THE SYSTEM OF MUSICAL FORMS IN A. REICHA’S TRAITÉ DE HAUTE COMPOSITION MUSICALE

Abstract

The article is devoted to the description and analysis of the components of the system of musical forms in A. Reicha’”Traité de haute composition musicale” (1824-1826). This system includes the main forms used in the musical practice of the time: large binary form (which actually corresponds to the sonata form), large ternary form, rondo, variations, fantasy form, minuet, introduction and prelude. Of great interest are the author’s observations regarding the phenomenon of creativity, meditating on the process of birth of musical ideas, reflecting on their exposure and development .In addition to the theory of musical forms in Part 10 of the Treatise, we find several chapters in which Reicha shares his vision on the current state of European music, but also discusses some issues that have not been addressed previously in similar treatises. These chapters demonstrate the very broad horizon of the author’s interests, his nonconformist attitude to many phenomena, his creative thinking and his relentless pursuit of news that could enrich the arsenal of music expression.

Keywords

• a. reicha
• musical forms
• musical idea