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[
"Shrimad Rajchandra",
"student",
"Mahatma Gandhi"
] |
Shrimad Rajchandra (11 November 1867 – 9 April 1901) was a Jain poet, mystic, philosopher, scholar, and reformer. Born in Vavaniya, a village near Morbi, he claimed to have recollection of his past lives at the age of seven. He performed Avadhāna, a memory retention and recollection test that gained him popularity, but he later discouraged it in favour of his spiritual pursuits. He wrote much philosophical poetry including Atma Siddhi. He also wrote many letters and commentaries and translated some religious texts. He is best known for his teachings on Jainism and his spiritual guidance to Mahatma Gandhi.Final years
In 1887 (Maha Sud 12, VS 1944), Rajchandra married Zabakben, daughter of Popatlal, the elder brother of Revashankar Jagjivandas Mehta, a Zaveri merchant family. He then engaged in the pearl and diamond business. They had two sons and two daughters. His in-laws wanted him to move to Bombay and establish business there, but he was interested in his spiritual pursuits.In 1890 (VS 1947), he experienced self-realization for the first time at Uttarsanda where he was meditating under a mango tree near a lake. The tree no longer exists but a memorial shrine dedicated to the event is built there. He continued his householder life for more six years and was successful in his business.He is well known as a spiritual guide of Mahatma Gandhi. They were introduced in Mumbai in 1891 and had various conversations through letters while Gandhi was in South Africa. Gandhi noted his impression of Shrimad Rajchandra in his autobiography, The Story of My Experiments with Truth, calling him his "guide and helper" and his "refuge in moments of spiritual crisis". He advised Gandhi to be patient and to study Hinduism deeply. His teaching directly influenced Gandhi's non-violence philosophy.
| 1
|
[
"Shrimad Rajchandra",
"notable work",
"Atma Siddhi"
] |
Shrimad Rajchandra (11 November 1867 – 9 April 1901) was a Jain poet, mystic, philosopher, scholar, and reformer. Born in Vavaniya, a village near Morbi, he claimed to have recollection of his past lives at the age of seven. He performed Avadhāna, a memory retention and recollection test that gained him popularity, but he later discouraged it in favour of his spiritual pursuits. He wrote much philosophical poetry including Atma Siddhi. He also wrote many letters and commentaries and translated some religious texts. He is best known for his teachings on Jainism and his spiritual guidance to Mahatma Gandhi.
| 4
|
[
"Shrimad Rajchandra",
"family name",
"Rajchandra"
] |
Shrimad Rajchandra (11 November 1867 – 9 April 1901) was a Jain poet, mystic, philosopher, scholar, and reformer. Born in Vavaniya, a village near Morbi, he claimed to have recollection of his past lives at the age of seven. He performed Avadhāna, a memory retention and recollection test that gained him popularity, but he later discouraged it in favour of his spiritual pursuits. He wrote much philosophical poetry including Atma Siddhi. He also wrote many letters and commentaries and translated some religious texts. He is best known for his teachings on Jainism and his spiritual guidance to Mahatma Gandhi.
| 5
|
[
"Shrimad Rajchandra",
"religion or worldview",
"Jainism"
] |
Shrimad Rajchandra (11 November 1867 – 9 April 1901) was a Jain poet, mystic, philosopher, scholar, and reformer. Born in Vavaniya, a village near Morbi, he claimed to have recollection of his past lives at the age of seven. He performed Avadhāna, a memory retention and recollection test that gained him popularity, but he later discouraged it in favour of his spiritual pursuits. He wrote much philosophical poetry including Atma Siddhi. He also wrote many letters and commentaries and translated some religious texts. He is best known for his teachings on Jainism and his spiritual guidance to Mahatma Gandhi.Legacy
Rajchandra was inspired by works of Kundakunda and Digambara mystical tradition and, in turn, inspired several spiritual teachers and followers including people from all schools of Jainism. His followers sometimes consider his teaching as a new path of Jainism, neither Svetambara nor Digambara, and revere him as a saint. His path is sometimes referred as Raj Bhakta Marg, Kavipanth, or Shrimadia, which has mostly lay followers as was Rajchandra himself. His teachings influenced Kanji Swami, Dada Bhagwan, Rakesh Jhaveri, Saubhagbhai, Lalluji Maharaj (Laghuraj Swami), Atmanandji and several other religious figures. Some of them established temples and institutions in his dedication and to spread his teachings. Such temples often house his pictures and images based on photographs taken in a studio in various meditation postures just a month before his death. Shrimad Rajchandra's teachings have been popular in the Jain diaspora communities; mostly in East Africa, the United Kingdom and North America.A special cover featuring him and Rabindranath Tagore was published by the India Post on occasion of Gandhi Jayanti in 2002.The Government of India released ₹10 coins, ₹150 souvenir coins and the stamps at the Sabarmati Ashram in Ahmedabad on 29 June 2017 as the commemoration of Shrimad Rajchandra's 150th birth anniversary. U.C. Riverside's College of Humanities, Arts and Social Sciences and the Department of Religious Studies announced the establishment the Shrimad Rajchandra Endowed Chair in Jain Studies on 17 February 2017.Shrimad Rajchandra Mission Dharampur is a spiritual movement inspired from Shrimad Rajchandra. It was founded by Pujya Gurudevshri Rakeshji - a devotee of Shrimadji. It is headquartered in Dharampur, Gujarat and carries out social and spiritual activities across five continents.
A 34-feet idol of Rajchandra was inaugurated in November 2017 at Shrimad Rajchandra Ashram, Dharampur by Rakesh Jhaveri and Sri Sri Ravishankar.
| 6
|
[
"Shrimad Rajchandra",
"place of death",
"Rajkot"
] |
He stayed in Gujarat with his disciples and avoided moving to Bombay. He retired from householder life and business when he was thirty. He spent three months in Idar where he instructed seven monks in religious discourses sitting on a stone, pudhvi śila. A memorial temple and a prayer hall was later built there.During his final years, he suffered a chronic digestive disorder. No specific cause of death was identified except extreme weakness. In 1900, he lost a large amount of weight. He was under medical supervision, and doctors advised him to move to coastal region of Gujarat for the benefit of his health. He contracted an illness during his stay in Dharampur, Gujarat, from which he never recovered. In 1901, he, his mother and wife stayed at Aga Khan's bungalow in Ahmedabad before moving to Wadhwan Camp. He died on 9 April 1901 (Chaitra Vad 5, VS 1957) in Rajkot (now in Gujarat) surrounded by his family, friends and disciples. A small photograph taken after his death is displayed in a library in Khambhat established by him. The room where he died is now a prayer hall.
| 8
|
[
"Shrimad Rajchandra",
"place of birth",
"Vavania"
] |
Shrimad Rajchandra (11 November 1867 – 9 April 1901) was a Jain poet, mystic, philosopher, scholar, and reformer. Born in Vavaniya, a village near Morbi, he claimed to have recollection of his past lives at the age of seven. He performed Avadhāna, a memory retention and recollection test that gained him popularity, but he later discouraged it in favour of his spiritual pursuits. He wrote much philosophical poetry including Atma Siddhi. He also wrote many letters and commentaries and translated some religious texts. He is best known for his teachings on Jainism and his spiritual guidance to Mahatma Gandhi.Early life
Shrimad Rajchandra was born on 11 November 1867 (Kartika Purnima, Vikram Samvat 1924), in Vavaniya, a port near Morbi (now in Gujarat, India). His mother, Devbai, was Svetambara Sthanakvasi Jain and his father, Ravjibhai Mehta and paternal grandfather, Panchan Mehta, were Vaishnava Hindu. So he was introduced to Jainism and Hinduism from early life. He was initiated in Vaishnavism by a Sadhu named Ramadasji. He continued to study other Indian religions and was attracted to Ahimsa (non-violence) doctrine of Jainism. Later, he chose Jainism because he considered that it provides "best path to salvation".His birth name was Lakshminandan Mehta. He was renamed Raichand by his parents when he was four years old. Later, his name changed to its Sanskrit form, Rajchandra. Shrimad, an honorific, was added by his disciples posthumously. His disciples also refer to him as Param Krupalu Dev (Lord of the Highest Compassion).
| 9
|
[
"Shrimad Rajchandra",
"occupation",
"philosopher"
] |
Shrimad Rajchandra (11 November 1867 – 9 April 1901) was a Jain poet, mystic, philosopher, scholar, and reformer. Born in Vavaniya, a village near Morbi, he claimed to have recollection of his past lives at the age of seven. He performed Avadhāna, a memory retention and recollection test that gained him popularity, but he later discouraged it in favour of his spiritual pursuits. He wrote much philosophical poetry including Atma Siddhi. He also wrote many letters and commentaries and translated some religious texts. He is best known for his teachings on Jainism and his spiritual guidance to Mahatma Gandhi.
| 10
|
[
"Shrimad Rajchandra",
"sex or gender",
"male"
] |
Shrimad Rajchandra (11 November 1867 – 9 April 1901) was a Jain poet, mystic, philosopher, scholar, and reformer. Born in Vavaniya, a village near Morbi, he claimed to have recollection of his past lives at the age of seven. He performed Avadhāna, a memory retention and recollection test that gained him popularity, but he later discouraged it in favour of his spiritual pursuits. He wrote much philosophical poetry including Atma Siddhi. He also wrote many letters and commentaries and translated some religious texts. He is best known for his teachings on Jainism and his spiritual guidance to Mahatma Gandhi.
| 11
|
[
"John Edmonstone",
"instance of",
"human"
] |
John Edmonstone was a taxidermist and teacher of taxidermy in Edinburgh, Scotland. He was an influential Black Briton.Born into slavery on a wood plantation in Demerara, British Guiana (present-day Guyana, South America), he was given the surname of his slave-owner, Charles Edmonstone, who owned the plantation and also owned the Cardross Park estate at Cardross, near Dumbarton in Scotland. Around 1812 the plantation was visited by the naturalist Charles Waterton, who spent considerable time teaching John Edmonstone taxidermy.In 1817 Edmonstone came to Scotland with his master, possibly to become a servant to the Edmonstone family at Cardross Park. Having come there, he was freed, and he took employment in Glasgow, then moved to Edinburgh where in 1823 he set up shop as a "bird-stuffer" at 37 Lothian Street. From this shop, he taught taxidermy to students attending the nearby University of Edinburgh, including Charles Darwin in 1826, when Darwin was 15. Having worked in hot climates, Edmonstone had learned to preserve birds rapidly before decomposition set in, a skill that may have benefited Darwin in preserving his Galapagos finches. Edmonstone also undertook work for the Royal Museum of the University. He moved his taxidermy shop to Edinburgh's main shopping thoroughfare, opening at 29 and then later 66 Princes Street. In the 1840s he moved shop again to 10 South St David's Street.Edmonstone gave Darwin inspiring accounts of tropical rain forests in South America and may have encouraged him to explore there. The taxidermy Darwin learnt from Edmonstone helped him greatly during the voyage of HMS Beagle. However, Darwin does not mention him by name, so the identification of Edmonstone as Darwin's teacher is not completely certain and is based on the research of R. B. Freeman.
| 0
|
[
"John Edmonstone",
"student",
"Charles Darwin"
] |
Born into slavery on a wood plantation in Demerara, British Guiana (present-day Guyana, South America), he was given the surname of his slave-owner, Charles Edmonstone, who owned the plantation and also owned the Cardross Park estate at Cardross, near Dumbarton in Scotland. Around 1812 the plantation was visited by the naturalist Charles Waterton, who spent considerable time teaching John Edmonstone taxidermy.In 1817 Edmonstone came to Scotland with his master, possibly to become a servant to the Edmonstone family at Cardross Park. Having come there, he was freed, and he took employment in Glasgow, then moved to Edinburgh where in 1823 he set up shop as a "bird-stuffer" at 37 Lothian Street. From this shop, he taught taxidermy to students attending the nearby University of Edinburgh, including Charles Darwin in 1826, when Darwin was 15. Having worked in hot climates, Edmonstone had learned to preserve birds rapidly before decomposition set in, a skill that may have benefited Darwin in preserving his Galapagos finches. Edmonstone also undertook work for the Royal Museum of the University. He moved his taxidermy shop to Edinburgh's main shopping thoroughfare, opening at 29 and then later 66 Princes Street. In the 1840s he moved shop again to 10 South St David's Street.Edmonstone gave Darwin inspiring accounts of tropical rain forests in South America and may have encouraged him to explore there. The taxidermy Darwin learnt from Edmonstone helped him greatly during the voyage of HMS Beagle. However, Darwin does not mention him by name, so the identification of Edmonstone as Darwin's teacher is not completely certain and is based on the research of R. B. Freeman.
| 1
|
[
"John Edmonstone",
"residence",
"Edinburgh"
] |
John Edmonstone was a taxidermist and teacher of taxidermy in Edinburgh, Scotland. He was an influential Black Briton.Born into slavery on a wood plantation in Demerara, British Guiana (present-day Guyana, South America), he was given the surname of his slave-owner, Charles Edmonstone, who owned the plantation and also owned the Cardross Park estate at Cardross, near Dumbarton in Scotland. Around 1812 the plantation was visited by the naturalist Charles Waterton, who spent considerable time teaching John Edmonstone taxidermy.In 1817 Edmonstone came to Scotland with his master, possibly to become a servant to the Edmonstone family at Cardross Park. Having come there, he was freed, and he took employment in Glasgow, then moved to Edinburgh where in 1823 he set up shop as a "bird-stuffer" at 37 Lothian Street. From this shop, he taught taxidermy to students attending the nearby University of Edinburgh, including Charles Darwin in 1826, when Darwin was 15. Having worked in hot climates, Edmonstone had learned to preserve birds rapidly before decomposition set in, a skill that may have benefited Darwin in preserving his Galapagos finches. Edmonstone also undertook work for the Royal Museum of the University. He moved his taxidermy shop to Edinburgh's main shopping thoroughfare, opening at 29 and then later 66 Princes Street. In the 1840s he moved shop again to 10 South St David's Street.Edmonstone gave Darwin inspiring accounts of tropical rain forests in South America and may have encouraged him to explore there. The taxidermy Darwin learnt from Edmonstone helped him greatly during the voyage of HMS Beagle. However, Darwin does not mention him by name, so the identification of Edmonstone as Darwin's teacher is not completely certain and is based on the research of R. B. Freeman.
| 3
|
[
"John Edmonstone",
"occupation",
"taxidermist"
] |
John Edmonstone was a taxidermist and teacher of taxidermy in Edinburgh, Scotland. He was an influential Black Briton.Born into slavery on a wood plantation in Demerara, British Guiana (present-day Guyana, South America), he was given the surname of his slave-owner, Charles Edmonstone, who owned the plantation and also owned the Cardross Park estate at Cardross, near Dumbarton in Scotland. Around 1812 the plantation was visited by the naturalist Charles Waterton, who spent considerable time teaching John Edmonstone taxidermy.In 1817 Edmonstone came to Scotland with his master, possibly to become a servant to the Edmonstone family at Cardross Park. Having come there, he was freed, and he took employment in Glasgow, then moved to Edinburgh where in 1823 he set up shop as a "bird-stuffer" at 37 Lothian Street. From this shop, he taught taxidermy to students attending the nearby University of Edinburgh, including Charles Darwin in 1826, when Darwin was 15. Having worked in hot climates, Edmonstone had learned to preserve birds rapidly before decomposition set in, a skill that may have benefited Darwin in preserving his Galapagos finches. Edmonstone also undertook work for the Royal Museum of the University. He moved his taxidermy shop to Edinburgh's main shopping thoroughfare, opening at 29 and then later 66 Princes Street. In the 1840s he moved shop again to 10 South St David's Street.Edmonstone gave Darwin inspiring accounts of tropical rain forests in South America and may have encouraged him to explore there. The taxidermy Darwin learnt from Edmonstone helped him greatly during the voyage of HMS Beagle. However, Darwin does not mention him by name, so the identification of Edmonstone as Darwin's teacher is not completely certain and is based on the research of R. B. Freeman.
| 8
|
[
"John Edmonstone",
"given name",
"John"
] |
John Edmonstone was a taxidermist and teacher of taxidermy in Edinburgh, Scotland. He was an influential Black Briton.Born into slavery on a wood plantation in Demerara, British Guiana (present-day Guyana, South America), he was given the surname of his slave-owner, Charles Edmonstone, who owned the plantation and also owned the Cardross Park estate at Cardross, near Dumbarton in Scotland. Around 1812 the plantation was visited by the naturalist Charles Waterton, who spent considerable time teaching John Edmonstone taxidermy.In 1817 Edmonstone came to Scotland with his master, possibly to become a servant to the Edmonstone family at Cardross Park. Having come there, he was freed, and he took employment in Glasgow, then moved to Edinburgh where in 1823 he set up shop as a "bird-stuffer" at 37 Lothian Street. From this shop, he taught taxidermy to students attending the nearby University of Edinburgh, including Charles Darwin in 1826, when Darwin was 15. Having worked in hot climates, Edmonstone had learned to preserve birds rapidly before decomposition set in, a skill that may have benefited Darwin in preserving his Galapagos finches. Edmonstone also undertook work for the Royal Museum of the University. He moved his taxidermy shop to Edinburgh's main shopping thoroughfare, opening at 29 and then later 66 Princes Street. In the 1840s he moved shop again to 10 South St David's Street.Edmonstone gave Darwin inspiring accounts of tropical rain forests in South America and may have encouraged him to explore there. The taxidermy Darwin learnt from Edmonstone helped him greatly during the voyage of HMS Beagle. However, Darwin does not mention him by name, so the identification of Edmonstone as Darwin's teacher is not completely certain and is based on the research of R. B. Freeman.
