557818 bk Richter US 5/9/07 12:58 PM Page 4

Franz Xaver

The orchestral parts and scores of the following works are available from: RICHTER www.artaria.com Sources The sources upon which the editions used in this recording have been made are: Grandes Sinfonia No. 63 in B flat major Sinfonia No. 34 in F major Edited by Allan Badley - Artaria Editions AE111 Edited by Allan Badley - Artaria Editions AE114 (1744) Paris, Bibliothèque Nationale de France: Vm7 1525 Paris, Bibliothèque Nationale de France: Vm7 1525 (Le Clerc edition, 1744) (Le Clerc edition, 1744)

Sinfonia No. 40 in F major Sinfonia No. 36 in F major Nos. 1-6 (Set 1) Edited by Allan Badley - Artaria Editions AE112 Edited by Allan Badley - Artaria Editions AE115 Paris, Bibliothèque Nationale de France: Vm7 1525 Paris, Bibliothèque Nationale de France: Vm7 1525 (Le Clerc edition, 1744) (Le Clerc edition, 1744)

Sinfonia No. 13 in c minor Sinfonia No. 64 in B flat major Edited by Allan Badley - Artaria Editions AE113 Edited by Allan Badley - Artaria Editions AE121 Paris, Bibliothèque Nationale de France: Vm7 1525 Paris, Bibliothèque Nationale de France: Vm7 1525 (Le Clerc edition, 1744) (Le Clerc edition, 1744) Helsinki Baroque Aapo Häkkinen 8.557818 4 557818 bk Richter US 5/9/07 12:58 PM Page 2

