December 01, 2013 <Back to Index>
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Franz (Czech: František) Xaver Richter, known as François Xavier Richter in France (Holleschau, now: Holešov, December 1, 1709 – Strasbourg, September 12, 1789) was an Austro - Moravian singer, violinist, composer, conductor and music theoretician who spent most of his of his life first in Austria and later on in Mannheim and in Strasbourg, where he was music director of the cathedral. From 1783 on Haydn’s favourite pupil Ignaz Pleyel was his deputy at the cathedral. The most traditional of the first generation composers of the so-called Mannheim school,
he was highly regarded in his day as a contrapuntist. As a composer he
was equally at home in the concerto and the strict church style. Mozart heard a mass by Richter on his journey back from Paris to Salzburg in 1778 and called it charmingly written. Richter,
as a contemporary engraving clearly shows, must have been one of the
first conductors to actually have conducted with a music sheet roll in
his hand. Richter wrote chiefly symphonies, concertos for woodwinds, trumpet, chamber and
church music, his masses receiving special praise. He was man of a
transitional period, and his symphonies in a way constitute one of the
missing links between the generation of Bach and Handel and
the Viennese classic. Although sometimes contrapuntal in a learned way,
Richter’s orchestral works nevertheless exhibit considerable drive and
verve and would deserve more and wider performances. Until a few years
ago Richter "survived" with recordings of his trumpet concerto in D
major but recently a number of chamber orchestras and ensembles have
taken many of his pieces, particularly symphonies and concertos, in
their repertoire. Franz Xaver Richter was most probably born in Holleschau in what is now the Czech Republic but was then a town in the Holy Roman Empire,
this, however, is not entirely certain. There is no record of his birth
in the Holleschau church register. In his employment contract with the
Prince Abbot of Kempten it says that he hailed from Bohemia, the musicologist Friedrich Wilhelm Marpurg has Richter being from Hungarian descent and on his Strasbourg death certificate it says: “ex Kratz oriundus”. Although
his whereabouts until 1740 are nowhere documented, it is clear that
Richter got a very thorough training in counterpoint and that this took
place using the influential counterpoint treatise Gradus ad Parnassum by Johann Josef Fux;
Richter may even have been Fux’s pupil in Vienna. Richter’s lifelong
mastery of the strict church style which is particularly evident in his
liturgical works but also shines through in his symphonies and chamber
music, is testimony to his roots in the Austrian and south German
Baroque music. On April, 2 1740 Richter was appointed deputy Kapellmeister (Vize - Kapellmeister) to the Prince - Abbot Anselm von Reichlin - Meldeg of Kempten in Allgäu. Reichlin Meldeg as Prince Abbot presided over the Fürststift Kempten, a large Benedictine Monastery in what is now south - western Bavaria. The monastery certainly would have had a choir and probably a small orchestra (rather a band, as it was called then),
as well, but this must have been a small affair. Richter stayed in
Kempten for six years but it is hard to imagine that a man of his
education and talents would have liked the idea of spending the rest of
his life in this scenically beautiful but otherwise completely
parochial town. Twelve
of Richter's symphonies for strings were published in Paris in the year
1744. In February 1743 Richter married Maria Anna Josepha Moz, who was
probably from Kempten. It is assumed that Richter left Kempten already
before the death of Reichlin - Meldeg in December 1747.
Just
how much Richter must have disliked Kempten can be deduced from the
fact that in 1747 his name appears among the court musicians of the
Prince elector Charles Theodore in
Mannheim – but not as music director or in any other leading function
but as a simple singer (bass). Obviously Richter preferred being one
among many (singers and orchestra combine numbered more than 70
persons) in Mannheim to acting deputy Kapellmeister in a small town
like Kempten. Because of his old fashioned, even reactionary music style Richter was not popular in Mannheim. The title awarded to him in 1768 as Cammercompositeur (chamber composer) seems to have been merely an honorary one. He
was slightly more successful as a composer of sacred music and as music
theoretician. In 1748 the Elector commissioned him to compose an
oratorio for Good Friday, La deposizione dalla croce.