| 9
|
[
"John Edmonstone",
"family name",
"Edmonstone"
] |
John Edmonstone was a taxidermist and teacher of taxidermy in Edinburgh, Scotland. He was an influential Black Briton.Born into slavery on a wood plantation in Demerara, British Guiana (present-day Guyana, South America), he was given the surname of his slave-owner, Charles Edmonstone, who owned the plantation and also owned the Cardross Park estate at Cardross, near Dumbarton in Scotland. Around 1812 the plantation was visited by the naturalist Charles Waterton, who spent considerable time teaching John Edmonstone taxidermy.In 1817 Edmonstone came to Scotland with his master, possibly to become a servant to the Edmonstone family at Cardross Park. Having come there, he was freed, and he took employment in Glasgow, then moved to Edinburgh where in 1823 he set up shop as a "bird-stuffer" at 37 Lothian Street. From this shop, he taught taxidermy to students attending the nearby University of Edinburgh, including Charles Darwin in 1826, when Darwin was 15. Having worked in hot climates, Edmonstone had learned to preserve birds rapidly before decomposition set in, a skill that may have benefited Darwin in preserving his Galapagos finches. Edmonstone also undertook work for the Royal Museum of the University. He moved his taxidermy shop to Edinburgh's main shopping thoroughfare, opening at 29 and then later 66 Princes Street. In the 1840s he moved shop again to 10 South St David's Street.Edmonstone gave Darwin inspiring accounts of tropical rain forests in South America and may have encouraged him to explore there. The taxidermy Darwin learnt from Edmonstone helped him greatly during the voyage of HMS Beagle. However, Darwin does not mention him by name, so the identification of Edmonstone as Darwin's teacher is not completely certain and is based on the research of R. B. Freeman.
| 10
|
[
"John Edmonstone",
"sex or gender",
"male"
] |
John Edmonstone was a taxidermist and teacher of taxidermy in Edinburgh, Scotland. He was an influential Black Briton.Born into slavery on a wood plantation in Demerara, British Guiana (present-day Guyana, South America), he was given the surname of his slave-owner, Charles Edmonstone, who owned the plantation and also owned the Cardross Park estate at Cardross, near Dumbarton in Scotland. Around 1812 the plantation was visited by the naturalist Charles Waterton, who spent considerable time teaching John Edmonstone taxidermy.In 1817 Edmonstone came to Scotland with his master, possibly to become a servant to the Edmonstone family at Cardross Park. Having come there, he was freed, and he took employment in Glasgow, then moved to Edinburgh where in 1823 he set up shop as a "bird-stuffer" at 37 Lothian Street. From this shop, he taught taxidermy to students attending the nearby University of Edinburgh, including Charles Darwin in 1826, when Darwin was 15. Having worked in hot climates, Edmonstone had learned to preserve birds rapidly before decomposition set in, a skill that may have benefited Darwin in preserving his Galapagos finches. Edmonstone also undertook work for the Royal Museum of the University. He moved his taxidermy shop to Edinburgh's main shopping thoroughfare, opening at 29 and then later 66 Princes Street. In the 1840s he moved shop again to 10 South St David's Street.Edmonstone gave Darwin inspiring accounts of tropical rain forests in South America and may have encouraged him to explore there. The taxidermy Darwin learnt from Edmonstone helped him greatly during the voyage of HMS Beagle. However, Darwin does not mention him by name, so the identification of Edmonstone as Darwin's teacher is not completely certain and is based on the research of R. B. Freeman.
| 12
|
[
"Adam Sedgwick",
"member of",
"American Academy of Arts and Sciences"
] |
Life and career
Sedgwick was born in Dent, Yorkshire, the third child of an Anglican vicar. He was educated at Sedbergh School and Trinity College, Cambridge.He studied mathematics and theology, and obtained his BA (5th Wrangler) from the University of Cambridge in 1808 and his MA in 1811. On 20 July 1817 he was ordained a deacon, then a year later he was ordained as a priest. His academic mentors at Cambridge were Thomas Jones and John Dawson. He became a Fellow of Trinity College, Cambridge and Woodwardian Professor of Geology at Cambridge from 1818, holding the chair until his death in 1873. His biography in the Cambridge Alumni database says that upon his acceptance of the position, reverend Sedgwick had no working knowledge of geology. An 1851 portrait of Sedgwick by William Boxall hangs in Trinity's collection.Sedgwick studied the geology of the British Isles and Europe. He founded the system for the classification of Cambrian rocks and with Roderick Murchison worked out the order of the Carboniferous and underlying Devonian strata. These studies were mostly carried out in the 1830s. The investigations into the Devonian meant that Sedgwick was involved with Murchison in a vigorous debate with Henry De la Beche, in what became known as the great Devonian controversy.He also employed John William Salter for a short time in arranging the fossils in the Woodwardian Museum at Cambridge, and whom accompanied the professor on several geological expeditions (1842–1845) into Wales.
Sedgwick investigated the phenomena of metamorphism and concretion, and was the first to distinguish clearly between stratification, jointing, and slaty cleavage. He was elected to Fellow of the Royal Society on 1 February 1821. In 1844, he was elected a Foreign Honorary Member of the American Academy of Arts and Sciences. He was president of the Geological Society of London.
| 12
|
[
"Adam Sedgwick",
"position held",
"President of the Geological Society of London"
] |
Life and career
Sedgwick was born in Dent, Yorkshire, the third child of an Anglican vicar. He was educated at Sedbergh School and Trinity College, Cambridge.He studied mathematics and theology, and obtained his BA (5th Wrangler) from the University of Cambridge in 1808 and his MA in 1811. On 20 July 1817 he was ordained a deacon, then a year later he was ordained as a priest. His academic mentors at Cambridge were Thomas Jones and John Dawson. He became a Fellow of Trinity College, Cambridge and Woodwardian Professor of Geology at Cambridge from 1818, holding the chair until his death in 1873. His biography in the Cambridge Alumni database says that upon his acceptance of the position, reverend Sedgwick had no working knowledge of geology. An 1851 portrait of Sedgwick by William Boxall hangs in Trinity's collection.Sedgwick studied the geology of the British Isles and Europe. He founded the system for the classification of Cambrian rocks and with Roderick Murchison worked out the order of the Carboniferous and underlying Devonian strata. These studies were mostly carried out in the 1830s. The investigations into the Devonian meant that Sedgwick was involved with Murchison in a vigorous debate with Henry De la Beche, in what became known as the great Devonian controversy.He also employed John William Salter for a short time in arranging the fossils in the Woodwardian Museum at Cambridge, and whom accompanied the professor on several geological expeditions (1842–1845) into Wales.
Sedgwick investigated the phenomena of metamorphism and concretion, and was the first to distinguish clearly between stratification, jointing, and slaty cleavage. He was elected to Fellow of the Royal Society on 1 February 1821. In 1844, he was elected a Foreign Honorary Member of the American Academy of Arts and Sciences. He was president of the Geological Society of London.
| 25
|
[
"Lars Roberg",
"instance of",
"human"
] |
Lars Roberg (4 January 1664 – 21 May 1742) was a Swedish physician and natural science researcher. He served as a professor of anatomy and medicine at Uppsala University.Biography
Roberg was born in Stockholm, Sweden. He was the son of the royal apothecary Daniel Roberg. He matriculated at Uppsala University at a young age in 1675, and left for a long foreign journey in 1680 to Germany, France and England, during which he studied at the University of Wittenberg and University of Leiden. He completed his doctorate in medicine at Leiden in 1693.
He became a professor of anatomy and practical medicine at Uppsala University in 1697 and retained the chair until 1740. Lars Roberg was the teacher of Carl Linnaeus and Peter Artedi.In 1708, he founded a clinic for the purpose of facilitating the practical education of medical students.
Nosocomium academicum at Oxenstiernska huset in Uppsala would later be merged into the Uppsala University Hospital.
He was one of the first to be elected to the Royal Swedish Academy of Sciences after its formation in 1739. Lars Roberg died at Uppsala in 1742.
| 0
|
[
"Lars Roberg",
"student",
"Peter Artedi"
] |
Biography
Roberg was born in Stockholm, Sweden. He was the son of the royal apothecary Daniel Roberg. He matriculated at Uppsala University at a young age in 1675, and left for a long foreign journey in 1680 to Germany, France and England, during which he studied at the University of Wittenberg and University of Leiden. He completed his doctorate in medicine at Leiden in 1693.
He became a professor of anatomy and practical medicine at Uppsala University in 1697 and retained the chair until 1740. Lars Roberg was the teacher of Carl Linnaeus and Peter Artedi.In 1708, he founded a clinic for the purpose of facilitating the practical education of medical students.
Nosocomium academicum at Oxenstiernska huset in Uppsala would later be merged into the Uppsala University Hospital.
He was one of the first to be elected to the Royal Swedish Academy of Sciences after its formation in 1739. Lars Roberg died at Uppsala in 1742.
| 2
|
[
"Lars Roberg",
"given name",
"Lars"
] |
Lars Roberg (4 January 1664 – 21 May 1742) was a Swedish physician and natural science researcher. He served as a professor of anatomy and medicine at Uppsala University.Biography
Roberg was born in Stockholm, Sweden. He was the son of the royal apothecary Daniel Roberg. He matriculated at Uppsala University at a young age in 1675, and left for a long foreign journey in 1680 to Germany, France and England, during which he studied at the University of Wittenberg and University of Leiden. He completed his doctorate in medicine at Leiden in 1693.
He became a professor of anatomy and practical medicine at Uppsala University in 1697 and retained the chair until 1740. Lars Roberg was the teacher of Carl Linnaeus and Peter Artedi.In 1708, he founded a clinic for the purpose of facilitating the practical education of medical students.
Nosocomium academicum at Oxenstiernska huset in Uppsala would later be merged into the Uppsala University Hospital.
He was one of the first to be elected to the Royal Swedish Academy of Sciences after its formation in 1739. Lars Roberg died at Uppsala in 1742.
| 3
|
[
"Lars Roberg",
"member of",
"Royal Swedish Academy of Sciences"
] |
Biography
Roberg was born in Stockholm, Sweden. He was the son of the royal apothecary Daniel Roberg. He matriculated at Uppsala University at a young age in 1675, and left for a long foreign journey in 1680 to Germany, France and England, during which he studied at the University of Wittenberg and University of Leiden. He completed his doctorate in medicine at Leiden in 1693.
He became a professor of anatomy and practical medicine at Uppsala University in 1697 and retained the chair until 1740. Lars Roberg was the teacher of Carl Linnaeus and Peter Artedi.In 1708, he founded a clinic for the purpose of facilitating the practical education of medical students.
Nosocomium academicum at Oxenstiernska huset in Uppsala would later be merged into the Uppsala University Hospital.
He was one of the first to be elected to the Royal Swedish Academy of Sciences after its formation in 1739. Lars Roberg died at Uppsala in 1742.
| 4
|
[
"Lars Roberg",
"family name",
"Roberg"
] |
Lars Roberg (4 January 1664 – 21 May 1742) was a Swedish physician and natural science researcher. He served as a professor of anatomy and medicine at Uppsala University.Biography
Roberg was born in Stockholm, Sweden. He was the son of the royal apothecary Daniel Roberg. He matriculated at Uppsala University at a young age in 1675, and left for a long foreign journey in 1680 to Germany, France and England, during which he studied at the University of Wittenberg and University of Leiden. He completed his doctorate in medicine at Leiden in 1693.
He became a professor of anatomy and practical medicine at Uppsala University in 1697 and retained the chair until 1740. Lars Roberg was the teacher of Carl Linnaeus and Peter Artedi.In 1708, he founded a clinic for the purpose of facilitating the practical education of medical students.
Nosocomium academicum at Oxenstiernska huset in Uppsala would later be merged into the Uppsala University Hospital.
He was one of the first to be elected to the Royal Swedish Academy of Sciences after its formation in 1739. Lars Roberg died at Uppsala in 1742.
| 7
|
[
"Lars Roberg",
"country of citizenship",
"Sweden"
] |
Lars Roberg (4 January 1664 – 21 May 1742) was a Swedish physician and natural science researcher. He served as a professor of anatomy and medicine at Uppsala University.Biography
Roberg was born in Stockholm, Sweden. He was the son of the royal apothecary Daniel Roberg. He matriculated at Uppsala University at a young age in 1675, and left for a long foreign journey in 1680 to Germany, France and England, during which he studied at the University of Wittenberg and University of Leiden. He completed his doctorate in medicine at Leiden in 1693.
He became a professor of anatomy and practical medicine at Uppsala University in 1697 and retained the chair until 1740. Lars Roberg was the teacher of Carl Linnaeus and Peter Artedi.In 1708, he founded a clinic for the purpose of facilitating the practical education of medical students.
Nosocomium academicum at Oxenstiernska huset in Uppsala would later be merged into the Uppsala University Hospital.
He was one of the first to be elected to the Royal Swedish Academy of Sciences after its formation in 1739. Lars Roberg died at Uppsala in 1742.
| 9
|
[
"Lars Roberg",
"educated at",
"Leiden University"
] |
Biography
Roberg was born in Stockholm, Sweden. He was the son of the royal apothecary Daniel Roberg. He matriculated at Uppsala University at a young age in 1675, and left for a long foreign journey in 1680 to Germany, France and England, during which he studied at the University of Wittenberg and University of Leiden. He completed his doctorate in medicine at Leiden in 1693.
He became a professor of anatomy and practical medicine at Uppsala University in 1697 and retained the chair until 1740. Lars Roberg was the teacher of Carl Linnaeus and Peter Artedi.In 1708, he founded a clinic for the purpose of facilitating the practical education of medical students.
Nosocomium academicum at Oxenstiernska huset in Uppsala would later be merged into the Uppsala University Hospital.
He was one of the first to be elected to the Royal Swedish Academy of Sciences after its formation in 1739. Lars Roberg died at Uppsala in 1742.
| 11
|
[
"Lars Roberg",
"educated at",
"Uppsala University"
] |
Lars Roberg (4 January 1664 – 21 May 1742) was a Swedish physician and natural science researcher. He served as a professor of anatomy and medicine at Uppsala University.Biography
Roberg was born in Stockholm, Sweden. He was the son of the royal apothecary Daniel Roberg. He matriculated at Uppsala University at a young age in 1675, and left for a long foreign journey in 1680 to Germany, France and England, during which he studied at the University of Wittenberg and University of Leiden. He completed his doctorate in medicine at Leiden in 1693.
He became a professor of anatomy and practical medicine at Uppsala University in 1697 and retained the chair until 1740. Lars Roberg was the teacher of Carl Linnaeus and Peter Artedi.In 1708, he founded a clinic for the purpose of facilitating the practical education of medical students.
Nosocomium academicum at Oxenstiernska huset in Uppsala would later be merged into the Uppsala University Hospital.
He was one of the first to be elected to the Royal Swedish Academy of Sciences after its formation in 1739. Lars Roberg died at Uppsala in 1742.
| 12
|
[
"Lars Roberg",
"employer",
"Uppsala University"
] |
Lars Roberg (4 January 1664 – 21 May 1742) was a Swedish physician and natural science researcher. He served as a professor of anatomy and medicine at Uppsala University.Biography
Roberg was born in Stockholm, Sweden. He was the son of the royal apothecary Daniel Roberg. He matriculated at Uppsala University at a young age in 1675, and left for a long foreign journey in 1680 to Germany, France and England, during which he studied at the University of Wittenberg and University of Leiden. He completed his doctorate in medicine at Leiden in 1693.
He became a professor of anatomy and practical medicine at Uppsala University in 1697 and retained the chair until 1740. Lars Roberg was the teacher of Carl Linnaeus and Peter Artedi.In 1708, he founded a clinic for the purpose of facilitating the practical education of medical students.
Nosocomium academicum at Oxenstiernska huset in Uppsala would later be merged into the Uppsala University Hospital.
He was one of the first to be elected to the Royal Swedish Academy of Sciences after its formation in 1739. Lars Roberg died at Uppsala in 1742.
| 13
|
[
"Lars Roberg",
"occupation",
"university teacher"
] |
Lars Roberg (4 January 1664 – 21 May 1742) was a Swedish physician and natural science researcher. He served as a professor of anatomy and medicine at Uppsala University.Biography
Roberg was born in Stockholm, Sweden. He was the son of the royal apothecary Daniel Roberg. He matriculated at Uppsala University at a young age in 1675, and left for a long foreign journey in 1680 to Germany, France and England, during which he studied at the University of Wittenberg and University of Leiden. He completed his doctorate in medicine at Leiden in 1693.
He became a professor of anatomy and practical medicine at Uppsala University in 1697 and retained the chair until 1740. Lars Roberg was the teacher of Carl Linnaeus and Peter Artedi.In 1708, he founded a clinic for the purpose of facilitating the practical education of medical students.
Nosocomium academicum at Oxenstiernska huset in Uppsala would later be merged into the Uppsala University Hospital.
He was one of the first to be elected to the Royal Swedish Academy of Sciences after its formation in 1739. Lars Roberg died at Uppsala in 1742.
| 16
|
[
"Lars Roberg",
"sex or gender",
"male"
] |
Lars Roberg (4 January 1664 – 21 May 1742) was a Swedish physician and natural science researcher. He served as a professor of anatomy and medicine at Uppsala University.Biography
Roberg was born in Stockholm, Sweden. He was the son of the royal apothecary Daniel Roberg. He matriculated at Uppsala University at a young age in 1675, and left for a long foreign journey in 1680 to Germany, France and England, during which he studied at the University of Wittenberg and University of Leiden. He completed his doctorate in medicine at Leiden in 1693.
He became a professor of anatomy and practical medicine at Uppsala University in 1697 and retained the chair until 1740. Lars Roberg was the teacher of Carl Linnaeus and Peter Artedi.In 1708, he founded a clinic for the purpose of facilitating the practical education of medical students.
Nosocomium academicum at Oxenstiernska huset in Uppsala would later be merged into the Uppsala University Hospital.