Franz Xaver Richter (1709-1789) his tenure as Kapellmeister following Richter’s death in harmonies and unexpected melodic twists. These works Six Grandes Symphonies (1744) 1789 was cut short by the Revolution and its aftermath. all belong to Richter’s pre- period and may Dr Charles Burney considered Richter one of the have played a part in his appointment to the Electoral The name Franz Xaver Richter is one often encountered As a member of the Mannheim Kapelle Richter foremost Mannheim composers even though he court. It is interesting to note that the works themselves in connection with the famous court orchestra at naturally composed a large number of symphonies but consciously eschewed the fashionable style prevalent are very dissimilar in style to those of his younger Mannheim. Although he played an important rôle in the he also produced an important body of sacred music. In there. His early works, with their strong Austrian Viennese contemporary Georg Christoph Wagenseil, musical life of the court as one of its most respected and 1748 he composed an oratorio for Good Friday - La Baroque flavour, found a much warmer reception in who also studied with Fux. While Wagenseil’s prolific composers, Richter did not embrace uncritically deposizione dalla croce - at the invitation of the Elector. musically conservative centres such as London and symphonies embrace the new galant style with few the new and influential style of orchestral writing Coming as it did in the first year of Richter’s Berlin than in the south of Germany. His instrumental reservations, Richter’s works remain firmly rooted in pioneered by the orchestra’s famous music director, appointment, this invitation may indicate that Carl counterpoint, both in the strict fugal style and also in its the Baroque tradition while giving just a hint from time . His works are far richer harmonically Theodor engaged him to strengthen this particular area freer forms, was much admired in his day and is often to time that he was aware of the great stylistic ferment than those of his colleagues and exhibit a high level of of music at court rather than as yet another composer of deployed with great skill to enliven otherwise around him. musical craftsmanship. In some respects Richter was a symphonies for his burgeoning orchestra. Richter was predominantly homophonic movements. Burney felt If the Mannheim style came to be typified by the conservative and even reactionary figure but his later also active as a teacher and between 1761 and 1767 he that he occasionally weakened his melodic lines by symphonies of Johann Stamitz, Carl Toeschi, Anton works, and especially those written for the church, wrote a composition method, based on Fux’s Gradus ad over-use of the sequence but praised his inventive if Filtz and others, Richter’s works were certainly not possess a level of technical finish and expressive power Parnassum, which he dedicated to Carl Theodor. conservative approach to thematic construction. without their admirers. The harmonic complexity and which elevates them far above the routine productions Among his most important pupils were H.J. Riegel, Carl The Six Grandes Symphonies were composed ca contrapuntal ingenuity of the symphonies of Stamitz’s of most of his contemporaries. Stamitz, Ferdinand Fränzl and the exceptional Joseph 1740 and published in Paris by Duter, Boivin and Le pupil Franz Beck owe a far greater stylistic debt to those Richter’s origins are uncertain beyond the fact that Martin Kraus. In 1768 Richter was appointed a court Clerc in 1744 as the first of a set of twelve symphonies of Richter than to his teacher’s works. It might also be he is known to have been of Moravian-Bohemian chamber composer and thereafter his name disappears issued in two groups of six. The hallmarks of Richter’s argued that the origins of Kraus’s highly concentrated descent and may have been born in Holleschau. There is from the list of court singers. mature style are already evident in these works. Fast and intense style can also be found in the works of Franz no record of his birth there in the church archives and Richter made tours to the Oettingen-Wallerstein movements have a driving intensity and owe much of Xaver Richter. little or nothing is known about his early education and court in 1754 and later to France, the Netherlands and their power to the frequent employment of contrapuntal musical training. The accomplished technique Richter England where his compositions found a ready market devices, while slow movements are rich in expressive Allan Badley displays in all of his works is evidence of a thorough with publishers. These tours were undertaken in part professional training. It is believed that he was taught in because Richter was becoming increasingly displeased Vienna by the Imperial Kapellmeister Johann Joseph with the preoccupation with fashionable virtuosity at Helsinki Baroque Orchestra Fux, a prolific composer and author of the influential Mannheim. It was clear to him that even gifted counterpoint treatise Gradus ad Parnassum. composers like Johann Stamitz were falling into an easy Founded in 1997, the Helsinki Baroque Orchestra is a fresh and youthful ensemble In April 1740 Richter was appointed vice- over-reliance on stock devices and musical effects. offering audiences a chance to enjoy early music performed with enthusiasm and Kapellmeister to the Prince-Abbot Anselm von Nonetheless, he remained in Mannheim until April 1769 originality. The use of period instruments is a part of the orchestra’s attempt to Reichlin-Meldegg in Kempten, Allgäu, where he when he succeeded Joseph Garnier as Kapellmeister at discover new perspectives on the performance of old masterworks in a way that probably remained for the next five or six years. By Cathedral. communicates with the audience. 1747, however, his name appears among the court During the remaining twenty years of his life Aapo Häkkinen became Artistic Director of the Helsinki Baroque Orchestra in musicians of the Elector Palatine Carl Theodor in Richter’s professional activities turned increasingly to 2003. Recent engagements have included appearances at the London Wigmore Hall, Mannheim. Although Marpurg (1756) listed him as a sacred music. These years saw the composition of some and at the Brezice, Bruges, Dresden, Helsinki, Stockholm, Varna, and Zagreb second violinist in the court orchestra, there are no other exceptional works which for the moment remain festivals. The Helsinki Baroque Orchestra regularly works with international contemporary references to Richter as an virtually unknown. In the mid-1780s – the exact date is soloists such as Enrico Baiano, Patrick Gallois, Monica Groop, Erich Höbarth, instrumentalist. He was by profession a singer and unknown – , Haydn’s former pupil and now Sirkka-Liisa Kaakinen, María Cristina Kiehr, Anu Komsi, Manfredo Kraemer, Topi contemporary descriptions of him as a virtuoso di one of the most popular and successful composers in Lehtipuu, Riccardo Minasi, Enrico Onofri, Susanne Rydén, and Skip Sempé. camera presumably refer to this rather than any Europe, was appointed Richter’s deputy. Pleyel’s years Photo by additional duties he may have undertaken as a violinist. in Strasbourg were the most productive of his career but Studio Heikki Tuuli www.hebo.fi

