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.
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