27 research outputs found
Quatuor Scientifique // Consistant en XII Morceaux // de Musique pour deux // Violons, Alto et Violoncelle // Composé // par // Ant: Reicha. Violino 2do (manuscrit autographe)
No full textTitre uniforme : Reicha, Antoine (1770-1836). Compositeur. [Quatuor scientifique]Titre propre pris à la partie de vl 1. - Avertissement au verso de la p. de titre de la partie de vl 1. - Manuscrit autographe à l'encre. - Parties : violino 1mo ([2]-35 p.), violino 2do (40 p.), viola (37 p.), violoncello (35 p.). - Daté d'après la Pantomime (1er mouvement), composée le 24 mai 1806 (cf. MS-12020 (1))Présentation musicale : [Parties]Quatuors à cordes -- +* 1800......- 1899......+:19e siècle
Quatuor Scientifique // Consistant en XII Morceaux // de Musique pour deux // Violons, Alto et Violoncelle // Composé // par // Ant: Reicha. Violoncello (manuscrit autographe)
No full textTitre uniforme : Reicha, Antoine (1770-1836). Compositeur. [Quatuor scientifique]Titre propre pris à la partie de vl 1. - Avertissement au verso de la p. de titre de la partie de vl 1. - Manuscrit autographe à l'encre. - Parties : violino 1mo ([2]-35 p.), violino 2do (40 p.), viola (37 p.), violoncello (35 p.). - Daté d'après la Pantomime (1er mouvement), composée le 24 mai 1806 (cf. MS-12020 (1))Présentation musicale : [Parties]Quatuors à cordes -- +* 1800......- 1899......+:19e siècle
Quatuor Scientifique // Consistant en XII Morceaux // de Musique pour deux // Violons, Alto et Violoncelle // Composé // par // Ant: Reicha. Violino 1mo (manuscrit autographe)
No full textTitre uniforme : Reicha, Antoine (1770-1836). Compositeur. [Quatuor scientifique]Titre propre pris à la partie de vl 1. - Avertissement au verso de la p. de titre de la partie de vl 1. - Manuscrit autographe à l'encre. - Parties : violino 1mo ([2]-35 p.), violino 2do (40 p.), viola (37 p.), violoncello (35 p.). - Daté d'après la Pantomime (1er mouvement), composée le 24 mai 1806 (cf. MS-12020 (1))Présentation musicale : [Parties]Quatuors à cordes -- +* 1800......- 1899......+:19e siècle
Quatuor Scientifique // Consistant en XII Morceaux // de Musique pour deux // Violons, Alto et Violoncelle // Composé // par // Ant: Reicha. Viola (manuscrit autographe)
No full textTitre uniforme : Reicha, Antoine (1770-1836). Compositeur. [Quatuor scientifique]Titre propre pris à la partie de vl 1. - Avertissement au verso de la p. de titre de la partie de vl 1. - Manuscrit autographe à l'encre. - Parties : violino 1mo ([2]-35 p.), violino 2do (40 p.), viola (37 p.), violoncello (35 p.). - Daté d'après la Pantomime (1er mouvement), composée le 24 mai 1806 (cf. MS-12020 (1))Présentation musicale : [Parties]Quatuors à cordes -- +* 1800......- 1899......+:19e siècle
Il ‘Quatuor scientifique’ di Antonín Reicha
No full textAntonín Reicha compose il Quatuor Scientifique a Vienna nell’aprile 1806. Si tratta di un brano di musica da camera assai particolare, ad oggi ancora inedito: in dodici movimenti con un’introduzione intitolata La Pantomime, Fantaisie pour deux Violons, Alto et Violoncelle. Quest’ultima parrebbe essere un melologo, giacché reca un testo sul Genio sotto la parte del primo violino, forse da recitarsi durante l’esecuzione o forse un semplice commento. Otto dei dodici movimenti sono fughe, di cui due su temi di Mozart (VII) e di Haydn (XI); altre due sono tratte dalle Trente-six fugues pour le pianoforte op. 36. Intento di Reicha era mostrare ancora una volta compiutamente la propria sapienza contrappuntistica, ed in particolare la tecnica della permutazione ed il trattamento tonale dei soggetti, così come aveva fatto nell’op. 36.