8.557818 23 8.557818 557818 bk Richter US 5/9/07 12:58 PM Page 2

Franz Xaver Richter (1709-1789) his tenure as Kapellmeister following Richter’s death in harmonies and unexpected melodic twists. These works Six Grandes Symphonies (1744) 1789 was cut short by the Revolution and its aftermath. all belong to Richter’s pre-Mannheim period and may Dr Charles Burney considered Richter one of the have played a part in his appointment to the Electoral The name Franz Xaver Richter is one often encountered As a member of the Mannheim Kapelle Richter foremost Mannheim composers even though he court. It is interesting to note that the works themselves in connection with the famous court orchestra at naturally composed a large number of symphonies but consciously eschewed the fashionable style prevalent are very dissimilar in style to those of his younger Mannheim. Although he played an important rôle in the he also produced an important body of sacred music. In there. His early works, with their strong Austrian Viennese contemporary Georg Christoph Wagenseil, musical life of the court as one of its most respected and 1748 he composed an oratorio for Good Friday - La Baroque flavour, found a much warmer reception in who also studied with Fux. While Wagenseil’s prolific composers, Richter did not embrace uncritically deposizione dalla croce - at the invitation of the Elector. musically conservative centres such as London and symphonies embrace the new galant style with few the new and influential style of orchestral writing Coming as it did in the first year of Richter’s Berlin than in the south of Germany. His instrumental reservations, Richter’s works remain firmly rooted in pioneered by the orchestra’s famous music director, appointment, this invitation may indicate that Carl counterpoint, both in the strict fugal style and also in its the Baroque tradition while giving just a hint from time Johann Stamitz. His works are far richer harmonically Theodor engaged him to strengthen this particular area freer forms, was much admired in his day and is often to time that he was aware of the great stylistic ferment than those of his colleagues and exhibit a high level of of music at court rather than as yet another composer of deployed with great skill to enliven otherwise around him. musical craftsmanship. In some respects Richter was a symphonies for his burgeoning orchestra. Richter was predominantly homophonic movements. Burney felt If the Mannheim style came to be typified by the conservative and even reactionary figure but his later also active as a teacher and between 1761 and 1767 he that he occasionally weakened his melodic lines by symphonies of Johann Stamitz, Carl Toeschi, Anton works, and especially those written for the church, wrote a composition method, based on Fux’s Gradus ad over-use of the sequence but praised his inventive if Filtz and others, Richter’s works were certainly not possess a level of technical finish and expressive power Parnassum, which he dedicated to Carl Theodor. conservative approach to thematic construction. without their admirers. The harmonic complexity and which elevates them far above the routine productions Among his most important pupils were H.J. Riegel, Carl The Six Grandes Symphonies were composed ca contrapuntal ingenuity of the symphonies of Stamitz’s of most of his contemporaries. Stamitz, Ferdinand Fränzl and the exceptional Joseph 1740 and published in Paris by Duter, Boivin and Le pupil Franz Beck owe a far greater stylistic debt to those Richter’s origins are uncertain beyond the fact that Martin Kraus. In 1768 Richter was appointed a court Clerc in 1744 as the first of a set of twelve symphonies of Richter than to his teacher’s works. It might also be he is known to have been of Moravian-Bohemian chamber composer and thereafter his name disappears issued in two groups of six. The hallmarks of Richter’s argued that the origins of Kraus’s highly concentrated descent and may have been born in Holleschau. There is from the list of court singers. mature style are already evident in these works. Fast and intense style can also be found in the works of Franz no record of his birth there in the church archives and Richter made tours to the Oettingen-Wallerstein movements have a driving intensity and owe much of Xaver Richter. little or nothing is known about his early education and court in 1754 and later to France, the Netherlands and their power to the frequent employment of contrapuntal musical training. The accomplished technique Richter England where his compositions found a ready market devices, while slow movements are rich in expressive Allan Badley displays in all of his works is evidence of a thorough with publishers. These tours were undertaken in part professional training. It is believed that he was taught in because Richter was becoming increasingly displeased Vienna by the Imperial Kapellmeister Johann Joseph with the preoccupation with fashionable virtuosity at Helsinki Baroque Orchestra Fux, a prolific composer and author of the influential Mannheim. It was clear to him that even gifted counterpoint treatise Gradus ad Parnassum. composers like Johann Stamitz were falling into an easy Founded in 1997, the Helsinki Baroque Orchestra is a fresh and youthful ensemble In April 1740 Richter was appointed vice- over-reliance on stock devices and musical effects. offering audiences a chance to enjoy early music performed with enthusiasm and Kapellmeister to the Prince-Abbot Anselm von Nonetheless, he remained in Mannheim until April 1769 originality. The use of period instruments is a part of the orchestra’s attempt to Reichlin-Meldegg in Kempten, Allgäu, where he when he succeeded Joseph Garnier as Kapellmeister at discover new perspectives on the performance of old masterworks in a way that probably remained for the next five or six years. By . communicates with the audience. 1747, however, his name appears among the court During the remaining twenty years of his life Aapo Häkkinen became Artistic Director of the Helsinki Baroque Orchestra in musicians of the Elector Palatine Carl Theodor in Richter’s professional activities turned increasingly to 2003. Recent engagements have included appearances at the London Wigmore Hall, Mannheim. Although Marpurg (1756) listed him as a sacred music. These years saw the composition of some and at the Brezice, Bruges, Dresden, Helsinki, Stockholm, Varna, and Zagreb second violinist in the court orchestra, there are no other exceptional works which for the moment remain festivals. The Helsinki Baroque Orchestra regularly works with international contemporary references to Richter as an virtually unknown. In the mid-1780s – the exact date is soloists such as Enrico Baiano, Patrick Gallois, Monica Groop, Erich Höbarth, instrumentalist. He was by profession a singer and unknown – Ignaz Pleyel, Haydn’s former pupil and now Sirkka-Liisa Kaakinen, María Cristina Kiehr, Anu Komsi, Manfredo Kraemer, Topi contemporary descriptions of him as a virtuoso di one of the most popular and successful composers in Lehtipuu, Riccardo Minasi, Enrico Onofri, Susanne Rydén, and Skip Sempé. camera presumably refer to this rather than any Europe, was appointed Richter’s deputy. Pleyel’s years Photo by additional duties he may have undertaken as a violinist. in Strasbourg were the most productive of his career but Studio Heikki Tuuli www.hebo.fi