He was one of the first to be elected to the Royal Swedish Academy of Sciences after its formation in 1739. Lars Roberg died at Uppsala in 1742.
| 18
|
[
"Apollonius Molon",
"student",
"Julius Caesar"
] |
Apollonius Molon or Molo of Rhodes (or simply Molon; Ancient Greek: Ἀπολλώνιος ὁ Μόλων), was a Greek rhetorician. He was a native of Alabanda, a pupil of Menecles, and settled at Rhodes, where he opened a school of rhetoric. Prior to that, he twice visited Rome as an ambassador from Rhodes. Marcus Tullius Cicero studied with him during his trip to Greece in 79–77 BC, as did Gaius Julius Caesar a few years later. Perhaps it is at least partially due to Apollonius Molon's instruction that Caesar, and Cicero especially, achieved fame as orators in the Roman Republic. Molon is reputed to have quoted Demosthenes in telling his pupils that the first three elements in rhetoric were "Delivery, Delivery and Delivery." He had a stellar reputation in Roman Law courts, and was even invited to address the Roman Senate in Greek – an honor not usually bestowed upon foreign ambassadors.
Molon wrote on Homer and endeavored to moderate the florid Asiatic style of rhetoric. According to Josephus, in Against Apion, Apollonius Molon slandered the Jews.
| 1
|
[
"Apollonius Molon",
"student",
"Cicero"
] |
Apollonius Molon or Molo of Rhodes (or simply Molon; Ancient Greek: Ἀπολλώνιος ὁ Μόλων), was a Greek rhetorician. He was a native of Alabanda, a pupil of Menecles, and settled at Rhodes, where he opened a school of rhetoric. Prior to that, he twice visited Rome as an ambassador from Rhodes. Marcus Tullius Cicero studied with him during his trip to Greece in 79–77 BC, as did Gaius Julius Caesar a few years later. Perhaps it is at least partially due to Apollonius Molon's instruction that Caesar, and Cicero especially, achieved fame as orators in the Roman Republic. Molon is reputed to have quoted Demosthenes in telling his pupils that the first three elements in rhetoric were "Delivery, Delivery and Delivery." He had a stellar reputation in Roman Law courts, and was even invited to address the Roman Senate in Greek – an honor not usually bestowed upon foreign ambassadors.
Molon wrote on Homer and endeavored to moderate the florid Asiatic style of rhetoric. According to Josephus, in Against Apion, Apollonius Molon slandered the Jews.
| 4
|
[
"Brunetto Latini",
"instance of",
"human"
] |
Brunetto Latini (who signed his name Burnectus Latinus in Latin and Burnecto Latino in Italian; c. 1220–1294) was an Italian philosopher, scholar, notary, politician and statesman.Life
Brunetto Latini was born in Florence in 1220 to a Tuscan noble family, the son of Buonaccorso Latini. He belonged to the Guelph party. He was a notary and a man of learning, much respected by his fellow citizens and famed for his skill as an orator. He expounded the writings of Cicero as guidance in public affairs.
He was of sufficient stature to be sent to Seville on an embassy to Alfonso el Sabio of Castile to seek help for Florence against the Sienese; the mission was unsuccessful. On his return from Spain, travelling along the Pass of Roncesvalles, he describes meeting a student from Bologna astride a bay mule, who told him of the defeat of the Guelphs at the Battle of Montaperti. As a result, Latini was exiled from his native city. He took refuge in France from 1261 to 1268 while working as a notary in Montpellier, Arras, Bar-sur-Aube, and Paris.
In 1269, when the political situation allowed, he returned to Tuscany and for some twenty years held successive high offices. In 1273 he was appointed as Secretary to the Council of the Republic of Florence. In 1280, he contributed to the temporary reconciliation between the Guelph and Ghibelline parties, and in 1284 presided over the conference in which an attack on Pisa was agreed. Finally, in 1287, he was elevated to the dignity of "prior" as one of 12 magistrates established through the constitution of 1282.
Giovanni Villani says that "he was a great philosopher and a consummate master of rhetoric, not only in knowing how to speak well, but how to write well". He was the author of various works in prose and verse. He died in 1294, leaving behind a daughter, Bianca Latini, who had married Guido Di Filippo De' Castiglionchi in 1284. His tomb can be found in the church of Santa Maria Maggiore, Florence, to the left of the high altar.
| 0
|
[
"Brunetto Latini",
"place of birth",
"Florence"
] |
Life
Brunetto Latini was born in Florence in 1220 to a Tuscan noble family, the son of Buonaccorso Latini. He belonged to the Guelph party. He was a notary and a man of learning, much respected by his fellow citizens and famed for his skill as an orator. He expounded the writings of Cicero as guidance in public affairs.
He was of sufficient stature to be sent to Seville on an embassy to Alfonso el Sabio of Castile to seek help for Florence against the Sienese; the mission was unsuccessful. On his return from Spain, travelling along the Pass of Roncesvalles, he describes meeting a student from Bologna astride a bay mule, who told him of the defeat of the Guelphs at the Battle of Montaperti. As a result, Latini was exiled from his native city. He took refuge in France from 1261 to 1268 while working as a notary in Montpellier, Arras, Bar-sur-Aube, and Paris.
In 1269, when the political situation allowed, he returned to Tuscany and for some twenty years held successive high offices. In 1273 he was appointed as Secretary to the Council of the Republic of Florence. In 1280, he contributed to the temporary reconciliation between the Guelph and Ghibelline parties, and in 1284 presided over the conference in which an attack on Pisa was agreed. Finally, in 1287, he was elevated to the dignity of "prior" as one of 12 magistrates established through the constitution of 1282.
Giovanni Villani says that "he was a great philosopher and a consummate master of rhetoric, not only in knowing how to speak well, but how to write well". He was the author of various works in prose and verse. He died in 1294, leaving behind a daughter, Bianca Latini, who had married Guido Di Filippo De' Castiglionchi in 1284. His tomb can be found in the church of Santa Maria Maggiore, Florence, to the left of the high altar.
| 3
|
[
"Brunetto Latini",
"occupation",
"writer"
] |
Life
Brunetto Latini was born in Florence in 1220 to a Tuscan noble family, the son of Buonaccorso Latini. He belonged to the Guelph party. He was a notary and a man of learning, much respected by his fellow citizens and famed for his skill as an orator. He expounded the writings of Cicero as guidance in public affairs.
He was of sufficient stature to be sent to Seville on an embassy to Alfonso el Sabio of Castile to seek help for Florence against the Sienese; the mission was unsuccessful. On his return from Spain, travelling along the Pass of Roncesvalles, he describes meeting a student from Bologna astride a bay mule, who told him of the defeat of the Guelphs at the Battle of Montaperti. As a result, Latini was exiled from his native city. He took refuge in France from 1261 to 1268 while working as a notary in Montpellier, Arras, Bar-sur-Aube, and Paris.
In 1269, when the political situation allowed, he returned to Tuscany and for some twenty years held successive high offices. In 1273 he was appointed as Secretary to the Council of the Republic of Florence. In 1280, he contributed to the temporary reconciliation between the Guelph and Ghibelline parties, and in 1284 presided over the conference in which an attack on Pisa was agreed. Finally, in 1287, he was elevated to the dignity of "prior" as one of 12 magistrates established through the constitution of 1282.
Giovanni Villani says that "he was a great philosopher and a consummate master of rhetoric, not only in knowing how to speak well, but how to write well". He was the author of various works in prose and verse. He died in 1294, leaving behind a daughter, Bianca Latini, who had married Guido Di Filippo De' Castiglionchi in 1284. His tomb can be found in the church of Santa Maria Maggiore, Florence, to the left of the high altar.
| 4
|
[
"Brunetto Latini",
"notable work",
"Li livres dou Tresor"
] |
Works
While in France, he wrote his Italian Tesoretto and in French his prose Li Livres dou Trésor, both summaries of the encyclopaedic knowledge of the day. The latter is regarded as the first encyclopedia in a modern European language. The Italian 13th-century translation known as Tesoro was misattributed to Bono Giambon. He also translated into Italian the Rettorica and three Orations by Cicero. The Italian translation of Aristotle's Nicomachean Ethics is often misattributed to Brunetto Latini: it is a work of Taddeo Alderotti instead.
| 5
|
[
"Brunetto Latini",
"family name",
"Latini"
] |
Brunetto Latini (who signed his name Burnectus Latinus in Latin and Burnecto Latino in Italian; c. 1220–1294) was an Italian philosopher, scholar, notary, politician and statesman.Life
Brunetto Latini was born in Florence in 1220 to a Tuscan noble family, the son of Buonaccorso Latini. He belonged to the Guelph party. He was a notary and a man of learning, much respected by his fellow citizens and famed for his skill as an orator. He expounded the writings of Cicero as guidance in public affairs.
He was of sufficient stature to be sent to Seville on an embassy to Alfonso el Sabio of Castile to seek help for Florence against the Sienese; the mission was unsuccessful. On his return from Spain, travelling along the Pass of Roncesvalles, he describes meeting a student from Bologna astride a bay mule, who told him of the defeat of the Guelphs at the Battle of Montaperti. As a result, Latini was exiled from his native city. He took refuge in France from 1261 to 1268 while working as a notary in Montpellier, Arras, Bar-sur-Aube, and Paris.
In 1269, when the political situation allowed, he returned to Tuscany and for some twenty years held successive high offices. In 1273 he was appointed as Secretary to the Council of the Republic of Florence. In 1280, he contributed to the temporary reconciliation between the Guelph and Ghibelline parties, and in 1284 presided over the conference in which an attack on Pisa was agreed. Finally, in 1287, he was elevated to the dignity of "prior" as one of 12 magistrates established through the constitution of 1282.
Giovanni Villani says that "he was a great philosopher and a consummate master of rhetoric, not only in knowing how to speak well, but how to write well". He was the author of various works in prose and verse. He died in 1294, leaving behind a daughter, Bianca Latini, who had married Guido Di Filippo De' Castiglionchi in 1284. His tomb can be found in the church of Santa Maria Maggiore, Florence, to the left of the high altar.
| 12
|
[
"Brunetto Latini",
"occupation",
"philosopher"
] |
Brunetto Latini (who signed his name Burnectus Latinus in Latin and Burnecto Latino in Italian; c. 1220–1294) was an Italian philosopher, scholar, notary, politician and statesman.Life
Brunetto Latini was born in Florence in 1220 to a Tuscan noble family, the son of Buonaccorso Latini. He belonged to the Guelph party. He was a notary and a man of learning, much respected by his fellow citizens and famed for his skill as an orator. He expounded the writings of Cicero as guidance in public affairs.
He was of sufficient stature to be sent to Seville on an embassy to Alfonso el Sabio of Castile to seek help for Florence against the Sienese; the mission was unsuccessful. On his return from Spain, travelling along the Pass of Roncesvalles, he describes meeting a student from Bologna astride a bay mule, who told him of the defeat of the Guelphs at the Battle of Montaperti. As a result, Latini was exiled from his native city. He took refuge in France from 1261 to 1268 while working as a notary in Montpellier, Arras, Bar-sur-Aube, and Paris.
In 1269, when the political situation allowed, he returned to Tuscany and for some twenty years held successive high offices. In 1273 he was appointed as Secretary to the Council of the Republic of Florence. In 1280, he contributed to the temporary reconciliation between the Guelph and Ghibelline parties, and in 1284 presided over the conference in which an attack on Pisa was agreed. Finally, in 1287, he was elevated to the dignity of "prior" as one of 12 magistrates established through the constitution of 1282.
Giovanni Villani says that "he was a great philosopher and a consummate master of rhetoric, not only in knowing how to speak well, but how to write well". He was the author of various works in prose and verse. He died in 1294, leaving behind a daughter, Bianca Latini, who had married Guido Di Filippo De' Castiglionchi in 1284. His tomb can be found in the church of Santa Maria Maggiore, Florence, to the left of the high altar.
| 14
|
[
"Brunetto Latini",
"occupation",
"politician"
] |
Brunetto Latini (who signed his name Burnectus Latinus in Latin and Burnecto Latino in Italian; c. 1220–1294) was an Italian philosopher, scholar, notary, politician and statesman.Life
Brunetto Latini was born in Florence in 1220 to a Tuscan noble family, the son of Buonaccorso Latini. He belonged to the Guelph party. He was a notary and a man of learning, much respected by his fellow citizens and famed for his skill as an orator. He expounded the writings of Cicero as guidance in public affairs.
He was of sufficient stature to be sent to Seville on an embassy to Alfonso el Sabio of Castile to seek help for Florence against the Sienese; the mission was unsuccessful. On his return from Spain, travelling along the Pass of Roncesvalles, he describes meeting a student from Bologna astride a bay mule, who told him of the defeat of the Guelphs at the Battle of Montaperti. As a result, Latini was exiled from his native city. He took refuge in France from 1261 to 1268 while working as a notary in Montpellier, Arras, Bar-sur-Aube, and Paris.
In 1269, when the political situation allowed, he returned to Tuscany and for some twenty years held successive high offices. In 1273 he was appointed as Secretary to the Council of the Republic of Florence. In 1280, he contributed to the temporary reconciliation between the Guelph and Ghibelline parties, and in 1284 presided over the conference in which an attack on Pisa was agreed. Finally, in 1287, he was elevated to the dignity of "prior" as one of 12 magistrates established through the constitution of 1282.
Giovanni Villani says that "he was a great philosopher and a consummate master of rhetoric, not only in knowing how to speak well, but how to write well". He was the author of various works in prose and verse. He died in 1294, leaving behind a daughter, Bianca Latini, who had married Guido Di Filippo De' Castiglionchi in 1284. His tomb can be found in the church of Santa Maria Maggiore, Florence, to the left of the high altar.
| 15
|
[
"Brunetto Latini",
"given name",
"Brunetto"
] |
Life
Brunetto Latini was born in Florence in 1220 to a Tuscan noble family, the son of Buonaccorso Latini. He belonged to the Guelph party. He was a notary and a man of learning, much respected by his fellow citizens and famed for his skill as an orator. He expounded the writings of Cicero as guidance in public affairs.
He was of sufficient stature to be sent to Seville on an embassy to Alfonso el Sabio of Castile to seek help for Florence against the Sienese; the mission was unsuccessful. On his return from Spain, travelling along the Pass of Roncesvalles, he describes meeting a student from Bologna astride a bay mule, who told him of the defeat of the Guelphs at the Battle of Montaperti. As a result, Latini was exiled from his native city. He took refuge in France from 1261 to 1268 while working as a notary in Montpellier, Arras, Bar-sur-Aube, and Paris.
In 1269, when the political situation allowed, he returned to Tuscany and for some twenty years held successive high offices. In 1273 he was appointed as Secretary to the Council of the Republic of Florence. In 1280, he contributed to the temporary reconciliation between the Guelph and Ghibelline parties, and in 1284 presided over the conference in which an attack on Pisa was agreed. Finally, in 1287, he was elevated to the dignity of "prior" as one of 12 magistrates established through the constitution of 1282.
Giovanni Villani says that "he was a great philosopher and a consummate master of rhetoric, not only in knowing how to speak well, but how to write well". He was the author of various works in prose and verse. He died in 1294, leaving behind a daughter, Bianca Latini, who had married Guido Di Filippo De' Castiglionchi in 1284. His tomb can be found in the church of Santa Maria Maggiore, Florence, to the left of the high altar.
| 19
|
[
"Cecco d'Ascoli",
"instance of",
"human"
] |
Cecco d'Ascoli (1257 – September 26, 1327) is the popular name of Francesco degli Stabili (sometimes given as Francesco degli Stabili Cichus), an Italian encyclopaedist, physician and poet. Cecco (in Latin, Cichus) is the diminutive of Francesco, Ascoli was the place of his birth. The lunar crater Cichus is named after him.Life
Born in Ancarano, in the modern Abruzzo region (at the time under the jurisdiction of Ascoli), he devoted himself to the study of mathematics and astrology. In 1322 he was made professor of astrology at the University of Bologna. It is alleged that he entered the service of Pope John XXII at Avignon, and that he cultivated the acquaintance of Dante only to quarrel with the great poet afterwards; but of this there is no evidence.Having published a commentary on the Sphere of John de Sacrobosco, in which he propounded audacious theories concerning the employment and agency of demons, he got into difficulties with the clerical party, and was condemned in 1324 to certain fasts and prayers, and to the payment of a fine of seventy crowns. To elude this sentence he went to Florence, where he was attached to the household of Carlo di Calabria. His freethinking and plain speaking had made him many enemies; he had attacked the Commedia of Dante, and the Canzone d'amore of Guido Cavalcanti. The physician Dino del Garbo was indefatigable in pursuit of him; and the old accusation of impiety being renewed, Cecco was again tried and sentenced for relapse into heresy. He was burned at Florence the day after the sentence, in his seventieth year.
| 0
|
[
"Cecco d'Ascoli",
"languages spoken, written or signed",
"Italian"
] |
Cecco d'Ascoli (1257 – September 26, 1327) is the popular name of Francesco degli Stabili (sometimes given as Francesco degli Stabili Cichus), an Italian encyclopaedist, physician and poet. Cecco (in Latin, Cichus) is the diminutive of Francesco, Ascoli was the place of his birth. The lunar crater Cichus is named after him.
| 1
|
[
"Cecco d'Ascoli",
"writing language",
"Italian"
] |
Cecco d'Ascoli (1257 – September 26, 1327) is the popular name of Francesco degli Stabili (sometimes given as Francesco degli Stabili Cichus), an Italian encyclopaedist, physician and poet. Cecco (in Latin, Cichus) is the diminutive of Francesco, Ascoli was the place of his birth. The lunar crater Cichus is named after him.Life
Born in Ancarano, in the modern Abruzzo region (at the time under the jurisdiction of Ascoli), he devoted himself to the study of mathematics and astrology. In 1322 he was made professor of astrology at the University of Bologna. It is alleged that he entered the service of Pope John XXII at Avignon, and that he cultivated the acquaintance of Dante only to quarrel with the great poet afterwards; but of this there is no evidence.Having published a commentary on the Sphere of John de Sacrobosco, in which he propounded audacious theories concerning the employment and agency of demons, he got into difficulties with the clerical party, and was condemned in 1324 to certain fasts and prayers, and to the payment of a fine of seventy crowns. To elude this sentence he went to Florence, where he was attached to the household of Carlo di Calabria. His freethinking and plain speaking had made him many enemies; he had attacked the Commedia of Dante, and the Canzone d'amore of Guido Cavalcanti. The physician Dino del Garbo was indefatigable in pursuit of him; and the old accusation of impiety being renewed, Cecco was again tried and sentenced for relapse into heresy. He was burned at Florence the day after the sentence, in his seventieth year.
