Tarantelle for piccolo and piano, Op. 3

Matthieu Andre Reichert (1830–1880) was a Belgian virtuoso flutist and composer who is historically significant for his dual impact on European technical standards and the development of Brazilian national music.
Born in Maastricht, Netherlands, into a family of nomadic Belgian musicians who traveled throughout the Low Countries and cities like Maastricht, Brussels, and Antwerp during the early 19th century. The father was a traveling performer who played in local cafes and bars to earn a living, and the young Matthieu Andre performed alongside his father in these venues. It was during one of these cafe performances in 1844 that Reichert's prodigious talent was noticed by the flutist Jules Demeur, who subsequently brought him to the attention of François-Joseph Fétis at the Brussels Conservatory. Admitted in 1844, his studies were nearly derailed by a "penchant for self-indulgent behavior" and a struggle with alcoholism. To instill discipline, his mentors secured him a military position in the Belgian Army until he gained control over his lifestyle.
Upon returning to his studies, he won the Conservatory’s First Prize at age 17 in 1847, and was praised as one of the most extraordinary flutists of the century.
In 1859, while performing in Paris, Reichert was hired by Emperor Dom Pedro II as part of a group of European virtuosi intended to modernize the Brazilian cultural scene. Thus, he became the principal flute at the Teatro Lyrico Fluminense in Rio de Janeiro.
Reichert is uniquely credited as a founding pillar of the Brazilian flute school. He befriended the local flutist Joaquim Callado, the "father of Choro". Reichert’s European "Bel Canto" phrasing and advanced technique—specifically his introduction of the Boehm system flute, fused with Brazilian syncopated rhythms, helped to birth the Choro genre. Choro (Portuguese for "cry" or "lament") is the first genuinely Brazilian urban popular music genre, which emerged from a fusion of European dance forms, such as the polka, waltz, and schottische, with Afro-Brazilian rhythms like the lundu.
Stylistically, his music is known for "two-flute" effects created by rapid registral leaps and a blend of European variations with South American genres like the Habanera.
His works, such as the 7 Daily Exercises, Op. 5, remain pedagogical staples.