8.557818 23 8.557818 557818 bk Richter US 5/9/07 12:58 PM Page 4

Franz Xaver

The orchestral parts and scores of the following works are available from: RICHTER www.artaria.com Sources The sources upon which the editions used in this recording have been made are: Grandes Sinfonia No. 63 in B flat major Sinfonia No. 34 in F major Edited by Allan Badley - Artaria Editions AE111 Edited by Allan Badley - Artaria Editions AE114 Symphonies (1744) Paris, Bibliothèque Nationale de France: Vm7 1525 Paris, Bibliothèque Nationale de France: Vm7 1525 (Le Clerc edition, 1744) (Le Clerc edition, 1744)

Sinfonia No. 40 in F major Sinfonia No. 36 in F major Nos. 1-6 (Set 1) Edited by Allan Badley - Artaria Editions AE112 Edited by Allan Badley - Artaria Editions AE115 Paris, Bibliothèque Nationale de France: Vm7 1525 Paris, Bibliothèque Nationale de France: Vm7 1525 (Le Clerc edition, 1744) (Le Clerc edition, 1744)

Sinfonia No. 13 in c minor Sinfonia No. 64 in B flat major Edited by Allan Badley - Artaria Editions AE113 Edited by Allan Badley - Artaria Editions AE121 Paris, Bibliothèque Nationale de France: Vm7 1525 Paris, Bibliothèque Nationale de France: Vm7 1525 (Le Clerc edition, 1744) (Le Clerc edition, 1744) Helsinki Baroque Orchestra Aapo Häkkinen 8.557818 4 NAXOS NAXOS The hallmarks of Franz Xaver Richter’s mature style are already evident in the Six Grandes Symphonies published in 1744, several years before he joined the celebrated musical establishment at the Mannheim court. The fast movements possess a driving intensity which owes much of its power to the frequent employment of contrapuntal devices, while the slow movements are rich in expressive harmonies and unexpected melodic twists. These symphonies 8.557818 are the first of a set of twelve, originally published in Paris in two groups of six. RICHTER: DDD RICHTER: Franz Xaver Playing Time RICHTER 73:26 (1709-1789) Six Grandes Symphonies, Set One Six Grandes Symphonies (1744) Six Grandes Symphonies, Set One Sinfonia I in B flat major Sinfonia IV in F major (No. 34) 12:29 (No. 63) 12:57 0 Allegro 4:38 1 Allegro assai 6:03 ! Andante 5:46 2 Andante 3:45 @ Presto 2:05 3 Presto 3:09 Sinfonia V in F major (No. 36) 13:42

Sinfonia II in F major (No. 40) 9:32 # Allegro ma non molto 5:31 www.naxos.com Made in Canada Booklet notes in English

4 Allegro 4:51 $ Andante 4:56 &

5 Larghetto 1:24 % Presto 3:14 6 Alla breve 3:17 Sinfonia VI in B flat major 2007 Naxos Rights International Ltd. Sinfonia III in C minor (No. 64) 13:08 (No. 13) 11:38 ^ Adagio 2:21 7 Spiritoso 4:43 & Fuga. Allegro ma non presto 3:25 8 Andante e piano 4:22 * Andante 5:37 9 Tempo di Menuet 2:33 ( Tempo di Menuet 1:44 Helsinki Baroque Orchestra • Aapo Häkkinen 8.557818 8.557818 Recorded at Olari Church, Espoo, Finland, from 26th to 28th October, 2005 Producer and engineer: Sean Lewis • Publisher: Artaria Editions • Booklet notes: Allan Badley Cover picture: Place Gutenberg, Strasbourg by George Jones (1786-1869) (Musée de la Ville de Strasbourg, France; photo © Held Collection / The Bridgeman Art Library)