| 2
|
[
"Cecco d'Ascoli",
"field of work",
"astronomy"
] |
Life
Born in Ancarano, in the modern Abruzzo region (at the time under the jurisdiction of Ascoli), he devoted himself to the study of mathematics and astrology. In 1322 he was made professor of astrology at the University of Bologna. It is alleged that he entered the service of Pope John XXII at Avignon, and that he cultivated the acquaintance of Dante only to quarrel with the great poet afterwards; but of this there is no evidence.Having published a commentary on the Sphere of John de Sacrobosco, in which he propounded audacious theories concerning the employment and agency of demons, he got into difficulties with the clerical party, and was condemned in 1324 to certain fasts and prayers, and to the payment of a fine of seventy crowns. To elude this sentence he went to Florence, where he was attached to the household of Carlo di Calabria. His freethinking and plain speaking had made him many enemies; he had attacked the Commedia of Dante, and the Canzone d'amore of Guido Cavalcanti. The physician Dino del Garbo was indefatigable in pursuit of him; and the old accusation of impiety being renewed, Cecco was again tried and sentenced for relapse into heresy. He was burned at Florence the day after the sentence, in his seventieth year.
| 3
|
[
"Cecco d'Ascoli",
"place of death",
"Florence"
] |
Life
Born in Ancarano, in the modern Abruzzo region (at the time under the jurisdiction of Ascoli), he devoted himself to the study of mathematics and astrology. In 1322 he was made professor of astrology at the University of Bologna. It is alleged that he entered the service of Pope John XXII at Avignon, and that he cultivated the acquaintance of Dante only to quarrel with the great poet afterwards; but of this there is no evidence.Having published a commentary on the Sphere of John de Sacrobosco, in which he propounded audacious theories concerning the employment and agency of demons, he got into difficulties with the clerical party, and was condemned in 1324 to certain fasts and prayers, and to the payment of a fine of seventy crowns. To elude this sentence he went to Florence, where he was attached to the household of Carlo di Calabria. His freethinking and plain speaking had made him many enemies; he had attacked the Commedia of Dante, and the Canzone d'amore of Guido Cavalcanti. The physician Dino del Garbo was indefatigable in pursuit of him; and the old accusation of impiety being renewed, Cecco was again tried and sentenced for relapse into heresy. He was burned at Florence the day after the sentence, in his seventieth year.
| 5
|
[
"Cecco d'Ascoli",
"occupation",
"physician"
] |
Cecco d'Ascoli (1257 – September 26, 1327) is the popular name of Francesco degli Stabili (sometimes given as Francesco degli Stabili Cichus), an Italian encyclopaedist, physician and poet. Cecco (in Latin, Cichus) is the diminutive of Francesco, Ascoli was the place of his birth. The lunar crater Cichus is named after him.
| 7
|
[
"Cecco d'Ascoli",
"given name",
"Francesco"
] |
Cecco d'Ascoli (1257 – September 26, 1327) is the popular name of Francesco degli Stabili (sometimes given as Francesco degli Stabili Cichus), an Italian encyclopaedist, physician and poet. Cecco (in Latin, Cichus) is the diminutive of Francesco, Ascoli was the place of his birth. The lunar crater Cichus is named after him.
| 9
|
[
"Cecco d'Ascoli",
"occupation",
"astronomer"
] |
Life
Born in Ancarano, in the modern Abruzzo region (at the time under the jurisdiction of Ascoli), he devoted himself to the study of mathematics and astrology. In 1322 he was made professor of astrology at the University of Bologna. It is alleged that he entered the service of Pope John XXII at Avignon, and that he cultivated the acquaintance of Dante only to quarrel with the great poet afterwards; but of this there is no evidence.Having published a commentary on the Sphere of John de Sacrobosco, in which he propounded audacious theories concerning the employment and agency of demons, he got into difficulties with the clerical party, and was condemned in 1324 to certain fasts and prayers, and to the payment of a fine of seventy crowns. To elude this sentence he went to Florence, where he was attached to the household of Carlo di Calabria. His freethinking and plain speaking had made him many enemies; he had attacked the Commedia of Dante, and the Canzone d'amore of Guido Cavalcanti. The physician Dino del Garbo was indefatigable in pursuit of him; and the old accusation of impiety being renewed, Cecco was again tried and sentenced for relapse into heresy. He was burned at Florence the day after the sentence, in his seventieth year.
| 10
|
[
"Cecco d'Ascoli",
"field of work",
"astrology"
] |
Life
Born in Ancarano, in the modern Abruzzo region (at the time under the jurisdiction of Ascoli), he devoted himself to the study of mathematics and astrology. In 1322 he was made professor of astrology at the University of Bologna. It is alleged that he entered the service of Pope John XXII at Avignon, and that he cultivated the acquaintance of Dante only to quarrel with the great poet afterwards; but of this there is no evidence.Having published a commentary on the Sphere of John de Sacrobosco, in which he propounded audacious theories concerning the employment and agency of demons, he got into difficulties with the clerical party, and was condemned in 1324 to certain fasts and prayers, and to the payment of a fine of seventy crowns. To elude this sentence he went to Florence, where he was attached to the household of Carlo di Calabria. His freethinking and plain speaking had made him many enemies; he had attacked the Commedia of Dante, and the Canzone d'amore of Guido Cavalcanti. The physician Dino del Garbo was indefatigable in pursuit of him; and the old accusation of impiety being renewed, Cecco was again tried and sentenced for relapse into heresy. He was burned at Florence the day after the sentence, in his seventieth year.
| 11
|
[
"Cecco d'Ascoli",
"sex or gender",
"male"
] |
Cecco d'Ascoli (1257 – September 26, 1327) is the popular name of Francesco degli Stabili (sometimes given as Francesco degli Stabili Cichus), an Italian encyclopaedist, physician and poet. Cecco (in Latin, Cichus) is the diminutive of Francesco, Ascoli was the place of his birth. The lunar crater Cichus is named after him.
| 13
|
[
"Cecco d'Ascoli",
"occupation",
"writer"
] |
Publications
Cecco d'Ascoli left many works in manuscript, most of which have never been published. The book by which he achieved his renown and which led to his death was the Acerba (from acervus), an encyclopaedic poem, of which in 1546, the date of the last reprint, more than twenty editions had been issued. It is a compendium for the contemporary natural science of the time, including "the order and influences of the heavens, the characteristics and properties of animals and precious stones, the causes of phenomena such as meteors and earthquakes—and of commonplace moral philosophy". The work actually consists of four books in sesta rima (six-line stanzas in a specific rhyming scheme). The first book treats of astronomy and meteorology; the second of astrology, of physiognomy, and of the vices and virtues; the third of minerals and of the love of animals; while the fourth propounds and solves a number of moral and physical problems. Of a fifth book, on theology, the initial chapter alone was completed.
| 14
|
[
"Cecco d'Ascoli",
"notable work",
"Acerba"
] |
Publications
Cecco d'Ascoli left many works in manuscript, most of which have never been published. The book by which he achieved his renown and which led to his death was the Acerba (from acervus), an encyclopaedic poem, of which in 1546, the date of the last reprint, more than twenty editions had been issued. It is a compendium for the contemporary natural science of the time, including "the order and influences of the heavens, the characteristics and properties of animals and precious stones, the causes of phenomena such as meteors and earthquakes—and of commonplace moral philosophy". The work actually consists of four books in sesta rima (six-line stanzas in a specific rhyming scheme). The first book treats of astronomy and meteorology; the second of astrology, of physiognomy, and of the vices and virtues; the third of minerals and of the love of animals; while the fourth propounds and solves a number of moral and physical problems. Of a fifth book, on theology, the initial chapter alone was completed.
| 15
|
[
"Cecco d'Ascoli",
"occupation",
"poet"
] |
Cecco d'Ascoli (1257 – September 26, 1327) is the popular name of Francesco degli Stabili (sometimes given as Francesco degli Stabili Cichus), an Italian encyclopaedist, physician and poet. Cecco (in Latin, Cichus) is the diminutive of Francesco, Ascoli was the place of his birth. The lunar crater Cichus is named after him.
| 19
|
[
"Cecco d'Ascoli",
"place of birth",
"Ancarano"
] |
Life
Born in Ancarano, in the modern Abruzzo region (at the time under the jurisdiction of Ascoli), he devoted himself to the study of mathematics and astrology. In 1322 he was made professor of astrology at the University of Bologna. It is alleged that he entered the service of Pope John XXII at Avignon, and that he cultivated the acquaintance of Dante only to quarrel with the great poet afterwards; but of this there is no evidence.Having published a commentary on the Sphere of John de Sacrobosco, in which he propounded audacious theories concerning the employment and agency of demons, he got into difficulties with the clerical party, and was condemned in 1324 to certain fasts and prayers, and to the payment of a fine of seventy crowns. To elude this sentence he went to Florence, where he was attached to the household of Carlo di Calabria. His freethinking and plain speaking had made him many enemies; he had attacked the Commedia of Dante, and the Canzone d'amore of Guido Cavalcanti. The physician Dino del Garbo was indefatigable in pursuit of him; and the old accusation of impiety being renewed, Cecco was again tried and sentenced for relapse into heresy. He was burned at Florence the day after the sentence, in his seventieth year.
| 20
|
[
"Cecco d'Ascoli",
"employer",
"University of Bologna"
] |
Life
Born in Ancarano, in the modern Abruzzo region (at the time under the jurisdiction of Ascoli), he devoted himself to the study of mathematics and astrology. In 1322 he was made professor of astrology at the University of Bologna. It is alleged that he entered the service of Pope John XXII at Avignon, and that he cultivated the acquaintance of Dante only to quarrel with the great poet afterwards; but of this there is no evidence.Having published a commentary on the Sphere of John de Sacrobosco, in which he propounded audacious theories concerning the employment and agency of demons, he got into difficulties with the clerical party, and was condemned in 1324 to certain fasts and prayers, and to the payment of a fine of seventy crowns. To elude this sentence he went to Florence, where he was attached to the household of Carlo di Calabria. His freethinking and plain speaking had made him many enemies; he had attacked the Commedia of Dante, and the Canzone d'amore of Guido Cavalcanti. The physician Dino del Garbo was indefatigable in pursuit of him; and the old accusation of impiety being renewed, Cecco was again tried and sentenced for relapse into heresy. He was burned at Florence the day after the sentence, in his seventieth year.
| 21
|
[
"Cecco d'Ascoli",
"occupation",
"astrologer"
] |
Life
Born in Ancarano, in the modern Abruzzo region (at the time under the jurisdiction of Ascoli), he devoted himself to the study of mathematics and astrology. In 1322 he was made professor of astrology at the University of Bologna. It is alleged that he entered the service of Pope John XXII at Avignon, and that he cultivated the acquaintance of Dante only to quarrel with the great poet afterwards; but of this there is no evidence.Having published a commentary on the Sphere of John de Sacrobosco, in which he propounded audacious theories concerning the employment and agency of demons, he got into difficulties with the clerical party, and was condemned in 1324 to certain fasts and prayers, and to the payment of a fine of seventy crowns. To elude this sentence he went to Florence, where he was attached to the household of Carlo di Calabria. His freethinking and plain speaking had made him many enemies; he had attacked the Commedia of Dante, and the Canzone d'amore of Guido Cavalcanti. The physician Dino del Garbo was indefatigable in pursuit of him; and the old accusation of impiety being renewed, Cecco was again tried and sentenced for relapse into heresy. He was burned at Florence the day after the sentence, in his seventieth year.
| 23
|
[
"Anton Reicha",
"country of citizenship",
"France"
] |
Anton (Antonín, Antoine) Joseph Reicha (Rejcha) (26 February 1770 – 28 May 1836) was a Czech-born, Bavarian-educated, later naturalized French composer and music theorist. A contemporary and lifelong friend of Beethoven, he is now best remembered for his substantial early contributions to the wind quintet literature and his role as teacher of pupils including Franz Liszt, Hector Berlioz and César Franck. He was also an accomplished theorist, and wrote several treatises on various aspects of composition. Some of his theoretical work dealt with experimental methods of composition, which he applied in a variety of works such as fugues and études for piano and string quartet.
None of the advanced ideas he advocated in the most radical of his music and writings, such as polyrhythm, polytonality and microtonal music, were accepted or employed by other nineteenth-century composers. Due to Reicha's unwillingness to have his music published (like Michael Haydn before him), he fell into obscurity soon after his death and his life and work have yet to be intensively studied.
| 3
|
[
"Anton Reicha",
"instrument",
"flute"
] |
Life
1770–1805: Early years, first visit to Paris and the Viennese period
Reicha was born in Prague. His father Šimon, the town piper of the city, died when Anton was just 10 months old. Apparently Reicha's mother was not interested in her son's education, and so in 1780 he ran away from home following a sudden impulse – as he recounted in his memoirs, he jumped onto a passing carriage. He first visited his paternal grandfather in Klatovy, and then his paternal uncle Josef Reicha, a virtuoso cellist, conductor and composer living in Wallerstein, Bavaria, who adopted him. Josef and his wife, being childless, could give young Anton their full attention: Josef taught him violin and piano, his wife insisted on him being taught French and German, and he was also taught the flute.In 1785 the family moved to Bonn, where Reicha 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 Reicha befriended him. Christian Gottlob Neefe, one of the most important figures in the musical life of the city at the time, may well have instructed both Reicha and his gifted piano pupil Beethoven in composition and introduced them to the works of Johann Sebastian Bach, such as The Well-Tempered Clavier.
From about 1785 Reicha 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, vowed never to perform in public again and began to earn a living teaching harmony, composition and piano. He continued composing and studied mathematics, philosophy and, significantly, methods of teaching composition. In 1799 he moved to Paris, hoping to achieve success as an opera composer. These hopes were dashed, however: he could neither get his old librettos accepted nor find suitable new ones despite support from friends and influential members of the aristocracy, and moved on to Vienna in 1801.
Once there, like Beethoven and the young Schubert, he studied with Antonio Salieri and Johann Georg Albrechtsberger. Both were renowned teachers, and Albrechtsberger was also an important theorist and acknowledged authority on counterpoint and fugal theory. Reicha called on Haydn, whom he had met several times in Bonn and Hamburg during the 1790s, and renewed his friendship with Beethoven, whom he had not seen since 1792, when the latter moved from Bonn to Vienna. At this time (late 1802–1803) Beethoven's Eroica symphony was in gestation, and it is likely that the two men exchanged ideas on fugues in modern composition. Reicha's move to Vienna marked the beginning of a more productive and successful period in his life. As he wrote in his memoirs, "The number of works I finished in Vienna is astonishing. Once started, my verve and imagination were indefatigable. Ideas came to me so rapidly it was often difficult to set them down without losing some of them. I always had a great penchant for doing the unusual in composition. When writing in an original vein, my creative faculties and spirit seemed keener than when following the precepts of my predecessors." In 1801, Reicha's opera L'ouragan, which failed in Paris, was performed at the palace of Prince Joseph Franz von Lobkowitz, a prominent patron of Beethoven. Empress Maria Theresa (of Naples and Sicily) commissioned another opera after this performance, Argine, regina di Granata, which was only privately performed. His studies in Hamburg came to fruition here with the publication of several semi-didactic, encyclopedic works such as 36 Fugues for piano (published in 1803, dedicated to Haydn) and L'art de varier, a large-scale variation cycle (composed in 1803/04 for Prince Louis Ferdinand), and the treatise Practische Beispiele (published in 1803), which contained 24 compositions.
| 4
|
[
"Anton Reicha",
"student",
"César Franck"
] |
Anton (Antonín, Antoine) Joseph Reicha (Rejcha) (26 February 1770 – 28 May 1836) was a Czech-born, Bavarian-educated, later naturalized French composer and music theorist. A contemporary and lifelong friend of Beethoven, he is now best remembered for his substantial early contributions to the wind quintet literature and his role as teacher of pupils including Franz Liszt, Hector Berlioz and César Franck. He was also an accomplished theorist, and wrote several treatises on various aspects of composition. Some of his theoretical work dealt with experimental methods of composition, which he applied in a variety of works such as fugues and études for piano and string quartet.
None of the advanced ideas he advocated in the most radical of his music and writings, such as polyrhythm, polytonality and microtonal music, were accepted or employed by other nineteenth-century composers. Due to Reicha's unwillingness to have his music published (like Michael Haydn before him), he fell into obscurity soon after his death and his life and work have yet to be intensively studied.
| 5
|
[
"Anton Reicha",
"student of",
"Antonio Salieri"
] |
Life
1770–1805: Early years, first visit to Paris and the Viennese period
Reicha was born in Prague. His father Šimon, the town piper of the city, died when Anton was just 10 months old. Apparently Reicha's mother was not interested in her son's education, and so in 1780 he ran away from home following a sudden impulse – as he recounted in his memoirs, he jumped onto a passing carriage. He first visited his paternal grandfather in Klatovy, and then his paternal uncle Josef Reicha, a virtuoso cellist, conductor and composer living in Wallerstein, Bavaria, who adopted him. Josef and his wife, being childless, could give young Anton their full attention: Josef taught him violin and piano, his wife insisted on him being taught French and German, and he was also taught the flute.In 1785 the family moved to Bonn, where Reicha 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 Reicha befriended him. Christian Gottlob Neefe, one of the most important figures in the musical life of the city at the time, may well have instructed both Reicha and his gifted piano pupil Beethoven in composition and introduced them to the works of Johann Sebastian Bach, such as The Well-Tempered Clavier.