Le Trente-six fugues op. 36 erano state pesantemente criticate da Beethoven: «z. B.[eispiel] mir ein gewisser fr.[anzösischer] Componist Fugen presentirte après une Nouvelle Methode, welche darin besteht, daß die Fuge keine Fuge mehr ist, etc» (lettera di Beethoven a Breitkopf & Härtel, 18 dicembre 1802). Tuttavia Beethoven ha probabilmente tenuto conto di molte innovazioni e particolarità compositive di Reicha, che fu suo compagno di studi ed amico. Un esempio potrebbe essere l’impiego delle tecniche di variazione teorizzate da Reicha (Traité de Haute Composition musicale, II, p. 304) nelle Variazioni Diabelli op. 120. Anche la musica da camera di Beethoven, in specifico i quartetti per archi, fu influenzata da Reicha? Cercando modelli per l’ultima produzione quartettistica beethoveniana, fortemente caratterizzata dal contrappunto e dall’impiego di particolari strategie tonali, non si può dimenticare Reicha ed i suoi più interessanti quartetti, come il Quatuor Scientifique, che, seppure inedito, Beethoven ha molto probabilmente conosciuto
Précaution ou Prévention ? Des Responsibilités De La Politique Et De La Societé Pendant La Gestion De La Pandémie De COVID-19 Au Bénin
No full textL’une des stratégies clés retenues pour la lutte contre la COVID-19au Bénin a consisté en la vaccination progressive des populations.Mais la campagne de vaccination déployée n’a pas emportél’adhésion des populations cibles au point de faire émerger laproblématique de l’acceptabilité vaccinale. Cet article a pourobjectif d’appréhender les controverses suscitées à cet effet,partant de l’analyse des données d’entretiens collectées auprèsde ces dernières. Il s’ensuit que les stratégies politiques mises enplace manquent d’efficacité parce qu’elles sont peu adaptées àl’historicité des contextes d’implémentation et demeurent dureste empreintes d’une approchetop-down. Cela a entretenu desimputations populaires variées et nourri un continuum desuspicions vis-à-vis du process vaccinal au point de faireapparaître les enjeux de prévention et de précaution commel’objet de cristallisation de la marque distinctive entregouvernants et populations
The Teaching of Harmony and Composition in the French Conservatoire in the Nineteenth Century - the Importance and Influence of Reicha and Fétis
No full textIn 1818 Antoine Reicha was appointed teacher of counterpoint at the École Royale de Musique et de Déclamation. He was joined in 1821 by F-J. Fétis. At the time of their appointment each of these two composers brought to the École an established reputation as a teacher and a philosophy of teaching well considered, though the ideas and the musical repertoire which each called upon in his teaching differed from that of the other and of the teachers of composition of longstanding whom they joined at the École. Reicha and Fétis are rarely discussed in the same context. Fétis, from Belgium, a former pupil of the Paris Conservatoire who returned there as a teacher after working as an organist and schoolteacher elsewhere in France, was thoroughly steeped in the theoretical tradition of that country; the older and more travelled Reicha, educated in Bonn alongside his contemporary Beethoven and acquainted with Haydn during his years in Vienna, had direct experience of the musical traditions not only of Paris, but also of these two other important European centers. Reicha\u27s compositions have survived alongside his theoretical writings whereas those of Fétis have been largely forgotten. His legacy consists of a wealth of critical writings and essays in musical history not confined to the music of western Europe, a comprehensive biographical dictionary, and an essay which is generally regarded as the first to document the history of harmonic theory. Reicha\u27s writings on harmony and composition are characterised by an absence of dogma and a practical approach; those of Fétis owe even the ordering of their content to the theory of tonal relationships which their author developed
The importance of the woodwind quintets by Anton Reicha in the Chamber Repertorie for french horn players
