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Antonin Rejcha (1770, Prague – 1836 Paris) was a respected professor of counterpoint and fugal technique at Paris Conservatory, and an author of pedagogical works which even Bedrich Smetana and Fryderyk Chopin studied. He wrote wind quintets, piano fugues, overtures and symphonies It wasn’t until the late 20th century that the discovery of his manuscripts in the Bibliotheque Nationale in Paris revealed that he was also a composer of large works for choir and orchestra One such discovery was Rejcha’s Missa pro defunctis – Requiem, written in Vienna, where Rejcha lived from 1802 to 1808 before settling down in Paris The piece displays the characteristic marks of Rejcha’s compositional style: chromaticism, a rich modulation scheme, colorful instrumentation and a sensitive musical expression of the meaning of the Latin text. Antonin Rejcha’s Requiem – a new perspective on the composer’s work. Reviews F.P. Messmer in FonoForum 4/91: “An important new discovery new discovery: Reicha’s Requiem shows an mozart and Beethoven a contrary musical language language compared to Mozart and Beethoven, fascinates fascinated by its soft, flowing sonority and its deep and by its deep melancholy. The musicians offer a sensitive and Musicians offer a sensitive and committed interpretation interpretation. …an important listening experience experience.” |