From about 1785 Reicha 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, vowed never to perform in public again and began to earn a living teaching harmony, composition and piano. He continued composing and studied mathematics, philosophy and, significantly, methods of teaching composition. In 1799 he moved to Paris, hoping to achieve success as an opera composer. These hopes were dashed, however: he could neither get his old librettos accepted nor find suitable new ones despite support from friends and influential members of the aristocracy, and moved on to Vienna in 1801.
Once there, like Beethoven and the young Schubert, he studied with Antonio Salieri and Johann Georg Albrechtsberger. Both were renowned teachers, and Albrechtsberger was also an important theorist and acknowledged authority on counterpoint and fugal theory. Reicha called on Haydn, whom he had met several times in Bonn and Hamburg during the 1790s, and renewed his friendship with Beethoven, whom he had not seen since 1792, when the latter moved from Bonn to Vienna. At this time (late 1802–1803) Beethoven's Eroica symphony was in gestation, and it is likely that the two men exchanged ideas on fugues in modern composition. Reicha's move to Vienna marked the beginning of a more productive and successful period in his life. As he wrote in his memoirs, "The number of works I finished in Vienna is astonishing. Once started, my verve and imagination were indefatigable. Ideas came to me so rapidly it was often difficult to set them down without losing some of them. I always had a great penchant for doing the unusual in composition. When writing in an original vein, my creative faculties and spirit seemed keener than when following the precepts of my predecessors." In 1801, Reicha's opera L'ouragan, which failed in Paris, was performed at the palace of Prince Joseph Franz von Lobkowitz, a prominent patron of Beethoven. Empress Maria Theresa (of Naples and Sicily) commissioned another opera after this performance, Argine, regina di Granata, which was only privately performed. His studies in Hamburg came to fruition here with the publication of several semi-didactic, encyclopedic works such as 36 Fugues for piano (published in 1803, dedicated to Haydn) and L'art de varier, a large-scale variation cycle (composed in 1803/04 for Prince Louis Ferdinand), and the treatise Practische Beispiele (published in 1803), which contained 24 compositions.
| 7
|
[
"Anton Reicha",
"student",
"Hector Berlioz"
] |
Anton (Antonín, Antoine) Joseph Reicha (Rejcha) (26 February 1770 – 28 May 1836) was a Czech-born, Bavarian-educated, later naturalized French composer and music theorist. A contemporary and lifelong friend of Beethoven, he is now best remembered for his substantial early contributions to the wind quintet literature and his role as teacher of pupils including Franz Liszt, Hector Berlioz and César Franck. He was also an accomplished theorist, and wrote several treatises on various aspects of composition. Some of his theoretical work dealt with experimental methods of composition, which he applied in a variety of works such as fugues and études for piano and string quartet.
None of the advanced ideas he advocated in the most radical of his music and writings, such as polyrhythm, polytonality and microtonal music, were accepted or employed by other nineteenth-century composers. Due to Reicha's unwillingness to have his music published (like Michael Haydn before him), he fell into obscurity soon after his death and his life and work have yet to be intensively studied.This second Paris period produced several important theoretical writings. Cours de composition musicale, published by 1818, became the standard text on composition at the Conservatoire; the Traité de mélodie of 1814, a treatise on melody, was also widely studied. Another semi-didactic work, 34 Études for piano, was published by 1817. It was also in Paris that Reicha started composing the 25 wind quintets which proved to be his most enduring works: far more conservative musically than the experimental fugues he had written in Vienna, but exploiting the skill of his virtuosi from the Opéra Comique to extend significantly the technique and musical ambitions of future players of the still evolving wind instruments. In 1818 he married Virginie Enaust, who bore him two daughters. Around this time he taught composition to the future pioneer of the modern oboe Henri Brod, and in 1819 he began teaching harmony and music theory to Louise Farrenc; after interrupting her studies for her own marriage, she completed studies at the Paris Conservatory with Reicha in 1825.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. He published two more large treatises, Traité de haute composition musicale (1824–1826) (Treatise on advanced musical composition) and Art du compositeur dramatique (1833) (Art of dramatic composition), on writing opera. His ideas expressed in the former work sparked some controversy at the Conservatoire. In 1826 Franz Liszt, Hector Berlioz and Henri Cohen became students of his, as did composers Charles Gounod and Pauline Viardot sometime later. Berlioz in his Memoirs acknowledges that Reicha was 'an admirable teacher of counterpoint' who cared about his pupils and whose 'lessons were models of integrity and thoroughness' – high praise indeed from one so critical of the Conservatoire in general. Frédéric Chopin considered studying with him in December 1831 shortly after arriving in Paris from his native Poland, but ultimately decided otherwise. From June 1835 until Reicha's death in May 1836, the young César Franck took private lessons. His notebooks survive (in the Bibliothèque Nationale in Paris) with Reicha's annotations (and a later cryptic comment possibly by Erik Satie), showing how hard Reicha worked his 13-year-old pupil. Reicha was buried at the Père Lachaise Cemetery, and Luigi Cherubini resumed the teaching of counterpoint at the Conservatoire, replacing Reicha's heretical work on fugue with his own as the standard text.
| 8
|
[
"Anton Reicha",
"student",
"Franz Liszt"
] |
Anton (Antonín, Antoine) Joseph Reicha (Rejcha) (26 February 1770 – 28 May 1836) was a Czech-born, Bavarian-educated, later naturalized French composer and music theorist. A contemporary and lifelong friend of Beethoven, he is now best remembered for his substantial early contributions to the wind quintet literature and his role as teacher of pupils including Franz Liszt, Hector Berlioz and César Franck. He was also an accomplished theorist, and wrote several treatises on various aspects of composition. Some of his theoretical work dealt with experimental methods of composition, which he applied in a variety of works such as fugues and études for piano and string quartet.
None of the advanced ideas he advocated in the most radical of his music and writings, such as polyrhythm, polytonality and microtonal music, were accepted or employed by other nineteenth-century composers. Due to Reicha's unwillingness to have his music published (like Michael Haydn before him), he fell into obscurity soon after his death and his life and work have yet to be intensively studied.This second Paris period produced several important theoretical writings. Cours de composition musicale, published by 1818, became the standard text on composition at the Conservatoire; the Traité de mélodie of 1814, a treatise on melody, was also widely studied. Another semi-didactic work, 34 Études for piano, was published by 1817. It was also in Paris that Reicha started composing the 25 wind quintets which proved to be his most enduring works: far more conservative musically than the experimental fugues he had written in Vienna, but exploiting the skill of his virtuosi from the Opéra Comique to extend significantly the technique and musical ambitions of future players of the still evolving wind instruments. In 1818 he married Virginie Enaust, who bore him two daughters. Around this time he taught composition to the future pioneer of the modern oboe Henri Brod, and in 1819 he began teaching harmony and music theory to Louise Farrenc; after interrupting her studies for her own marriage, she completed studies at the Paris Conservatory with Reicha in 1825.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. He published two more large treatises, Traité de haute composition musicale (1824–1826) (Treatise on advanced musical composition) and Art du compositeur dramatique (1833) (Art of dramatic composition), on writing opera. His ideas expressed in the former work sparked some controversy at the Conservatoire. In 1826 Franz Liszt, Hector Berlioz and Henri Cohen became students of his, as did composers Charles Gounod and Pauline Viardot sometime later. Berlioz in his Memoirs acknowledges that Reicha was 'an admirable teacher of counterpoint' who cared about his pupils and whose 'lessons were models of integrity and thoroughness' – high praise indeed from one so critical of the Conservatoire in general. Frédéric Chopin considered studying with him in December 1831 shortly after arriving in Paris from his native Poland, but ultimately decided otherwise. From June 1835 until Reicha's death in May 1836, the young César Franck took private lessons. His notebooks survive (in the Bibliothèque Nationale in Paris) with Reicha's annotations (and a later cryptic comment possibly by Erik Satie), showing how hard Reicha worked his 13-year-old pupil. Reicha was buried at the Père Lachaise Cemetery, and Luigi Cherubini resumed the teaching of counterpoint at the Conservatoire, replacing Reicha's heretical work on fugue with his own as the standard text.
| 9
|
[
"Anton Reicha",
"place of burial",
"Père Lachaise Cemetery"
] |
This second Paris period produced several important theoretical writings. Cours de composition musicale, published by 1818, became the standard text on composition at the Conservatoire; the Traité de mélodie of 1814, a treatise on melody, was also widely studied. Another semi-didactic work, 34 Études for piano, was published by 1817. It was also in Paris that Reicha started composing the 25 wind quintets which proved to be his most enduring works: far more conservative musically than the experimental fugues he had written in Vienna, but exploiting the skill of his virtuosi from the Opéra Comique to extend significantly the technique and musical ambitions of future players of the still evolving wind instruments. In 1818 he married Virginie Enaust, who bore him two daughters. Around this time he taught composition to the future pioneer of the modern oboe Henri Brod, and in 1819 he began teaching harmony and music theory to Louise Farrenc; after interrupting her studies for her own marriage, she completed studies at the Paris Conservatory with Reicha in 1825.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. He published two more large treatises, Traité de haute composition musicale (1824–1826) (Treatise on advanced musical composition) and Art du compositeur dramatique (1833) (Art of dramatic composition), on writing opera. His ideas expressed in the former work sparked some controversy at the Conservatoire. In 1826 Franz Liszt, Hector Berlioz and Henri Cohen became students of his, as did composers Charles Gounod and Pauline Viardot sometime later. Berlioz in his Memoirs acknowledges that Reicha was 'an admirable teacher of counterpoint' who cared about his pupils and whose 'lessons were models of integrity and thoroughness' – high praise indeed from one so critical of the Conservatoire in general. Frédéric Chopin considered studying with him in December 1831 shortly after arriving in Paris from his native Poland, but ultimately decided otherwise. From June 1835 until Reicha's death in May 1836, the young César Franck took private lessons. His notebooks survive (in the Bibliothèque Nationale in Paris) with Reicha's annotations (and a later cryptic comment possibly by Erik Satie), showing how hard Reicha worked his 13-year-old pupil. Reicha was buried at the Père Lachaise Cemetery, and Luigi Cherubini resumed the teaching of counterpoint at the Conservatoire, replacing Reicha's heretical work on fugue with his own as the standard text.
| 10
|
[
"Anton Reicha",
"student of",
"Josef Reicha"
] |
Life
1770–1805: Early years, first visit to Paris and the Viennese period
Reicha was born in Prague. His father Šimon, the town piper of the city, died when Anton was just 10 months old. Apparently Reicha's mother was not interested in her son's education, and so in 1780 he ran away from home following a sudden impulse – as he recounted in his memoirs, he jumped onto a passing carriage. He first visited his paternal grandfather in Klatovy, and then his paternal uncle Josef Reicha, a virtuoso cellist, conductor and composer living in Wallerstein, Bavaria, who adopted him. Josef and his wife, being childless, could give young Anton their full attention: Josef taught him violin and piano, his wife insisted on him being taught French and German, and he was also taught the flute.In 1785 the family moved to Bonn, where Reicha 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 Reicha befriended him. Christian Gottlob Neefe, one of the most important figures in the musical life of the city at the time, may well have instructed both Reicha and his gifted piano pupil Beethoven in composition and introduced them to the works of Johann Sebastian Bach, such as The Well-Tempered Clavier.
From about 1785 Reicha 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, vowed never to perform in public again and began to earn a living teaching harmony, composition and piano. He continued composing and studied mathematics, philosophy and, significantly, methods of teaching composition. In 1799 he moved to Paris, hoping to achieve success as an opera composer. These hopes were dashed, however: he could neither get his old librettos accepted nor find suitable new ones despite support from friends and influential members of the aristocracy, and moved on to Vienna in 1801.
Once there, like Beethoven and the young Schubert, he studied with Antonio Salieri and Johann Georg Albrechtsberger. Both were renowned teachers, and Albrechtsberger was also an important theorist and acknowledged authority on counterpoint and fugal theory. Reicha called on Haydn, whom he had met several times in Bonn and Hamburg during the 1790s, and renewed his friendship with Beethoven, whom he had not seen since 1792, when the latter moved from Bonn to Vienna. At this time (late 1802–1803) Beethoven's Eroica symphony was in gestation, and it is likely that the two men exchanged ideas on fugues in modern composition. Reicha's move to Vienna marked the beginning of a more productive and successful period in his life. As he wrote in his memoirs, "The number of works I finished in Vienna is astonishing. Once started, my verve and imagination were indefatigable. Ideas came to me so rapidly it was often difficult to set them down without losing some of them. I always had a great penchant for doing the unusual in composition. When writing in an original vein, my creative faculties and spirit seemed keener than when following the precepts of my predecessors." In 1801, Reicha's opera L'ouragan, which failed in Paris, was performed at the palace of Prince Joseph Franz von Lobkowitz, a prominent patron of Beethoven. Empress Maria Theresa (of Naples and Sicily) commissioned another opera after this performance, Argine, regina di Granata, which was only privately performed. His studies in Hamburg came to fruition here with the publication of several semi-didactic, encyclopedic works such as 36 Fugues for piano (published in 1803, dedicated to Haydn) and L'art de varier, a large-scale variation cycle (composed in 1803/04 for Prince Louis Ferdinand), and the treatise Practische Beispiele (published in 1803), which contained 24 compositions.
| 12
|
[
"Anton Reicha",
"student of",
"Johann Georg Albrechtsberger"
] |
Life
1770–1805: Early years, first visit to Paris and the Viennese period
Reicha was born in Prague. His father Šimon, the town piper of the city, died when Anton was just 10 months old. Apparently Reicha's mother was not interested in her son's education, and so in 1780 he ran away from home following a sudden impulse – as he recounted in his memoirs, he jumped onto a passing carriage. He first visited his paternal grandfather in Klatovy, and then his paternal uncle Josef Reicha, a virtuoso cellist, conductor and composer living in Wallerstein, Bavaria, who adopted him. Josef and his wife, being childless, could give young Anton their full attention: Josef taught him violin and piano, his wife insisted on him being taught French and German, and he was also taught the flute.In 1785 the family moved to Bonn, where Reicha 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 Reicha befriended him. Christian Gottlob Neefe, one of the most important figures in the musical life of the city at the time, may well have instructed both Reicha and his gifted piano pupil Beethoven in composition and introduced them to the works of Johann Sebastian Bach, such as The Well-Tempered Clavier.
From about 1785 Reicha 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, vowed never to perform in public again and began to earn a living teaching harmony, composition and piano. He continued composing and studied mathematics, philosophy and, significantly, methods of teaching composition. In 1799 he moved to Paris, hoping to achieve success as an opera composer. These hopes were dashed, however: he could neither get his old librettos accepted nor find suitable new ones despite support from friends and influential members of the aristocracy, and moved on to Vienna in 1801.
Once there, like Beethoven and the young Schubert, he studied with Antonio Salieri and Johann Georg Albrechtsberger. Both were renowned teachers, and Albrechtsberger was also an important theorist and acknowledged authority on counterpoint and fugal theory. Reicha called on Haydn, whom he had met several times in Bonn and Hamburg during the 1790s, and renewed his friendship with Beethoven, whom he had not seen since 1792, when the latter moved from Bonn to Vienna. At this time (late 1802–1803) Beethoven's Eroica symphony was in gestation, and it is likely that the two men exchanged ideas on fugues in modern composition. Reicha's move to Vienna marked the beginning of a more productive and successful period in his life. As he wrote in his memoirs, "The number of works I finished in Vienna is astonishing. Once started, my verve and imagination were indefatigable. Ideas came to me so rapidly it was often difficult to set them down without losing some of them. I always had a great penchant for doing the unusual in composition. When writing in an original vein, my creative faculties and spirit seemed keener than when following the precepts of my predecessors." In 1801, Reicha's opera L'ouragan, which failed in Paris, was performed at the palace of Prince Joseph Franz von Lobkowitz, a prominent patron of Beethoven. Empress Maria Theresa (of Naples and Sicily) commissioned another opera after this performance, Argine, regina di Granata, which was only privately performed. His studies in Hamburg came to fruition here with the publication of several semi-didactic, encyclopedic works such as 36 Fugues for piano (published in 1803, dedicated to Haydn) and L'art de varier, a large-scale variation cycle (composed in 1803/04 for Prince Louis Ferdinand), and the treatise Practische Beispiele (published in 1803), which contained 24 compositions.
| 18
|
[
"Anton Reicha",
"occupation",
"teacher"
] |
Anton (Antonín, Antoine) Joseph Reicha (Rejcha) (26 February 1770 – 28 May 1836) was a Czech-born, Bavarian-educated, later naturalized French composer and music theorist. A contemporary and lifelong friend of Beethoven, he is now best remembered for his substantial early contributions to the wind quintet literature and his role as teacher of pupils including Franz Liszt, Hector Berlioz and César Franck. He was also an accomplished theorist, and wrote several treatises on various aspects of composition. Some of his theoretical work dealt with experimental methods of composition, which he applied in a variety of works such as fugues and études for piano and string quartet.
None of the advanced ideas he advocated in the most radical of his music and writings, such as polyrhythm, polytonality and microtonal music, were accepted or employed by other nineteenth-century composers. Due to Reicha's unwillingness to have his music published (like Michael Haydn before him), he fell into obscurity soon after his death and his life and work have yet to be intensively studied.1806–1836: Departure from Vienna and life in Paris
Reicha's life and career in Vienna were interrupted by Napoleon's November 1805 occupation of the city by French troops. In 1806 Reicha travelled to Leipzig to arrange a performance of his new work, the cantata Lenore (stopping at Prague to see his mother for the first time since 1780), but because Leipzig was blockaded by the French, not only was the performance cancelled but he could not return to Vienna for several months. When he did return it was not for long, because by 1808 the Austrian Empire was already preparing for another war, the War of the Fifth Coalition, so 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, despite opposition from its influential professor of composition and (from 1822) director Luigi Cherubini
| 21
|
[
"Anton Reicha",
"occupation",
"composer"
] |
Anton (Antonín, Antoine) Joseph Reicha (Rejcha) (26 February 1770 – 28 May 1836) was a Czech-born, Bavarian-educated, later naturalized French composer and music theorist. A contemporary and lifelong friend of Beethoven, he is now best remembered for his substantial early contributions to the wind quintet literature and his role as teacher of pupils including Franz Liszt, Hector Berlioz and César Franck. He was also an accomplished theorist, and wrote several treatises on various aspects of composition. Some of his theoretical work dealt with experimental methods of composition, which he applied in a variety of works such as fugues and études for piano and string quartet.
