Due to Reicha's own attitude towards publishing his music, he fell into obscurity immediately after his death ; his life and work remain poorly studied.

Reicha's move to Vienna marked the beginning of a more productive and successful period in the composer's life.

Reicha's personal life also improved: he got married in 1818 to Virginie Enaust.

Much of Reicha's music remained unpublished and / or unperformed during the composer's life, and virtually all of his work fell into obscurity after his death.

Contains numerous errors, but is richly informative on many aspects of Reicha's life ; see Hoyt ( 1993 ) above.

Reicha's output during his Vienna years included large semi-didactic cycles of works such as 36 Fugues for piano ( which explored Reicha's " new method of fugal writing "), L ' art de varier ( a set of 57 variations on an original theme ), and exercises for the treatise Practische Beispiele.

This time three of Reicha's many operas were produced, and all failed to attract attention ; nevertheless, his fame as theorist and teacher increased steadily, and by 1817 most of his pupils became professors at the Conservatoire de Paris.

It is difficult to present a coherent list of Reicha's works, because the opus numbers assigned to them at the time of publication are in disarray, some pieces were supposedly lost, and many works were published several times, sometimes as part of larger collections.

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.

These include an outline of Reicha's system for writing fugues, Über das neue Fugensystem ( published as a foreword to the 1805 edition of 36 fugues ), Sur la musique comme art purement sentimental ( before 1814, literally " On music as a purely emotional art "), Petit traité d ’ harmonie pratique à 2 parties ( c. 1814, a short " practical treatise " on harmony ), a number of articles and the poem An Joseph Haydn, published in the preface to 36 fugues ( which were dedicated to Haydn ).

Each composition is preceded by Reicha's comments for young composers who choose to study the work.

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.

This is partly explained by Reicha's own decisions which he reflects 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.

Other examples of sicilianas are featured in the last movement of Carl Maria von Weber's Violin Sonata No. 5 and the second movement of Anton Reicha's Clarinet Quintet in F major, Op.

It was Anton Reicha's twenty-four quintets, begun in 1811, and the nine quintets of Franz Danzi that established the genre, and their pieces are still standards of the repertoire.

Apparently Reicha's mother was not interested in her son's education, and so in 1780 Reicha ran away from home following a sudden impulse – as is recounted in his memoirs, he jumped onto a passing carriage.

" In 1801 Reicha's opera L ' ouragan, which failed in Paris, was performed at the palace of Prince Joseph Franz Maximilian Lobkowicz, Beethoven's patron.

Reicha's 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.

Anton Reicha's gravestone at Père Lachaise Cemetery | Père Lachaise, Paris.

Reicha's ideas expressed in the former work sparked some controversy at the Conservatoire.

In 1826 Franz Liszt, Hector Berlioz, and Henri Cohen became Reicha's students, Charles Gounod followed some time later.

Reicha's surviving oeuvre covers a vast array of genres and forms, from opera to piano fugues.

Indeed, Reicha's experiences as a flautist must have helped in the creation of these pieces, in which he systematically explored the possibilities of the wind ensemble and invented an extended sonata form that could accommodate as many as five principal themes.

Musically, the wind quintets represent a more conservative trend in Reicha's oeuvre when compared to his earlier work, namely the compositions of the Viennese period.

Technical wizardry also prevails in compositions that illustrate Reicha's theoretical treatise Practische Beispiele of 1803, where techniques such as bitonality and polyrhythm are explored in extremely difficult sight reading exercises.

36 fugues for piano, published in 1803, was conceived as an illustration of Reicha's neue Fugensystem, a new system for composing fugues.

Many of Reicha's string quartets are similarly searching, and too foreshadow numerous later developments.

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