Friend of Beethoven and teacher of Berlioz and Liszt, the composer, theorist and pedagogue Antoine Reicha (1770-1836) was in his time known chiefly for the iconoclastic theoretical treatises informed by his mathematical and philosophical studies. His wind quintets have earned a permanent place in the repertoire, but now Serbian-American pianist Ivan Ilić, who himself possesses a degree in mathematics, looks set to expand our understanding of Reicha the composer by embarking on a survey of his works for solo piano.

Performing from modern editions edited by musicologist Michael Bulley, in his first volume Ilić presents previously unpublished and unrecorded pieces giving some idea of Reicha’s ability to convincingly translate theory into practice. More importantly, these works are highly attractive, combining a sparkling Viennese classicism with a penchant for daring modulations and other compositional procedures.

If the improvisatory Fantasies and Capriccio from 1803’s Praktische Beispiele are more obviously didactic than the Grande Sonate and Sonata on a Theme of Mozart (both c1805), all are imbued with a sense of freedom and adventure anchored by sound theoretical principles. This dual quality Ilić captures to perfection, his impeccable technique and thoughtful musicianship made to serve the profound lyricism and philosophical notions inherent in this wonderful, eminently accessible music.