None of the advanced ideas he advocated in the most radical of his music and writings, such as polyrhythm, polytonality and microtonal music, were accepted or employed by other nineteenth-century composers. Due to Reicha's unwillingness to have his music published (like Michael Haydn before him), he fell into obscurity soon after his death and his life and work have yet to be intensively studied.
| 24
|
[
"Anton Reicha",
"genre",
"opera"
] |
The études of op. 97, Études dans le genre fugué, published in Paris by 1817, are similarly advanced. Each composition is preceded by Reicha's comments for young composers. Thirty of the 34 études included are fugues, and every étude is preceded by a prelude based on a particular technical or compositional problem. Again an exceptionally large number of forms and textures is used, including, for example, the variation form with extensive use of invertible counterpoint (no. 3), or an Andante in C minor based on the famous Folia harmonic progression. Reicha's massive cycle of variations, L'art de varier, uses the same pedagogical principle and includes variations in the form of four-voice fugues, program music variations, toccata-like hand-crossing variations, etc., foreshadowing in many aspects not only Beethoven's Diabelli Variations, but also works by Schubert, Wagner and Debussy.Many of Reicha's string quartets are similarly advanced, and also anticipate numerous later developments. The eight Vienna string quartets (1801–1805) are among his most important works. Though largely ignored since Reicha's death, they were highly influential during his lifetime and left their mark on the quartets of Beethoven and Schubert, much as Bach's Well-Tempered Clavier was ignored by the public but well known to Beethoven and Chopin. Reicha also wrote prolifically for various kinds of ensembles other than wind quintets and string quartets, including violin sonatas, piano trios, horn trios, flute quartets, various works for solo wind or string instruments accompanied by strings, and works for voice. He also wrote in larger-scale genres, including at least eight known symphonies, seven operas, and choral works such as a Requiem.
Much of Reicha's music remained unpublished and/or unperformed during his life, and virtually all of it fell into obscurity after his death. This is partly explained by Reicha's own decisions he reflected on in his autobiography: "Many of my works have never been heard because of my aversion to seeking performances [...] I counted the time spent in such efforts as lost, and preferred to remain at my desk." He also frequently advocated ideas, such as the use of quarter tones, that were too far ahead of his time to be understood by his contemporaries.
| 26
|
[
"Anton Reicha",
"field of work",
"fugue"
] |
1806–1836: Departure from Vienna and life in Paris
Reicha's life and career in Vienna were interrupted by Napoleon's November 1805 occupation of the city by French troops. In 1806 Reicha travelled to Leipzig to arrange a performance of his new work, the cantata Lenore (stopping at Prague to see his mother for the first time since 1780), but because Leipzig was blockaded by the French, not only was the performance cancelled but he could not return to Vienna for several months. When he did return it was not for long, because by 1808 the Austrian Empire was already preparing for another war, the War of the Fifth Coalition, so 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, despite opposition from its influential professor of composition and (from 1822) director Luigi Cherubini
| 27
|
[
"Anton Reicha",
"employer",
"Conservatoire de Paris"
] |
1806–1836: Departure from Vienna and life in Paris
Reicha's life and career in Vienna were interrupted by Napoleon's November 1805 occupation of the city by French troops. In 1806 Reicha travelled to Leipzig to arrange a performance of his new work, the cantata Lenore (stopping at Prague to see his mother for the first time since 1780), but because Leipzig was blockaded by the French, not only was the performance cancelled but he could not return to Vienna for several months. When he did return it was not for long, because by 1808 the Austrian Empire was already preparing for another war, the War of the Fifth Coalition, so 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, despite opposition from its influential professor of composition and (from 1822) director Luigi Cherubini
| 28
|
[
"Anton Reicha",
"award received",
"Legion of Honour"
] |
This second Paris period produced several important theoretical writings. Cours de composition musicale, published by 1818, became the standard text on composition at the Conservatoire; the Traité de mélodie of 1814, a treatise on melody, was also widely studied. Another semi-didactic work, 34 Études for piano, was published by 1817. It was also in Paris that Reicha started composing the 25 wind quintets which proved to be his most enduring works: far more conservative musically than the experimental fugues he had written in Vienna, but exploiting the skill of his virtuosi from the Opéra Comique to extend significantly the technique and musical ambitions of future players of the still evolving wind instruments. In 1818 he married Virginie Enaust, who bore him two daughters. Around this time he taught composition to the future pioneer of the modern oboe Henri Brod, and in 1819 he began teaching harmony and music theory to Louise Farrenc; after interrupting her studies for her own marriage, she completed studies at the Paris Conservatory with Reicha in 1825.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. He published two more large treatises, Traité de haute composition musicale (1824–1826) (Treatise on advanced musical composition) and Art du compositeur dramatique (1833) (Art of dramatic composition), on writing opera. His ideas expressed in the former work sparked some controversy at the Conservatoire. In 1826 Franz Liszt, Hector Berlioz and Henri Cohen became students of his, as did composers Charles Gounod and Pauline Viardot sometime later. Berlioz in his Memoirs acknowledges that Reicha was 'an admirable teacher of counterpoint' who cared about his pupils and whose 'lessons were models of integrity and thoroughness' – high praise indeed from one so critical of the Conservatoire in general. Frédéric Chopin considered studying with him in December 1831 shortly after arriving in Paris from his native Poland, but ultimately decided otherwise. From June 1835 until Reicha's death in May 1836, the young César Franck took private lessons. His notebooks survive (in the Bibliothèque Nationale in Paris) with Reicha's annotations (and a later cryptic comment possibly by Erik Satie), showing how hard Reicha worked his 13-year-old pupil. Reicha was buried at the Père Lachaise Cemetery, and Luigi Cherubini resumed the teaching of counterpoint at the Conservatoire, replacing Reicha's heretical work on fugue with his own as the standard text.
| 42
|
[
"Anton Reicha",
"occupation",
"music teacher"
] |
Anton (Antonín, Antoine) Joseph Reicha (Rejcha) (26 February 1770 – 28 May 1836) was a Czech-born, Bavarian-educated, later naturalized French composer and music theorist. A contemporary and lifelong friend of Beethoven, he is now best remembered for his substantial early contributions to the wind quintet literature and his role as teacher of pupils including Franz Liszt, Hector Berlioz and César Franck. He was also an accomplished theorist, and wrote several treatises on various aspects of composition. Some of his theoretical work dealt with experimental methods of composition, which he applied in a variety of works such as fugues and études for piano and string quartet.
None of the advanced ideas he advocated in the most radical of his music and writings, such as polyrhythm, polytonality and microtonal music, were accepted or employed by other nineteenth-century composers. Due to Reicha's unwillingness to have his music published (like Michael Haydn before him), he fell into obscurity soon after his death and his life and work have yet to be intensively studied.1806–1836: Departure from Vienna and life in Paris
Reicha's life and career in Vienna were interrupted by Napoleon's November 1805 occupation of the city by French troops. In 1806 Reicha travelled to Leipzig to arrange a performance of his new work, the cantata Lenore (stopping at Prague to see his mother for the first time since 1780), but because Leipzig was blockaded by the French, not only was the performance cancelled but he could not return to Vienna for several months. When he did return it was not for long, because by 1808 the Austrian Empire was already preparing for another war, the War of the Fifth Coalition, so 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, despite opposition from its influential professor of composition and (from 1822) director Luigi Cherubini
| 53
|
[
"Jean-François Le Sueur",
"instance of",
"human"
] |
Jean-François Le Sueur (more commonly Lesueur; French: [ʒɑ̃ fʁɑ̃swa lə sɥœʁ]) (15 February 1760 – 6 October 1837) was a French composer, best known for his oratorios and operas.Life
He was born at Plessiel, a hamlet of Drucat near Abbeville, to a long-established family of Picardy, the great-nephew of the painter Eustache Le Sueur. Beginning as a chorister at the collegial church of Abbeville, then at the cathedral of Amiens, where he pursued his music studies, Le Sueur was named chorus master at the cathedral of Sées. He went to Paris to study harmony with the Abbé Nicolas Roze, chorus master at the Saints-Innocents. Le Sueur was named to positions at Dijon (1779), Le Mans (1782), then at Tours (1783) before he succeeded Roze at the Saints-Innocents at Paris. Finally, in 1786, after a competition, he was made music director at Notre-Dame de Paris.For the Feast of the Assumption, he innovated by introducing an orchestra, with great success, and his sacred concerts at the main feasts of the Church filled the cathedral to overflowing but incurred resistance in ecclesiastical circles. He replied by publishing a pamphlet Exposé d'une musique imitative et particulière à chaque solennité (1787). The cathedral chapter decided to reduce its musical budget in a time of financial crisis for France, which constrained Le Sueur to give up the important musical Masses that he specialised in, and to give up his position. He spent some time in London, 1788–92, then returned to revolutionary Paris and gave three successful operas at the Théâtre Feydeau: La Caverne, ou le Repentir (1793), Paul et Virginie, ou le Triomphe de la vertu (1794), which was inspired by the hugely popular novel by Jacques-Henri Bernardin de Saint-Pierre, and the classical Télémaque dans l'île de Calypso, ou le Triomphe de la sagesse (1796).
He was named professor at the École de la Garde Nationale, 21 November, 1793, then named Inspecteur at the newly founded Conservatoire. In the company of Étienne Nicolas Méhul, Honoré Langlé, François-Joseph Gossec and Charles Simon Catel, he was limited to teaching elementary principles and solfège. Unable to get his operas Ossian, ou Les bardes and La mort d'Adam mounted at the Paris Opéra, Le Sueur published a violent pamphlet, Projet d'un plan général de l'instruction musicale en France, attacking the Conservatoire, its methods and its director, and was discharged, 23 September 1802.Without official appointments, Le Sueur was reduced to poverty when in 1804, Napoleon named him maître de la chapelle at the Tuileries, to replace Giovanni Paisiello. Now he was able to mount his most famous work, Ossian ou Les bardes, with great success at the Opéra and with the Emperor, who made the composer of his favorite opera a Chevalier de la Légion d'honneur. Le Sueur composed the Triumphal March for the coronation of Napoleon, directed a Mass by Paisiello and a Vivat by his former master abbé Roze. In 1813, he was named to the Académie des Beaux-Arts, replacing André Grétry.At the Restoration, he was named composer of the royal chapel and conductor of the orchestra of the Opéra. From the beginning of 1818, he taught composition at the Conservatoire, where over the years he had for pupils Hector Berlioz, Ambroise Thomas, Charles Gounod, Louis Désiré Besozzi and Antoine François Marmontel.He died on 6 October 1837 in Paris.
| 0
|
[
"Jean-François Le Sueur",
"languages spoken, written or signed",
"French"
] |
Jean-François Le Sueur (more commonly Lesueur; French: [ʒɑ̃ fʁɑ̃swa lə sɥœʁ]) (15 February 1760 – 6 October 1837) was a French composer, best known for his oratorios and operas.
| 1
|
[
"Jean-François Le Sueur",
"place of birth",
"Drucat"
] |
Life
He was born at Plessiel, a hamlet of Drucat near Abbeville, to a long-established family of Picardy, the great-nephew of the painter Eustache Le Sueur. Beginning as a chorister at the collegial church of Abbeville, then at the cathedral of Amiens, where he pursued his music studies, Le Sueur was named chorus master at the cathedral of Sées. He went to Paris to study harmony with the Abbé Nicolas Roze, chorus master at the Saints-Innocents. Le Sueur was named to positions at Dijon (1779), Le Mans (1782), then at Tours (1783) before he succeeded Roze at the Saints-Innocents at Paris. Finally, in 1786, after a competition, he was made music director at Notre-Dame de Paris.For the Feast of the Assumption, he innovated by introducing an orchestra, with great success, and his sacred concerts at the main feasts of the Church filled the cathedral to overflowing but incurred resistance in ecclesiastical circles. He replied by publishing a pamphlet Exposé d'une musique imitative et particulière à chaque solennité (1787). The cathedral chapter decided to reduce its musical budget in a time of financial crisis for France, which constrained Le Sueur to give up the important musical Masses that he specialised in, and to give up his position. He spent some time in London, 1788–92, then returned to revolutionary Paris and gave three successful operas at the Théâtre Feydeau: La Caverne, ou le Repentir (1793), Paul et Virginie, ou le Triomphe de la vertu (1794), which was inspired by the hugely popular novel by Jacques-Henri Bernardin de Saint-Pierre, and the classical Télémaque dans l'île de Calypso, ou le Triomphe de la sagesse (1796).
He was named professor at the École de la Garde Nationale, 21 November, 1793, then named Inspecteur at the newly founded Conservatoire. In the company of Étienne Nicolas Méhul, Honoré Langlé, François-Joseph Gossec and Charles Simon Catel, he was limited to teaching elementary principles and solfège. Unable to get his operas Ossian, ou Les bardes and La mort d'Adam mounted at the Paris Opéra, Le Sueur published a violent pamphlet, Projet d'un plan général de l'instruction musicale en France, attacking the Conservatoire, its methods and its director, and was discharged, 23 September 1802.Without official appointments, Le Sueur was reduced to poverty when in 1804, Napoleon named him maître de la chapelle at the Tuileries, to replace Giovanni Paisiello. Now he was able to mount his most famous work, Ossian ou Les bardes, with great success at the Opéra and with the Emperor, who made the composer of his favorite opera a Chevalier de la Légion d'honneur. Le Sueur composed the Triumphal March for the coronation of Napoleon, directed a Mass by Paisiello and a Vivat by his former master abbé Roze. In 1813, he was named to the Académie des Beaux-Arts, replacing André Grétry.At the Restoration, he was named composer of the royal chapel and conductor of the orchestra of the Opéra. From the beginning of 1818, he taught composition at the Conservatoire, where over the years he had for pupils Hector Berlioz, Ambroise Thomas, Charles Gounod, Louis Désiré Besozzi and Antoine François Marmontel.He died on 6 October 1837 in Paris.
| 6
|
[
"Jean-François Le Sueur",
"genre",
"opera"
] |
Jean-François Le Sueur (more commonly Lesueur; French: [ʒɑ̃ fʁɑ̃swa lə sɥœʁ]) (15 February 1760 – 6 October 1837) was a French composer, best known for his oratorios and operas.Life
He was born at Plessiel, a hamlet of Drucat near Abbeville, to a long-established family of Picardy, the great-nephew of the painter Eustache Le Sueur. Beginning as a chorister at the collegial church of Abbeville, then at the cathedral of Amiens, where he pursued his music studies, Le Sueur was named chorus master at the cathedral of Sées. He went to Paris to study harmony with the Abbé Nicolas Roze, chorus master at the Saints-Innocents. Le Sueur was named to positions at Dijon (1779), Le Mans (1782), then at Tours (1783) before he succeeded Roze at the Saints-Innocents at Paris. Finally, in 1786, after a competition, he was made music director at Notre-Dame de Paris.For the Feast of the Assumption, he innovated by introducing an orchestra, with great success, and his sacred concerts at the main feasts of the Church filled the cathedral to overflowing but incurred resistance in ecclesiastical circles. He replied by publishing a pamphlet Exposé d'une musique imitative et particulière à chaque solennité (1787). The cathedral chapter decided to reduce its musical budget in a time of financial crisis for France, which constrained Le Sueur to give up the important musical Masses that he specialised in, and to give up his position. He spent some time in London, 1788–92, then returned to revolutionary Paris and gave three successful operas at the Théâtre Feydeau: La Caverne, ou le Repentir (1793), Paul et Virginie, ou le Triomphe de la vertu (1794), which was inspired by the hugely popular novel by Jacques-Henri Bernardin de Saint-Pierre, and the classical Télémaque dans l'île de Calypso, ou le Triomphe de la sagesse (1796).
He was named professor at the École de la Garde Nationale, 21 November, 1793, then named Inspecteur at the newly founded Conservatoire. In the company of Étienne Nicolas Méhul, Honoré Langlé, François-Joseph Gossec and Charles Simon Catel, he was limited to teaching elementary principles and solfège. Unable to get his operas Ossian, ou Les bardes and La mort d'Adam mounted at the Paris Opéra, Le Sueur published a violent pamphlet, Projet d'un plan général de l'instruction musicale en France, attacking the Conservatoire, its methods and its director, and was discharged, 23 September 1802.Without official appointments, Le Sueur was reduced to poverty when in 1804, Napoleon named him maître de la chapelle at the Tuileries, to replace Giovanni Paisiello. Now he was able to mount his most famous work, Ossian ou Les bardes, with great success at the Opéra and with the Emperor, who made the composer of his favorite opera a Chevalier de la Légion d'honneur. Le Sueur composed the Triumphal March for the coronation of Napoleon, directed a Mass by Paisiello and a Vivat by his former master abbé Roze. In 1813, he was named to the Académie des Beaux-Arts, replacing André Grétry.At the Restoration, he was named composer of the royal chapel and conductor of the orchestra of the Opéra. From the beginning of 1818, he taught composition at the Conservatoire, where over the years he had for pupils Hector Berlioz, Ambroise Thomas, Charles Gounod, Louis Désiré Besozzi and Antoine François Marmontel.He died on 6 October 1837 in Paris.
| 7
|
[
"Jean-François Le Sueur",
"student",
"Ambroise Thomas"
] |
Life
He was born at Plessiel, a hamlet of Drucat near Abbeville, to a long-established family of Picardy, the great-nephew of the painter Eustache Le Sueur. Beginning as a chorister at the collegial church of Abbeville, then at the cathedral of Amiens, where he pursued his music studies, Le Sueur was named chorus master at the cathedral of Sées. He went to Paris to study harmony with the Abbé Nicolas Roze, chorus master at the Saints-Innocents. Le Sueur was named to positions at Dijon (1779), Le Mans (1782), then at Tours (1783) before he succeeded Roze at the Saints-Innocents at Paris. Finally, in 1786, after a competition, he was made music director at Notre-Dame de Paris.For the Feast of the Assumption, he innovated by introducing an orchestra, with great success, and his sacred concerts at the main feasts of the Church filled the cathedral to overflowing but incurred resistance in ecclesiastical circles. He replied by publishing a pamphlet Exposé d'une musique imitative et particulière à chaque solennité (1787). The cathedral chapter decided to reduce its musical budget in a time of financial crisis for France, which constrained Le Sueur to give up the important musical Masses that he specialised in, and to give up his position. He spent some time in London, 1788–92, then returned to revolutionary Paris and gave three successful operas at the Théâtre Feydeau: La Caverne, ou le Repentir (1793), Paul et Virginie, ou le Triomphe de la vertu (1794), which was inspired by the hugely popular novel by Jacques-Henri Bernardin de Saint-Pierre, and the classical Télémaque dans l'île de Calypso, ou le Triomphe de la sagesse (1796).