It is sometimes concluded that this oratorio was not a success as there
was only one performance and Richter was never commissioned to write
another one. Richter was also a respected teacher of composition. Between 1761 and 1767 he wrote a treatise on composition (Harmonische Belehrungen oder gründliche Anweisung zu der musikalischen Ton-Kunst oder regulären Komposition), based on Fux's Gradus ad Parnassum –
the only representative of the Mannheim School to do so. The lengthy
work in three tomes is dedicated to Charles Theodore. Among his more
notable pupils were Joseph Martin Kraus, probably Carl Stamitz and Ferdinand Fränzl. After 1768 Richter's name disappears from the lists of court singers. During his Mannheim years Richter made tours to the Oettingen - Wallerstein court in 1754 and later to France, the Netherlands and England where his compositions found a ready market with publishers. It
seems clear from Richter’s compositions that he did not really fit in
at the Mannheim court. Whereas his colleagues at the orchestra were
interested in lively, energetic, homophonic music that focused on
drive, brilliancy and sparkling orchestral effects gained from stock
devices, Richter, rooted in the Austrian Baroque tradition, wrote music
that was in a way reminiscent of Handel and his teacher Fux. Thus, when
in 1769 an opening at Strasbourg's cathedral became known Richter seems
to have applied right away. In April 1769 he succeeded Joseph Garnier as Kapellmeister at Strasbourg Cathedral,
where both his performing and composing activities turned increasingly
to sacred music. He was by then recognized as a leading contrapuntist
and church composer. Johann Sebastian Bach’s first Biographer, composer and musicologist Johann Nikolaus Forkel, wrote about Richter in 1782: In
Strasbourg Richter also had to direct the concerts at the Episcopal
court (today Palais Rohan); in addition to that he was for a time also
in charge of the town concerts which were held at regular intervals.
The main part of Richter’s sacred music was composed during his
Strasbourg years. He was active as a composer until his last year.
During his last years Haydn's favourite pupil Ignaz Pleyel served as
his assistant at the cathedral. In 1787 he visited Munich,
where he met Mozart’s father Leopold, one last time. In Munich he met
most of his former colleagues of the Mannheim court orchestra who by
then had moved to Munich to where the court had been transferred. From 1783 on, and due to Richter's advanced age and declining health, Joseph Haydn's favourite pupil Ignaz Pleyel served as his assistant. He would succeed him at the post after his death. Richter died an octogenarian in the year of the French Revolution,
and this was probably for the better. Thus he did not have to witness
that his deputy Ignaz Pleyel was forced to write hymns to praise the
supreme being and that Jean - Frédéric Edelmann, a gifted composer from Strasbourg, would die under the guillotine in his home town. In 1770 Marie Antoinette, future queen of France, on her way from Vienna to Paris passed through the Alsatian capital, where she stayed at the Episcopal Palace, the Palais Rohan. Richter, who almost certainly directed the church music when Marie Antoinette went to mass the next day,
witnessed the earliest stages of historical events that would later
contribute to the downfall of the French monarchy. The prelate who
greeted Marie Antoinette on the steps of the cathedral, probably in
Richter’s presence, was the same Louis Rohan who would later, duped by a prostitute impersonating Marie Antoinette, trigger the Affair of the Diamond Necklace.
Several historians and writers think that this bizarre episode
undermined the trust of the French in their queen and thus hastened the
onset of the French Revolution. But Richter did not live to see this. What he saw was Strasbourg all dressed up to greet the Dauphiness: Both Wolfgang Amadeus Mozart and his father Leopold knew
Richter. Mozart would have meet him still as a boy on his Family Grand
tour in 1763 when the Mozart family came through Schwetzingen, the
summer residence of the Elector Palatinate. Mozart met him once again
in 1778 on his way back from Paris when he was headed for the unloved
Salzburg after his plans to gain permanent employment in Mannheim or
Paris had come to naught. In a letter to his father, dated November 2,
1778, Mozart seems to suggest that the by then elderly Richter was
something of an alcoholic: However,
Mozart was not one to laud lightly. The epithet “charmingly written”
can be taken at face value and from someone like Mozart this was high
praise indeed. |