published separately or in collections such as the 36 fugues. The exercises are divided into three groups: one for polyrhythm, one for polytonality and one that included exercises written on four staves and so required knowledge of the alto and tenor clefs. (Paris, 1814), on melody, translated into German by Czerny (1818), on composition, translated into German by Czerny (From Chapter 9 of Czerny's Letters to a Young Lady: "My view was only to give you a general idea of Harmony or Thorough Bass; and when you begin the study of it in a regular manner – and I hear with pleasure that you are shortly about to do so, and that your worthy teacher has selected for the purpose the excellent Treatise on Harmony by Reicha...") (2 vols. 1824–1826), translated into German by Czerny around 1835. In this late treatise Reicha expressed some of his most daring ideas, such as the use of quarter tones and folk music (which was almost completely neglected at the time). An article in this treatise deals with the problem of irregular resolution of dissonant chords, formulating a simple law for its successful employment; this article was so innovative and celebrated, that it was published even by itself in the past and in the present, the latest English translation being the one by Lorenzo M. A. Giorgi (A new theory for the resolution of discords, according to the Modern Musical System, 2017). (4 vols., 1833), on the writing of opera. Provides an exhaustive account of contemporary performance techniques and is supplemented with examples from Reicha's own operas. In addition to these, a number of smaller texts by him exist. 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). Notable recordings Complete Wind Quintets (1990). The Albert Schweitzer Quintet. 10 CDs, CPO, 9992502 36 Fugues Op. 36 (1991–1992). Tiny Wirtz (piano). 2 CDs, CPO 999 065-2 Complete Wind Quintets (2005-2012). The Westwood Wind Quintet. 12 CDs, Crystal Records, CD260 36 Fugues (2006). Jaroslav Tůma (fortepiano