He was named professor at the École de la Garde Nationale, 21 November, 1793, then named Inspecteur at the newly founded Conservatoire. In the company of Étienne Nicolas Méhul, Honoré Langlé, François-Joseph Gossec and Charles Simon Catel, he was limited to teaching elementary principles and solfège. Unable to get his operas Ossian, ou Les bardes and La mort d'Adam mounted at the Paris Opéra, Le Sueur published a violent pamphlet, Projet d'un plan général de l'instruction musicale en France, attacking the Conservatoire, its methods and its director, and was discharged, 23 September 1802.Without official appointments, Le Sueur was reduced to poverty when in 1804, Napoleon named him maître de la chapelle at the Tuileries, to replace Giovanni Paisiello. Now he was able to mount his most famous work, Ossian ou Les bardes, with great success at the Opéra and with the Emperor, who made the composer of his favorite opera a Chevalier de la Légion d'honneur. Le Sueur composed the Triumphal March for the coronation of Napoleon, directed a Mass by Paisiello and a Vivat by his former master abbé Roze. In 1813, he was named to the Académie des Beaux-Arts, replacing André Grétry.At the Restoration, he was named composer of the royal chapel and conductor of the orchestra of the Opéra. From the beginning of 1818, he taught composition at the Conservatoire, where over the years he had for pupils Hector Berlioz, Ambroise Thomas, Charles Gounod, Louis Désiré Besozzi and Antoine François Marmontel.He died on 6 October 1837 in Paris.
| 9
|
[
"Jean-François Le Sueur",
"occupation",
"composer"
] |
Jean-François Le Sueur (more commonly Lesueur; French: [ʒɑ̃ fʁɑ̃swa lə sɥœʁ]) (15 February 1760 – 6 October 1837) was a French composer, best known for his oratorios and operas.Life
He was born at Plessiel, a hamlet of Drucat near Abbeville, to a long-established family of Picardy, the great-nephew of the painter Eustache Le Sueur. Beginning as a chorister at the collegial church of Abbeville, then at the cathedral of Amiens, where he pursued his music studies, Le Sueur was named chorus master at the cathedral of Sées. He went to Paris to study harmony with the Abbé Nicolas Roze, chorus master at the Saints-Innocents. Le Sueur was named to positions at Dijon (1779), Le Mans (1782), then at Tours (1783) before he succeeded Roze at the Saints-Innocents at Paris. Finally, in 1786, after a competition, he was made music director at Notre-Dame de Paris.For the Feast of the Assumption, he innovated by introducing an orchestra, with great success, and his sacred concerts at the main feasts of the Church filled the cathedral to overflowing but incurred resistance in ecclesiastical circles. He replied by publishing a pamphlet Exposé d'une musique imitative et particulière à chaque solennité (1787). The cathedral chapter decided to reduce its musical budget in a time of financial crisis for France, which constrained Le Sueur to give up the important musical Masses that he specialised in, and to give up his position. He spent some time in London, 1788–92, then returned to revolutionary Paris and gave three successful operas at the Théâtre Feydeau: La Caverne, ou le Repentir (1793), Paul et Virginie, ou le Triomphe de la vertu (1794), which was inspired by the hugely popular novel by Jacques-Henri Bernardin de Saint-Pierre, and the classical Télémaque dans l'île de Calypso, ou le Triomphe de la sagesse (1796).
He was named professor at the École de la Garde Nationale, 21 November, 1793, then named Inspecteur at the newly founded Conservatoire. In the company of Étienne Nicolas Méhul, Honoré Langlé, François-Joseph Gossec and Charles Simon Catel, he was limited to teaching elementary principles and solfège. Unable to get his operas Ossian, ou Les bardes and La mort d'Adam mounted at the Paris Opéra, Le Sueur published a violent pamphlet, Projet d'un plan général de l'instruction musicale en France, attacking the Conservatoire, its methods and its director, and was discharged, 23 September 1802.Without official appointments, Le Sueur was reduced to poverty when in 1804, Napoleon named him maître de la chapelle at the Tuileries, to replace Giovanni Paisiello. Now he was able to mount his most famous work, Ossian ou Les bardes, with great success at the Opéra and with the Emperor, who made the composer of his favorite opera a Chevalier de la Légion d'honneur. Le Sueur composed the Triumphal March for the coronation of Napoleon, directed a Mass by Paisiello and a Vivat by his former master abbé Roze. In 1813, he was named to the Académie des Beaux-Arts, replacing André Grétry.At the Restoration, he was named composer of the royal chapel and conductor of the orchestra of the Opéra. From the beginning of 1818, he taught composition at the Conservatoire, where over the years he had for pupils Hector Berlioz, Ambroise Thomas, Charles Gounod, Louis Désiré Besozzi and Antoine François Marmontel.He died on 6 October 1837 in Paris.
| 17
|
[
"Gabriel Fauré",
"place of death",
"Paris"
] |
Fauré suffered from poor health in his later years, brought on in part by heavy smoking. Despite this, he remained available to young composers, including members of Les Six, most of whom were devoted to him. Nectoux writes, "In old age he attained a kind of serenity, without losing any of his remarkable spiritual vitality, but rather removed from the sensualism and the passion of the works he wrote between 1875 and 1895."In his last months, Fauré struggled to complete his String Quartet. Twenty years earlier he had been the dedicatee of Ravel's String Quartet. Ravel and others urged Fauré to compose one of his own. He refused for many years, on the grounds that it was too difficult. When he finally decided to write it, he did so in trepidation, telling his wife, "I've started a Quartet for strings, without piano. This is a genre which Beethoven in particular made famous, and causes all those who are not Beethoven to be terrified of it." He worked on the piece for a year, finishing it on 11 September 1924, less than two months before he died, working long hours towards the end to complete it. The quartet was premiered after his death; he declined an offer to have it performed privately for him in his last days, as his hearing had deteriorated to the point where musical sounds were horribly distorted in his ear.Fauré died in Paris from pneumonia on 4 November 1924 at the age of 79. He was given a state funeral at the Église de la Madeleine and is buried in the Passy Cemetery in Paris.After Fauré's death, the Conservatoire abandoned his radicalism and became resistant to new trends in music, with Fauré's own harmonic practice being held up as the farthest limit of modernity, beyond which students should not go. His successor, Henri Rabaud, director of the Conservatoire from 1922 to 1941, declared "modernism is the enemy". The generation of students born between the wars rejected this outdated premise, turning for inspiration to Bartók, the Second Viennese School, and the latest works of Stravinsky.In a centenary tribute in 1945, the musicologist Leslie Orrey wrote in The Musical Times, "'More profound than Saint-Saëns, more varied than Lalo, more spontaneous than d'Indy, more classic than Debussy, Gabriel Fauré is the master par excellence of French music, the perfect mirror of our musical genius.' Perhaps, when English musicians get to know his work better, these words of Roger-Ducasse will seem, not over-praise, but no more than his due."
| 3
|
[
"Gabriel Fauré",
"student",
"Charles Koechlin"
] |
Orchestral and chamber works
Fauré was not greatly interested in orchestration, and on occasion asked his former students such as Jean Roger-Ducasse and Charles Koechlin to orchestrate his concert and theatre works. In Nectoux's words, Fauré's generally sober orchestral style reflects "a definite aesthetic attitude ... The idea of timbre was not a determining one in Fauré's musical thinking". He was not attracted by flamboyant combinations of tone-colours, which he thought either self-indulgent or a disguise for lack of real musical invention. He told his students that it should be possible to produce an orchestration without resorting to glockenspiels, celestas, xylophones, bells or electrical instruments. Debussy admired the spareness of Fauré's orchestration, finding in it the transparency he strove for in his own 1913 ballet Jeux; Poulenc, by contrast, described Fauré's orchestration as "a leaden overcoat ... instrumental mud". Fauré's best-known orchestral works are the suites Masques et bergamasques (based on music for a dramatic entertainment, or divertissement comique), which he orchestrated himself, Dolly, orchestrated by Henri Rabaud, and Pelléas et Mélisande which draws on incidental music for Maeterlinck's play; the stage version was orchestrated by Koechlin, but Fauré himself reworked the orchestration for the published suite.
| 8
|
[
"Gabriel Fauré",
"conflict",
"Franco-Prussian War"
] |
Organist and composer
On leaving the École Niedermeyer, Fauré was appointed organist at the Church of Saint-Sauveur, at Rennes in Brittany. He took up the post in January 1866. During his four years at Rennes he supplemented his income by taking private pupils, giving "countless piano lessons". At Saint-Saëns's regular prompting he continued to compose, but none of his works from this period survive. He was bored at Rennes and had an uneasy relationship with the parish priest, who correctly doubted Fauré's religious conviction. Fauré was regularly seen stealing out during the sermon for a cigarette, and in early 1870, when he turned up to play at Mass one Sunday still in his evening clothes, having been out all night at a ball, he was asked to resign. Almost immediately, with the discreet aid of Saint-Saëns, he secured the post of assistant organist at the church of Notre-Dame de Clignancourt, in the north of Paris. He remained there for only a few months. On the outbreak of the Franco-Prussian War in 1870 he volunteered for military service. He took part in the action to raise the siege of Paris, and saw action at Le Bourget, Champigny and Créteil. He was awarded a Croix de Guerre.
| 9
|
[
"Gabriel Fauré",
"student",
"Louis Aubert"
] |
In 1896 Ambroise Thomas died, and Théodore Dubois took over as head of the Conservatoire. Fauré succeeded Dubois as chief organist of the Madeleine. Dubois' move had further repercussions: Massenet, professor of composition at the Conservatoire, had expected to succeed Thomas, but had overplayed his hand by insisting on being appointed for life. He was turned down, and when Dubois was appointed instead, Massenet resigned his professorship in fury. Fauré was appointed in his place. He taught many young composers, including Maurice Ravel, Florent Schmitt, Charles Koechlin, Louis Aubert, Jean Roger-Ducasse, George Enescu, Paul Ladmirault, Alfredo Casella and Nadia Boulanger. In Fauré's view, his students needed a firm grounding in the basic skills, which he was happy to delegate to his capable assistant André Gedalge. His own part came in helping them make use of these skills in the way that suited each student's talents. Roger-Ducasse later wrote, "Taking up whatever the pupils were working on, he would evoke the rules of the form at hand ... and refer to examples, always drawn from the masters." Ravel always remembered Fauré's open-mindedness as a teacher. Having received Ravel's String Quartet with less than his usual enthusiasm, Fauré asked to see the manuscript again a few days later, saying, "I could have been wrong". The musicologist Henry Prunières wrote, "What Fauré developed among his pupils was taste, harmonic sensibility, the love of pure lines, of unexpected and colorful modulations; but he never gave them [recipes] for composing according to his style and that is why they all sought and found their own paths in many different, and often opposed, directions."Fauré's works of the last years of the century include incidental music for the English premiere of Maurice Maeterlinck's Pelléas et Mélisande (1898) and Prométhée, a lyric tragedy composed for the amphitheatre at Béziers. Written for outdoor performance, the work is scored for huge instrumental and vocal forces. Its premiere in August 1900 was a great success, and it was revived at Béziers the following year and in Paris in 1907. A version with orchestration for normal opera house-sized forces was given at the Paris Opéra in May 1917 and received more than forty performances in Paris thereafter.From 1903 to 1921, Fauré regularly wrote music criticism for Le Figaro, a role in which he was not at ease. Nectoux writes that Fauré's natural kindness and broad-mindedness predisposed him to emphasise the positive aspects of a work.
| 22
|
[
"Gabriel Fauré",
"notable work",
"Requiem"
] |
To support his family, Fauré spent most of his time in running the daily services at the Madeleine and giving piano and harmony lessons. His compositions earned him a negligible amount, because his publisher bought them outright, paying him an average of 60 francs for a song, and Fauré received no royalties. During this period, he wrote several large-scale works, in addition to many piano pieces and songs, but he destroyed most of them after a few performances, only retaining a few movements in order to re-use motifs. Among the works surviving from this period is the Requiem, begun in 1887 and revised and expanded, over the years, until its final version dating from 1901. After its first performance, in 1888, the priest in charge told the composer, "We don't need these novelties: the Madeleine's repertoire is quite rich enough."As a young man Fauré had been very cheerful; a friend wrote of his "youthful, even somewhat child-like, mirth." From his thirties he suffered bouts of depression, which he described as "spleen", possibly first caused by his broken engagement and his lack of success as a composer. In 1890 a prestigious and remunerative commission to write an opera with lyrics by Paul Verlaine was aborted by the poet's drunken inability to deliver a libretto. Fauré was plunged into so deep a depression that his friends were seriously concerned about his health. Winnaretta de Scey-Montbéliard, always a good friend to Fauré, invited him to Venice, where she had a palazzo on the Grand Canal. He recovered his spirits and began to compose again, writing the first of his five Mélodies de Venise, to words by Verlaine, whose poetry he continued to admire despite the operatic debacle.
| 25
|
[
"Gabriel Fauré",
"place of burial",
"Passy Cemetery"
] |
Fauré suffered from poor health in his later years, brought on in part by heavy smoking. Despite this, he remained available to young composers, including members of Les Six, most of whom were devoted to him. Nectoux writes, "In old age he attained a kind of serenity, without losing any of his remarkable spiritual vitality, but rather removed from the sensualism and the passion of the works he wrote between 1875 and 1895."In his last months, Fauré struggled to complete his String Quartet. Twenty years earlier he had been the dedicatee of Ravel's String Quartet. Ravel and others urged Fauré to compose one of his own. He refused for many years, on the grounds that it was too difficult. When he finally decided to write it, he did so in trepidation, telling his wife, "I've started a Quartet for strings, without piano. This is a genre which Beethoven in particular made famous, and causes all those who are not Beethoven to be terrified of it." He worked on the piece for a year, finishing it on 11 September 1924, less than two months before he died, working long hours towards the end to complete it. The quartet was premiered after his death; he declined an offer to have it performed privately for him in his last days, as his hearing had deteriorated to the point where musical sounds were horribly distorted in his ear.Fauré died in Paris from pneumonia on 4 November 1924 at the age of 79. He was given a state funeral at the Église de la Madeleine and is buried in the Passy Cemetery in Paris.After Fauré's death, the Conservatoire abandoned his radicalism and became resistant to new trends in music, with Fauré's own harmonic practice being held up as the farthest limit of modernity, beyond which students should not go. His successor, Henri Rabaud, director of the Conservatoire from 1922 to 1941, declared "modernism is the enemy". The generation of students born between the wars rejected this outdated premise, turning for inspiration to Bartók, the Second Viennese School, and the latest works of Stravinsky.In a centenary tribute in 1945, the musicologist Leslie Orrey wrote in The Musical Times, "'More profound than Saint-Saëns, more varied than Lalo, more spontaneous than d'Indy, more classic than Debussy, Gabriel Fauré is the master par excellence of French music, the perfect mirror of our musical genius.' Perhaps, when English musicians get to know his work better, these words of Roger-Ducasse will seem, not over-praise, but no more than his due."
| 32
|
[
"Gabriel Fauré",
"occupation",
"teacher"
] |
Gabriel Urbain Fauré (French: [ɡabʁi.ɛl yʁbɛ̃ foʁe]; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style.
Fauré was born into a cultured but not especially musical family. His talent became clear when he was a young boy. At the age of nine, he was sent to the École Niedermeyer music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful in his middle age, holding the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire, he still lacked time for composing; he retreated to the countryside in the summer holidays to concentrate on composition. By his last years, he was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. Outside France, Fauré's music took decades to become widely accepted, except in Britain, where he had many admirers during his lifetime.
Fauré's music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Chopin was still composing, and by the time of Fauré's death, jazz and the atonal music of the Second Viennese School were being heard. The Grove Dictionary of Music and Musicians, which describes him as the most advanced composer of his generation in France, notes that his harmonic and melodic innovations influenced the teaching of harmony for later generations. During the last twenty years of his life, he suffered from increasing deafness. In contrast with the charm of his earlier music, his works from this period are sometimes elusive and withdrawn in character, and at other times turbulent and impassioned.
| 35
|
[
"Gabriel Fauré",
"notable work",
"Piano Quintet No. 2"
] |
In the chamber repertoire, his two piano quartets, in C minor and G minor, particularly the former, are among Fauré's better-known works. His other chamber music includes two piano quintets, two cello sonatas, two violin sonatas, a piano trio and a string quartet. Copland (writing in 1924 before the string quartet was finished) held the second quintet (in C minor, Opus 115) to be Fauré's masterpiece: "... a pure well of spirituality ... extremely classic, as far removed as possible from the romantic temperament." Other critics have taken a less favourable view: The Record Guide commented, "The ceaseless flow and restricted colour scheme of Fauré's last manner, as exemplified in this Quintet, need very careful management, if they are not to become tedious." Fauré's last work, the String Quartet, has been described by critics in Gramophone magazine as an intimate meditation on the last things, and "an extraordinary work by any standards, ethereal and other-worldly with themes that seem constantly to be drawn skywards."
| 43
|
[
"Gabriel Fauré",
"student of",
"Camille Saint-Saëns"
] |
Gabriel Urbain Fauré (French: [ɡabʁi.ɛl yʁbɛ̃ foʁe]; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style.
