and striking harmonies, than for
abundance and charm of ideas. Reicha's faculty
for solving musical problems brought him into
notice among musicians when he first settled in-
Paris, and in 1818 he was offered the professorship
of counterpoint and fugue at the Conservatoire.
Among his pupils there were Boilly,
Jelensperger, Bienaimd, Millaut, Lefebvre,
Elwart, PoUet, Lecarpentier, Dancla, and
others.
His didactic works, all published in Paris,
are : Traitd de Melodie, etc. (4to, 1814) ; C(ywrs
de composition mimcale, etc. (1816) ; TraiU de
haute composition rrmsicale (first part 1824,
second 1826), a sequel to the other two ;
and
Art du compositefu/r dramatique, etc. (4to, 1833).
F^tis has criticised his theories severely, and
though highly successful in their day, they are
now abandoned, but nothing can surpass the
clearness and method of his analysis, and those
who use his works will always find much to
be grateful for. Czerny published a German
translation of the Traiti de haute composition
(Vienna,' 1834, four vols, folio), and in his Art
cSimproviser obviously made tise of Reicha's
Art de varier— fifty-seven variations on an
original theme.
Reicha married a Parisian, was naturalised in
1829, and received the Legion of Honour in
1831. He presented himself several times for
election to the Institut before his nomination
as Boieldieu's successor in 1835. He only
enjoyed his honours a short time, being carried
off by inflammation of the lungs. May 28, 1836.
His death was deplored by the many friends
whom his trustworthy and honourable character
had attached to him. A life-like portrait,
somewhat spoiled by excessive laudation, is
contained in the Notice sur Beicha (Paris, 1837,
8vo), by his pupil Delaire. G. c.
REICHARDT, Alexander, a tenor singer,-
was born at Packs, Hungary, April 17, 1825.
He received his early instruction in music from
an uncle, and made his first appearance at the
age of eighteen at the Lemberg theatre as Rodrigo
in Rossini's ' Otello. ' His success there led him
to Vienna, where he was engaged at the Court
Opera, and completed his education under
Gentiluomo, Catalani, etc. At this time he
was much renowned for his singing of the
Lieder of Beethoven and Schubert, and was in
request at all the soirees ; Prince Esterhazy
made him his Kammersanger. In 1846 he
made a toiimie through Berlin, Hanover, etc.,
to Paris, returning to Vienna. In 1851 he
made his first appearance in England, singing
at the Musical Union, May 6, and at the Philharmonic,
May 12, at many other concerts, and
before Queen Victoria. In the following season
he returned and sang in Berlioz's Romeo and
'
Juliet,' at the new Philharmonic Concert of
April 14, also in the Choral Symphony, Berlioz's
' Faust,' and the
' Walpurgisnight,' and enjoyed
a very great popularity. From this time until
1857 he passed each season in England, singing
at concerts, and at the Royal Opera, Drury
Lane, and Her Majesty's Theatre, where he
filled the parts of the Count in The ' Barber of
Seville,' Raoul in The ' Huguenots,' Belmont in
the 'Seraglio,' Don Ottavio in 'Don Juan,'
and Florestan in 'Fidelio.' The last was a
very successful, impersonation, and in this part
he was said ' to have laid the foundation of the
popularity which he has so honourably earned
and maintained in London.' He also appeared
with much success in oratorio. In 1857 he
gave his first concert in Paris, in the Salle
Erard, and the following sentence from Berlioz's
report of the performance will give an idea of
his style and voice. ' M. Reichardt is a tenor
of the first water—sweet, tender, sympathetic
and charming. Almost all his pieces were redemanded,
and he sang them again without a
sign of fatigue.' In 1860 he settled in Boulogne,