RICHTER: String Quartets Nos. 1-3 / MOZART: Bach Transcripti

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F. X. RICHTER String Quartets, op. 5: No. 1 in C; No. 2 in B?; No. 3 in A. MOZART The Well-Tempered Clavier: Fugue arrangements. Canon alla seconda , K 562c ? Rincontro (period ins truments) ? ALPHA 089 (71:29) One of the leading first-generation Mannheim composers, Franz Xaver Richter was born in Moravia on December 1, 1709. During the earlier part of his life, he appears to have traveled extensively, with periods spent in Vienna (where he may have studied under Fux?he was certainly familiar with the Austrian composer?s famous treatise on counterpoint, Gradus ad Parnassum ) and Italy. His first post as a bass singer in the Stuttgart Hofkapelle was succeeded by positions at Schlitz, Ettal, and Kempton (Allgau), where he eventually became Kapellmeister . In 1746, Richter joined the Elector Carl Theodor?s famous musical establishment at Mannheim, again as a bass singer, but the 1750s also found him visiting France, the Netherlands, and England. Despite failing to gain promotion, Richter remained in Mannheim until 1769, when he was appointed maître de chapelle of Strasbourg Cathedral, a post he retained until his death on September 12, 1789. From 1760 until 1767, Richter also wrote his own treatise on counterpoint, Harmonische Belebrungen . Richter?s thorough understanding of contrapuntal techniques played a major role in his compositions, which include both instrumental and sacred vocal works. However, his tendency to old-fashioned Baroque practice was profoundly tempered by his contacts with the more modern style he encountered at Mannheim, particularly that of Johann Stamitz. It is this mixture of the old and the new that is a hallmark of the six string quartets first published in London in 1768, and subsequently as op. 5 in Paris around 1772. It is, however, believed that they were composed some time before, perhaps as early as 1757. If true, this not only gives them chronological precedence over any of Haydn?s quartets, but marks them out as astonishingly forward-looking works that employ motivic development to a degree far in advance of most comparable works from this period. Equally remarkable is Richter?s handling of string-quartet texture and his appreciation of instrumental color. One consistently notes his love of midrange sonority, as evinced by the many passages that highlight the second violin and viola. The handling of the viola is indeed more confident than in any quartets I know before those of Mozart?s maturity, the instrument at times even voice leading, as in the second half of No. 1 (i), and the opening of No. 2 (ii). Both are outstanding works throughout all three movements, which are in binary form that in the first two movements display many of the elements of Classical sonata form, though there is no full recapitulation. At the heart of both are profoundly serious slow movements that inhabit a deeply felt emotional world, that of No. 2 a G-Minor Poco andante based on a theme of infinitely tender sadness that, in the development after the double bar, enters realms of intensity ?too deep for tears.? The fugal movements that end both these quartets testify to Richter?s craftsmanship as a contrapuntist, as do the many imitative passages throughout all three quartets. If the predominantly lyrical A-Major Quartet does not quite aspire to this level?it concludes with a rather conventional Minuet and Trio?the first two movements are also richly rewarding, if less profound. It was something of a stroke of genius to intersperse two of Mozart?s string-quartet arrangements of fugues from the Well-Tempered Clavier , the first the D?-Minor from Book 2, a solemn, austere piece, and the second providing a fine contrast in the shape of the serenely well-ordered E-Major, also from Book 2. Both, along with the tiny four-part canon that closes the program, provide an admirable foil for the Richter quartets, which create a bridge between Bach and Mozart. Here is clear evidence that an era widely believed to have abandoned the complexities of counterpoint had by no means done so. The performances by Rincontro (who appear to have taken their name from the final fugal movement of the C-Major Quartet) are, quite simply, outstandingly rewarding. Led by Pablo Valetti, familiar from his work with Jordi Savall (and elsewhere), the quartet achieves a level consistent with the finest period string quartets, attaining a lyrical warmth and sensitivity that does full justice to Richter?s marvelous quartets, and the Mozart arrangements. The sound is fine, if a little on the edgy side; I found a slightly reduced volume level solved the problem. One can only hope that Rincontro will come up with a second disc including the remaining three quartets. Meanwhile the present disc is urgently recommended to anyone with an interest in the 18th-century quartet repertoire. FANFARE: Brian Robins Show more