Fauré was born into a cultured but not especially musical family. His talent became clear when he was a young boy. At the age of nine, he was sent to the École Niedermeyer music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful in his middle age, holding the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire, he still lacked time for composing; he retreated to the countryside in the summer holidays to concentrate on composition. By his last years, he was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. Outside France, Fauré's music took decades to become widely accepted, except in Britain, where he had many admirers during his lifetime.
Fauré's music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Chopin was still composing, and by the time of Fauré's death, jazz and the atonal music of the Second Viennese School were being heard. The Grove Dictionary of Music and Musicians, which describes him as the most advanced composer of his generation in France, notes that his harmonic and melodic innovations influenced the teaching of harmony for later generations. During the last twenty years of his life, he suffered from increasing deafness. In contrast with the charm of his earlier music, his works from this period are sometimes elusive and withdrawn in character, and at other times turbulent and impassioned.
| 46
|
[
"Gabriel Fauré",
"occupation",
"music teacher"
] |
Gabriel Urbain Fauré (French: [ɡabʁi.ɛl yʁbɛ̃ foʁe]; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style.
Fauré was born into a cultured but not especially musical family. His talent became clear when he was a young boy. At the age of nine, he was sent to the École Niedermeyer music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful in his middle age, holding the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire, he still lacked time for composing; he retreated to the countryside in the summer holidays to concentrate on composition. By his last years, he was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. Outside France, Fauré's music took decades to become widely accepted, except in Britain, where he had many admirers during his lifetime.
Fauré's music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Chopin was still composing, and by the time of Fauré's death, jazz and the atonal music of the Second Viennese School were being heard. The Grove Dictionary of Music and Musicians, which describes him as the most advanced composer of his generation in France, notes that his harmonic and melodic innovations influenced the teaching of harmony for later generations. During the last twenty years of his life, he suffered from increasing deafness. In contrast with the charm of his earlier music, his works from this period are sometimes elusive and withdrawn in character, and at other times turbulent and impassioned.
| 47
|
[
"Gabriel Fauré",
"relative",
"Emmanuel Frémiet"
] |
Middle years
In 1883 Fauré married Marie Fremiet, the daughter of a leading sculptor, Emmanuel Fremiet. Nectoux comments that Marie was "without beauty, wit or a fortune ... narrow and cold", but records that "in spite of everything [Fauré] still felt a tenderness towards her". The marriage was affectionate, but Marie was, in Nectoux's phrase, "a stay-at-home", and she did not share her husband's wish to go out in the evenings, and became resentful of his frequent absences, his dislike of domestic life – "horreur du domicile" – and his love affairs, while she remained at home. Though Fauré valued Marie as a friend and confidante, writing to her often – sometimes daily – when away from home, she did not share his passionate nature, which found fulfilment elsewhere. Fauré and his wife had two sons. The first, born in 1883, Emmanuel Fauré-Fremiet (Marie insisted on combining her family name with Fauré's), became a biologist of international reputation. The second son, Philippe, born in 1889, became a writer; his works included histories, plays, and biographies of his father and grandfather.Contemporary accounts agree that Fauré was extremely attractive to women; in Duchen's phrase, "his conquests were legion in the Paris salons." After a romantic attachment to the singer Emma Bardac from around 1892, followed by another to the composer Adela Maddison, in 1900 Fauré met the pianist Marguerite Hasselmans, the daughter of Alphonse Hasselmans. This led to a relationship which lasted for the rest of Fauré's life. He maintained her in a Paris apartment, and she acted openly as his companion.
| 50
|
[
"Gabriel Fauré",
"occupation",
"organist"
] |
Gabriel Urbain Fauré (French: [ɡabʁi.ɛl yʁbɛ̃ foʁe]; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style.
Fauré was born into a cultured but not especially musical family. His talent became clear when he was a young boy. At the age of nine, he was sent to the École Niedermeyer music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful in his middle age, holding the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire, he still lacked time for composing; he retreated to the countryside in the summer holidays to concentrate on composition. By his last years, he was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. Outside France, Fauré's music took decades to become widely accepted, except in Britain, where he had many admirers during his lifetime.
Fauré's music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Chopin was still composing, and by the time of Fauré's death, jazz and the atonal music of the Second Viennese School were being heard. The Grove Dictionary of Music and Musicians, which describes him as the most advanced composer of his generation in France, notes that his harmonic and melodic innovations influenced the teaching of harmony for later generations. During the last twenty years of his life, he suffered from increasing deafness. In contrast with the charm of his earlier music, his works from this period are sometimes elusive and withdrawn in character, and at other times turbulent and impassioned.
| 52
|
[
"Gabriel Fauré",
"spouse",
"Marie Fauré"
] |
Middle years
In 1883 Fauré married Marie Fremiet, the daughter of a leading sculptor, Emmanuel Fremiet. Nectoux comments that Marie was "without beauty, wit or a fortune ... narrow and cold", but records that "in spite of everything [Fauré] still felt a tenderness towards her". The marriage was affectionate, but Marie was, in Nectoux's phrase, "a stay-at-home", and she did not share her husband's wish to go out in the evenings, and became resentful of his frequent absences, his dislike of domestic life – "horreur du domicile" – and his love affairs, while she remained at home. Though Fauré valued Marie as a friend and confidante, writing to her often – sometimes daily – when away from home, she did not share his passionate nature, which found fulfilment elsewhere. Fauré and his wife had two sons. The first, born in 1883, Emmanuel Fauré-Fremiet (Marie insisted on combining her family name with Fauré's), became a biologist of international reputation. The second son, Philippe, born in 1889, became a writer; his works included histories, plays, and biographies of his father and grandfather.Contemporary accounts agree that Fauré was extremely attractive to women; in Duchen's phrase, "his conquests were legion in the Paris salons." After a romantic attachment to the singer Emma Bardac from around 1892, followed by another to the composer Adela Maddison, in 1900 Fauré met the pianist Marguerite Hasselmans, the daughter of Alphonse Hasselmans. This led to a relationship which lasted for the rest of Fauré's life. He maintained her in a Paris apartment, and she acted openly as his companion.
| 59
|
[
"Gabriel Fauré",
"educated at",
"Niedermeyer school in Paris"
] |
Music
Aaron Copland wrote that although Fauré's works can be divided into the usual "early", "middle" and "late" periods, there is no such radical difference between his first and last manners as is evident with many other composers. Copland found premonitions of late Fauré in even the earliest works, and traces of the early Fauré in the works of his old age: "The themes, harmonies, form, have remained essentially the same, but with each new work they have all become more fresh, more personal, more profound." When Fauré was born, Berlioz and Chopin were still composing; the latter was among Fauré's early influences. In his later years Fauré developed compositional techniques that foreshadowed the atonal music of Schoenberg, and, later still, drew discreetly on the techniques of jazz. Duchen writes that early works such as the Cantique de Jean Racine are in the tradition of French nineteenth-century romanticism, yet his late works are as modern as any of the works of his pupils.Influences on Fauré, particularly in his early work, included not only Chopin but Mozart and Schumann. The authors of The Record Guide (1955), Sackville-West and Shawe-Taylor, wrote that Fauré learnt restraint and beauty of surface from Mozart, tonal freedom and long melodic lines from Chopin, "and from Schumann, the sudden felicities in which his development sections abound, and those codas in which whole movements are briefly but magically illuminated." His work was based on the strong understanding of harmonic structures that he gained at the École Niedermeyer from Niedermeyer's successor Gustave Lefèvre. Lefèvre wrote the book Traité d'harmonie (Paris, 1889), in which he sets out a harmonic theory that differs significantly from the classical theory of Rameau, no longer outlawing certain chords as "dissonant". By using unresolved mild discords and colouristic effects, Fauré anticipated the techniques of Impressionist composers.In contrast with his harmonic and melodic style, which pushed the bounds for his time, Fauré's rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he used discreet syncopations, similar to those found in Brahms's works. Copland referred to him as "the Brahms of France". The music critic Jerry Dubins suggests that Fauré "represents the link between the late German Romanticism of Brahms ... and the French Impressionism of Debussy."To Sackville-West and Shawe-Taylor, Fauré's later works do not display the easy charm of his earlier music: "the luscious romantic harmony which had always been firmly supported by a single tonality, later gave way to a severely monochrome style, full of enharmonic shifts, and creating the impression of several tonal centres simultaneously employed."
| 61
|
[
"Gabriel Fauré",
"award received",
"Commander of the Legion of Honour"
] |
Last years and legacy
In 1920, at the age of 75, Fauré retired from the Conservatoire because of his increasing deafness and frailty. In that year he received the Grand-Croix of the Légion d'honneur, an honour rare for a musician. In 1922 the president of the republic, Alexandre Millerand, led a public tribute to Fauré, a national hommage, described in The Musical Times as "a splendid celebration at the Sorbonne, in which the most illustrious French artists participated, [which] brought him great joy. It was a poignant spectacle, indeed: that of a man present at a concert of his own works and able to hear not a single note. He sat gazing before him pensively, and, in spite of everything, grateful and content."
| 65
|
[
"Gabriel Fauré",
"award received",
"Grand Officer of the Legion of Honour"
] |
Last years and legacy
In 1920, at the age of 75, Fauré retired from the Conservatoire because of his increasing deafness and frailty. In that year he received the Grand-Croix of the Légion d'honneur, an honour rare for a musician. In 1922 the president of the republic, Alexandre Millerand, led a public tribute to Fauré, a national hommage, described in The Musical Times as "a splendid celebration at the Sorbonne, in which the most illustrious French artists participated, [which] brought him great joy. It was a poignant spectacle, indeed: that of a man present at a concert of his own works and able to hear not a single note. He sat gazing before him pensively, and, in spite of everything, grateful and content."
| 66
|
[
"Gabriel Fauré",
"award received",
"Grand Cross of the Legion of Honour"
] |
Last years and legacy
In 1920, at the age of 75, Fauré retired from the Conservatoire because of his increasing deafness and frailty. In that year he received the Grand-Croix of the Légion d'honneur, an honour rare for a musician. In 1922 the president of the republic, Alexandre Millerand, led a public tribute to Fauré, a national hommage, described in The Musical Times as "a splendid celebration at the Sorbonne, in which the most illustrious French artists participated, [which] brought him great joy. It was a poignant spectacle, indeed: that of a man present at a concert of his own works and able to hear not a single note. He sat gazing before him pensively, and, in spite of everything, grateful and content."
| 67
|
[
"Gabriel Fauré",
"father",
"Toussaint Fauré"
] |
Biography
Early years
Fauré was born in Pamiers, Ariège, in the south of France, the fifth son and youngest of six children of Toussaint-Honoré Fauré (1810–85) and Marie-Antoinette-Hélène Lalène-Laprade (1809–87). According to the biographer Jean-Michel Nectoux, the Fauré family dates to the 13th century in that part of France. The family had at one time been substantial landowners, but by the 19th century its means had become reduced. The composer's paternal grandfather, Gabriel, was a butcher whose son became a schoolmaster. In 1829 Fauré's parents married. His mother was the daughter of a minor member of the nobility. He was the only one of the six children to display musical talent; his four brothers pursued careers in journalism, politics, the army and the civil service, and his sister had a traditional life as the wife of a public servant.The young Fauré was sent to live with a foster mother until he was four years old. When his father was appointed director of the École Normale d'Instituteurs, a teacher training college, at Montgauzy, near Foix, in 1849, Fauré returned to live with his family. There was a chapel attached to the school, which Fauré recalled in the last year of his life:
| 68
|
[
"Gabriel Fauré",
"award received",
"Knight of the Legion of Honour"
] |
Last years and legacy
In 1920, at the age of 75, Fauré retired from the Conservatoire because of his increasing deafness and frailty. In that year he received the Grand-Croix of the Légion d'honneur, an honour rare for a musician. In 1922 the president of the republic, Alexandre Millerand, led a public tribute to Fauré, a national hommage, described in The Musical Times as "a splendid celebration at the Sorbonne, in which the most illustrious French artists participated, [which] brought him great joy. It was a poignant spectacle, indeed: that of a man present at a concert of his own works and able to hear not a single note. He sat gazing before him pensively, and, in spite of everything, grateful and content."
| 75
|
[
"François Perroux",
"family name",
"Perroux"
] |
François Perroux (December 19, 1903 in Saint-Romain-en-Gal – June 2, 1987 in Stains) was a French economist. He was named Professor at the Collège de France, after having taught at the University of Lyon (1928 – 1937) and the University of Paris (1935 – 1955). He founded the Institut de Sciences Economiques Appliquées in 1944. He was an outspoken supporter of corporatism.
He was terribly critical of the leading financial and economic policies toward the Third World during the half-century of his career. He said that they took insufficient account of the originality, culture, and concrete situations of the countries concerned, and were too quantitative, too Western in concept, and too centered on the interests of the rich industrialised countries. He counselled the peoples of the Third World to build upon their cultures, their social organisations, and their resources, so as to better the internal coherence of their economies and reduce the effects of domination by the exterior.In the field of Regional Economics, one of his main contribution's was the concept of poles de croissance or 'growth poles'. It implied that Government policies aimed at the regeneration of a specific local region were critically dependent upon the Input-Output linkages associated with the industry. A 'pole de croissance' is an industry, or group of related industries, that have growth rates above the national average and the capacity to generate growth through the impact of strong input-output linkages.
| 39
|
[
"François Perroux",
"place of death",
"Stains"
] |
François Perroux (December 19, 1903 in Saint-Romain-en-Gal – June 2, 1987 in Stains) was a French economist. He was named Professor at the Collège de France, after having taught at the University of Lyon (1928 – 1937) and the University of Paris (1935 – 1955). He founded the Institut de Sciences Economiques Appliquées in 1944. He was an outspoken supporter of corporatism.
He was terribly critical of the leading financial and economic policies toward the Third World during the half-century of his career. He said that they took insufficient account of the originality, culture, and concrete situations of the countries concerned, and were too quantitative, too Western in concept, and too centered on the interests of the rich industrialised countries. He counselled the peoples of the Third World to build upon their cultures, their social organisations, and their resources, so as to better the internal coherence of their economies and reduce the effects of domination by the exterior.In the field of Regional Economics, one of his main contribution's was the concept of poles de croissance or 'growth poles'. It implied that Government policies aimed at the regeneration of a specific local region were critically dependent upon the Input-Output linkages associated with the industry. A 'pole de croissance' is an industry, or group of related industries, that have growth rates above the national average and the capacity to generate growth through the impact of strong input-output linkages.
| 44
|
[
"Wojciech Żywny",
"instance of",
"human"
] |
Wojciech Żywny (Czech: Vojtěch Živný; May 13, 1756 – February 21, 1842) was a Czech-born Polish pianist, violinist, teacher and composer. He was Frédéric Chopin's first professional piano teacher.Life
Żywny was born in Mšeno, Bohemia, and became a pupil of Jan Kuchař. As a youth, during the reign of Stanisław August Poniatowski, he moved to Poland to become the music tutor to the children of Princess Sapieha. He later moved to Warsaw.
He was the first professional piano teacher of Frédéric Chopin, who received lessons from him between 1816 and 1821. Żywny instilled in Chopin a lasting love of Bach and Mozart. Chopin's piano skills soon surpassed those of his respected teacher. In 1821, eleven-year-old Chopin dedicated a Polonaise in A-flat major to Żywny as a name-day gift.
Żywny died in 1842, aged 85, in Warsaw.
| 0
|
[
"Wojciech Żywny",
"sex or gender",
"male"
] |
Wojciech Żywny (Czech: Vojtěch Živný; May 13, 1756 – February 21, 1842) was a Czech-born Polish pianist, violinist, teacher and composer. He was Frédéric Chopin's first professional piano teacher.Life
Żywny was born in Mšeno, Bohemia, and became a pupil of Jan Kuchař. As a youth, during the reign of Stanisław August Poniatowski, he moved to Poland to become the music tutor to the children of Princess Sapieha. He later moved to Warsaw.
He was the first professional piano teacher of Frédéric Chopin, who received lessons from him between 1816 and 1821. Żywny instilled in Chopin a lasting love of Bach and Mozart. Chopin's piano skills soon surpassed those of his respected teacher. In 1821, eleven-year-old Chopin dedicated a Polonaise in A-flat major to Żywny as a name-day gift.
Żywny died in 1842, aged 85, in Warsaw.
| 2
|
[
"Wojciech Żywny",
"student",
"Frédéric Chopin"
] |
Wojciech Żywny (Czech: Vojtěch Živný; May 13, 1756 – February 21, 1842) was a Czech-born Polish pianist, violinist, teacher and composer. He was Frédéric Chopin's first professional piano teacher.Life
Żywny was born in Mšeno, Bohemia, and became a pupil of Jan Kuchař. As a youth, during the reign of Stanisław August Poniatowski, he moved to Poland to become the music tutor to the children of Princess Sapieha. He later moved to Warsaw.
He was the first professional piano teacher of Frédéric Chopin, who received lessons from him between 1816 and 1821. Żywny instilled in Chopin a lasting love of Bach and Mozart. Chopin's piano skills soon surpassed those of his respected teacher. In 1821, eleven-year-old Chopin dedicated a Polonaise in A-flat major to Żywny as a name-day gift.
Żywny died in 1842, aged 85, in Warsaw.
| 3
|
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