Franz Xaver Richter (1709-1789)
Sinfonia con fuga in G minor (BoeR, ca. 1760)
Symphony in B flat major (BoeR deest, ca. 1750)
Symphony in D minor, op. 3 No. 4
Symphony in G major, Op. 4 No. 6
L’Orfeo Barockorchester/Michi Gaigg
rec. 2022, Minorenkloster Wels, Austria
cpo 555 517-2 [58]
Franz Xaver Richter lived and worked in Austria and Germany, becoming an early representative of the so-called Mannheim school and a pioneer of conducting. One engraving shows him waving a roll of sheet music with an irritable look on his face. Richter was known to Mozart and his father Leopold, and was a respected teacher of composition. He wrote church and chamber music, but was also renowned for his concertos and symphonies. His published work found a market abroad but was increasingly regarded as old-fashioned at home as the Mannheim court style moved beyond counterpoint into spectacle and homophony.
This collection of symphonies opens impressively with the Sinfonia con fuga in G minor. It has the kind of opening bars that make the start of Pergolesi’s Stabat Mater so compelling. Indeed, this work seems to have such close connections with an earlier oratorio that Olaf Krone in his booklet notes considers it as possibly being “a preliminary form – or the first premonition – of a ‘symphonic poem of a spiritual nature.’” Whatever its origins or intent, this is a remarkable piece. Its expressive central Andante is followed by an energetic final Presto with all kinds of harmonic adventures going on, pepped up by some punchy horn playing.
The Symphony in B flat major is, in contrast to the intensity of the previous work, a rousingly cheerful piece from the start. If Vivaldi has composed drunk then one suspects the results might be comparable to the energy and high spirits of the opening Allegro assai. It is filled with jokes that would have been hilarious in their day and are still as recognisable as a clown’s big shoes if you have an ear for someone determined to take a good-natured poke at the safe nest of 18th century refinement. The final movement titled La confusione appears to be written in two time signatures at once, “a musical muddle” indeed, but resulting in a movement which is just great all-round fun.
The last two symphonies are representative of Richter’s combination of developing Mannheim orchestral techniques with his own affection for polyphony. The Symphony in D minor frames a lyrical, almost pastoral central Andante with two outer movements striking for their hard-hitting tempestuousness. Contrasts of dynamic are a strong feature here, and Richter clearly revels in the virtuoso character of the orchestra at his disposal, the court band of Prince elector Carl Theodor in Mannheim. The Symphony in G major goes even further in this regard, with fashionable “emphatic fortissimo chords” in the opening movement, the end of which has a surprise transition towards but not entirely meeting an urbane central Andantino. The final movement sees that aforementioned meeting of counterpoint and Mannheim modernity with a Fuga: Rincontro filled with drive and energy, in which today’s ears can ignore any of those ‘old-fashioned’ aspects and just marvel at Richter’s confident fusion of styles.
The booklet notes refer to a remark Mozart made with regard to Ignaz Holzbauer: “… one cannot believe the fire in this music”. The statement is equally relevant to the symphonies recorded here. Played with passion and full commitment in a superbly produced recording, this excellent release sets a high standard for these kinds of works. Richter’s symphonies have received attention before in recordings such as the Chandos label’s ‘Contemporaries of Mozart’ series (review). Naxos has a pair of excellent discs: the Helsinki Baroque Orchestra directed by Aapo Häkkinen with the Six Grandes Symphonies (Sets 1 and 2). So, there are other corners of the catalogue to explore. I have appreciated Michi Gaigg and L’Orfeo Barockorchester before in French baroque repertoire (review). Let’s hope they do more of this early classical stuff as well. It’s a winner!
Dominy Clements
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