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Outil de traduction ~ (Très approximatif) |
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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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