No full textOrientador: Eduardo Augusto OstergrenDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de ArtesResumo: Verificando a importância dos Quintetos de Sopro de Anton Reicha, no repertório camerístico dos trompistas, esta pesquisa tem como finalidade apresentar um estudo analítico e interpretativo das obras "Quinteto em Mi bemol Maior opus 88 nº1" e "Quinteto em Si bemol Maior opus 100 nº 24", ambos para flauta, oboé, clarinete, fagote e trompa, tendo como parâmetros os tratados: Traite de Melodie (1814), o Cours de Composition Musicale ou Traité Complet et Raisonné d?Harmonie Pratique (1818) e o Traité de Haute Composition Musicale (1824-26) do próprio compositor. Na época de composição das obras, Reicha já tinha um amplo conhecimento da trompa natural e por isso, as análises interpretativas foram direcionadas tanto à performance na trompa natural, como na trompa moderna, e desta forma, o trompista atual, mesmo sem utilizar a trompa natural ou a técnica de mão, poderá utilizar na trompa moderna, as informações e observações referentes ao resultado sonoro, exclusivamente característico à técnica de mão, enriquecendo sua interpretação com nuances e características timbrísticas, que antes só poderiam ser percebidas com a performance na trompa natural. Assim, este trabalho além de proporcionar o resgate aos tratados teóricos, amplamente utilizados como referência na época, promove um enriquecimento interpretativo aos trompistasAbstract: Upon examining the importance of the Woodwind Quintets by Anton Reicha for the chamber music literature and as important repertoire for french horn players, this study has as its main purpose to present an analytical and interpretive study of Woodwind Quintets in E flat major, op. 88 n.1 and Quintet in B flat major op. 100 n. 24. Scored both for flute, oboe, clarinet, bassoon and french horn, this author used as parameters Anton Reicha's own theoretical treatises namely "Traité de Mélodie (1814)" , "Cours de Composition Musicale ou Traité Complet et Raisonné d'Harmonie Pratique (1818)" and "Traité de Haute Composition Musicale (1824-26)" .The dates of these compositions can very well indicate that Reicha had a thorough knowledge of the natural horn. The interpretive analysis here presented are aimed at either the performance of the historical natural horn or the modern french horn. In this way the modern player, even without having access to the natural instrument or the utilization of hand technique, can apply on the modern french horn the information offered here regarding the sound qualities that are a characteristic of hand technique which helps enrich timbristic nuances that can only be perceived on the natural horn. This work, besides offering an insight into the composers theoretical treatises widely used by his contemporaries also offers interpretive suggestions to the modern players of the french hornMestradoFundamentos TeoricosMestre em Músic
Egzemplarz drugiego wydania „De humani corporis fabrica” Andreasa Vesaliusa (Bazylea 1555) w zbiorach Książnicy Cieszyńskiej w Cieszynie. Część I. W zbiorach Ezechiasa i Georga Reichów (II połowa XVI wieku – początek XVII wieku)
No full textThe author has attempted to trace the provenance of a copy of the second edition of De humani corporis fabrica by Andreas Vesalius (Basel, 1555), which is located in the Cieszyn Library. In the course of the research it was established that this volume belonged to at least three people: the ducal court doctor and professor of medicine at the University of Greifswald Ezechias Reich (1532–1572); his son, a doctor of law and assesor at the Reichskammergericht in Speyer Georg Reich the younger (1568–1616/1620), and then from 1802 to Leopold Jan Szersznik, a social activist and historian from Cieszyn, and the founder of the public library in Cieszyn.De humani corporis fabrica w zbiorach polskich. Charakterystyka księgozbioru i życiorys Georga Reicha starszego. Życiorys pierwszego właściciela cieszyńskiego egzemplarza De humani corporis fabrica — Ezechiasa Reicha (1532–1572). Życiorys pierwszego spadkobiercy egzemplarza — Georga Reicha młodszego (1568–1616/1620)
Anton Reicha, sein Leben und seine Kompositionen ...
No full textLebenslauf.Inaug.-Diss.--München."Register der Reichaschen Kompositionen": p. [151]-154.Mode of access: Internet
