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Updated: May 18, 2025
Pursuing the usual studies, harmony with Reicha, and piano with Hummel and Moscheles, she began to write ambitious works at an early age. Such merit did some of these works show that Schumann, who reviewed them, was at first inclined to doubt her ability to write them unaided.
He himself says that his two masters at the Conservatoire taught him nothing in point of instrumentation: "Lesueur had only very limited ideas about the art. Reicha knew the particular resources of most of the wind instruments; but I think that he had not very advanced ideas on the subject of grouping them." Berlioz taught himself.
He played in public for the first time at the age of nine, in Odenburg. In 1829 he came to Vienna, remaining there eighteen months studying piano under Czerny, and composition with Salieri. He then was taken to Paris, where he studied under Reicha till 1825. In 1831 he heard Paganini play. It is supposed that he was so impressed that he decided to become the Paganini of the piano.
He first studied under Zimmermann and Kalkbrenner, and afterward under Dourlen, Barbereau, Le Sueur, and Reicha. For successive years he carried off first prizes: for the piano in 1829; for harmony, in 1830; and in 1832 the highest honor in composition was awarded him, the Prix de Rome, which allowed him to go to Italy as a government stipendiary.
He and Beethoven were intimate, and the prominence which Beethoven gives to the flute in his orchestral works may in part be explained by this intimacy. Reicha afterward joined Beethoven at Vienna, remaining there until 1808, when he took up his residence in Paris. He was a prolific composer and the author of numerous theoretical works.
Charles Gounod, born in Paris June 17, 1818, betrayed so much passion for music during tender years, that his father gave him every opportunity to gratify and improve this marked bias. He studied under Reicha and Le Sueur, and finally under Halévy, completing under the latter the preparation which fitted him for entrance into the Conservatory.
For with all their faults these works had a marvellous success. The truth is that their vehemence was sincere and not artificial. The Romanticists had faith in their works and there is nothing like faith to produce lasting results. Reicha and Leuseur were, as we know, Berlioz's instructors. Leuseur was the author of numerous works and wrote a good deal of church music.
Reicha, Berlioz's first teacher, had the original idea of playing drum taps in chords of three or four beats. In order to try out this effect, he composed a choral piece, L'Harmonie des Sphères, which was published in connection with his Traité d'Harmonie. But Reicha's genius did not suffice for this task. He was a good musician, but no more than that.
She had already learned harmony and counterpoint from Reicha at the Paris Conservatoire, and these she now found occasion to put in practice. She copied all the melodies of Schubert, of whom she was a passionate admirer, and thought no toil too great which promoted her musical growth. Her labor was a labor of love, and all the ardor of her nature was poured into it.
Friedrich von Flotow was born April 27, 1812, in the duchy of Mecklenberg-Schwerin, and in 1827 went to Paris, where he studied music under Reicha.
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