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  41:1 (09-10 /2017)
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SU42042



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Reviewer: Bertil van Boer

 

It is known that Franz Xaver Richter composed a ton of church music, much of which is only now beginning to become known. This should not surprise anyone, for he spent the final two decades of his life as the Kapellmeister at the Strasbourg cathedral, where his main output were Masses and motets. Mozart even visited him there, noting that he couldn’t believe that someone that old could compose with such “fire.” (He also noted that Richter absolutely loved his wine, but was forced to economize down to a bottle a day.) From someone as critical as the young Mozart, this is about as close to high praise as one might wish, but today he is mainly known as one of the major figures in the development of the Classical symphony, having written almost 90 of them. Here, there is a dichotomy, for these were sniffed at by Charles Burney, who like some of the ideas but claimed that they became “dry as dust” when viewed in context. Although known mainly for his instrumental music, Richter spent a large portion of his career as a singer and composer of sacred works, much of which has survived at his last posting in Strasbourg. Apart from a smattering of these, most still await resurrection from the cathedral archives. As someone who has pawed through them, I believe this will eventually be a treasure trove that will validate Mozart’s opinion of his music, especially from towards the end of his life.
 

The oratorio here is one of those “lost” works that have had some mystery attached to them. The text itself was originally intended for Johann Joseph Fux and the Imperial Kapelle in Vienna, but given the need to imitate the capital, it began travelling beyond its premiere in 1728, being set by a number of other composers. For example, Saxon court Kapellmeister Johann Adolf Hasse composed it in 1744 in Dresden in a revision done by the author himself, Giovanni Pasquini. Other composers took advantage of this revision, including Richter, who wrote his version for Mannheim four years later. How it made its way to Thuringia is not known, but in the 20th century it was presumed lost during the war, but surfaced in the Staatsarchiv in Meiningen, where it was all but inaccessible until the unification of Germany. I know personally several musicologists who expressed despair about its loss and then frustration when they could not access what had to be a major work during that time (I was able to obtain a microfilm of it then, but that is a longer tale that can be recounted here.) Finally, after so many years, this major work by Richter has finally appeared.
 

The plot is simple. In keeping with the oratorios of the period, the characterization reflects those gathered around the cross to witness the crucifixion. Mary Magdalene (soprano) and John (presumably the Apostle, countertenor) both lament Christ’s death, with the former noting how he relieved her of sin and the latter urging her to have the body given over to Joseph of Arimathea (tenor) for burial. Nicodemus (soprano, originally castrato), Simon (countertenor), and Joseph all discuss how Christ was ill-treated in Zion, with future catastrophic results to come throughout the ages. Part One ends as they lower the body with graphic descriptions of his wounds. Part II is more of a sermon on the meaning and consequences of Christ’s sacrifice. Not much of a plot, one might imagine, but enough so that it evokes both contemplation and descriptive language that supports the music.
 

For Richter, it may have been the perfect vehicle to write a powerful and emotional score. From the three-movement C-Minor Sinfonia, with its close suspensions in the final movement, to the solemn opening chorus with its gnarly counterpoint (but no fugue), his part writing is carefully constructed, with good orchestral accompaniment and definitive punctuations dividing the suspensive episodes. As is usual in the case of such works, it mirrors the Italian structure of a series of recitatives and arias, with the chorus (mainly the principals) entering in only at the finales of each part. The arias themselves range from reflective to emotional. For example, the aria for Nicodemus (“Colle torri diroccate”) depicts the derelict ramparts in a series of sequences spread out over motives, like building blocks of an edifice. The coloratura would not be out of place in opera seria, however. John’s “Restò cieca di core” from the second part is emotional and powerful, with full dissonant chords and very close suspensions that outline the shackles of the Egyptian bondage and hardened hearts of the people who condoned the crucifixion. The restless ostinato foundation is implacable, while the minor key lyrical line is half mournful and half defiant. In the key of F Minor, it uses the close harmonies to good effect. The finales are also well composed, with the last (“Nulla siam fuora”) opening with dynamic unisons before a rising set of suspensions, all of which define the fading of mortal life and its replacement with glory. There is even a fugato section, which Richter usually avoids in such secularized work, and a final flourish with imitation winds up this extended chorus.

While the oratorio would not present difficulties to those imbued with the spirit of the opera seria, the constant counterpoint, sometimes brilliant and tortuous coloratura, and the use of varying moods requires intense concentration in performance. Fortunately, the Czech Baroque Ensemble and chorus all rise to the occasion in fine fashion. All of the singers (and I am omitting the names here to avoid the inevitable diacriticals) have distinct and precise voices, handling the coloratura with a steady and efficient ease. The ensemble itself, particularly in the work of the oboes which have some rather feisty parts, is in tune and sensitive to the various tempos and flexibility required of the score. In short, this is an excellent production of a long-awaited recovery of a major work. It was well worth the wait.
 


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