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Digipak. Max Richter's soundtrack for the hit HBO show, My Brilliant Friend, a woman's recounting of her lifelong friendship and conflicts with a girl she met at primary school in Naples during the early 1950s.

Franz Xaver Richter' Sonate da camera have many of the same musical characteristics that make his symphonies so distinctive: ingenious part-writing, rich, expressive harmonies and delightfully unexpected melodic twists.

Composed with integrity, mystery, and ambition, the orchestral works of Richter thrive on the emotional and the visceral, conjuring vast and majestic imagery with poetic and dramatic underpinnings. Features performances by the Seattle Symphony Orchestra and Czech Radio Symphony Orchestra, both led by Gerard Schwarz.

Classical Music

When Franz xaver Richter became member of the famous Mannheim Orchestra in 1746, he found himself in the very centre of the progressive European music scene where a new era was being born in a proverbial melting pot of various influences. However, Richter never gave up his traditional baroque ''craftsmanship'' and after making himself acquainted with the most successful oratorio libretto by G.C. Pasquini, he set it to music entirely within the boundaries of his characteristic style, combining baroque composition principles with the achievements of the nascent classicist style. For this he used the new 1744 version of the lbiretto intended fo J.A. Hasse. La Deposizione, Richter's only Italian oratorio is a Good Friday pondering of Jesus's disciples over God's unconditional love and Christ's suffering on the cross. For the first time it was performed on the Good Friday of 1748 in the Mannheim court church of The Visitation of Our Lady. After the Strassbourg Requiem, this premiere recording is another gemstone that the Czech Ensemble Baroque have added to the mosaic of Richter's remarkable, still little-researched oeuvre.

For the 60-year-old Franz Xaver Richter, a composer of Moravian origin living and working in France, the spring of 1769 was a true watershed in his career. When, two years previously, he joined a competition held by Concert Spirituel, a major French music institution, he evidently had in mind being employed as a musician in Paris. The contestants' task was to compose a "motet � grand ch�ur", encompassing a sequence of arias, ensembles and choruses, set to the Latin text of Psalm 136, Super flumina Babylonis. Although Richter failed to win the competition, his work arouse great interest and on 28 March 1769 it premiered within the Concert Spirituel series at the Tuileries Palace, at the largest music venue in Paris at the time. Less than a month later, Richter was appointed the Maitre de Chapelle de Notre Dame de Strasbourg. The motet Super flumina Babylonis undoubtedly played a significant role in his being named to the prestigious post. Over the first years he spent in Strasbourg (1770-73), Richter wrote three settings of Psalm 50, Miserere mei Deus, intended for the night liturgy of Tenebrae, a religious service held during the three days preceding Easter. In addition to Super flumina Babylonis, the present album features the third setting of the Miserere, in F minor, in a premiere recording. In their fourth album of Richter's music, Czech Ensemble Baroque discover the yet to be mapped legacy of the distinguished 18th-century composer.

Also available on Blu-ray

Virginia Woolf defied the false order of narrative conventions to depict a heightened, startling and poignant reality. Woolf Works recreates the synaesthetic collision ofform and substance in her writings. Each of the three acts springs from one of Woolf’s landmark novels: Mrs Dalloway, Orlando and The Waves – but these inspirations are also enmeshed with elements from her letters, essays and diaries. Woolf Works expresses the heart of an artistic life driven to discover a freer, uniquely modern realism, and brings to life Woolf’s world of ‘granite and rainbow’, where human beings are at once both physical body and uncontained essence. Woolf Works (2015) was Wayne McGregor’s first full-length work for The Royal Ballet. "At its creation in 2015, Woolf Works felt like a breakthrough for choreographer Wayne McGregor, adding a new emotional weight to his athletic force and fascination with technology. In this first revival, it’s even stronger, with Alessandra Ferri luminous as the Virginia Woolf figure… It’s a thoughtful, heartfelt performance in a ballet that is both intelligent and tender." (The Independent 4 Stars)‘‘Since its premiere in 2015, Wayne McGregor’s first full-length ballet has won the 2015 Critics’ Circle award for best classical choreography and the 2016 Olivier Award for best new dance production, while its star, the fiftysomething ballerina Alessandra Ferri, has won an Olivier for outstanding achievement in dance. No wonder the Royal Ballet decided to revive Woolf Works as part of the celebrations marking McGregor’s tenth anniversary as resident choreographer." (The Times 4 Stars)

Includes work(s) by Franz Xaver Richter. Ensemble: London Mozart Players. Conductor: Matthias Bamert.

For centuries, scholars, critics, connoisseurs and experts have tended to divide the history of music into clearly defined and distinct epochs: Renaissance, Baroque, Classical, Romantic, etc. However, it is all too easy to forget that none of these eras, regarded as evolutionary leaps in music, were born out of nowhere; indeed, they were mostly the result of more or less long periods of transition. Although we are able to precisely define the specific terms used for labeling these musical eras, the interim phases are difficult to name and concepts such as “late baroque” or “pre-classical” are used. The fate reserved to composers who worked in such periods of transition is that of a late or early birth, given that their music is so difficult to grasp in retrospect. The works on this new release are instrumental pieces from the early Classical period, when the Baroque era was fading away and new ideas were being presented. The Capricornus Consort Basel has been highly praised by critics for their sensible interpretations on their previous recordings of Erlebach, Graupner, and Manfredini.

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 instruments) ? 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

Franz Xaver Richter’s origins are associated with Moravia, but his working life was anything but parochial. Skills acquired in Vienna and Italy raised his employability and saw him engaged in several palaces in Germany in the 1730s and 1740s. He is known to have travelled widely before becoming Kapellmeister of the Notre-Dame Cathedral in Strasbourg, dying just before the French Revolution saw the abolition of those ancient institutions in which he had worked for decades.

The mixture of styles in Richter’s work can be heard throughout this programme, from the Pergolesi-like opening of the Synfonia and use of orchestral sonorities from Mannheim to the operatic virtuosity of his vocal writing. Superb playing from the Czech Ensemble Baroque delivers a purity of sound which is pretty much the ideal for our idea of how this music should have sounded in the 18th century – it would certainly he hard to imagine the composer having much to complain about.

The Synfonia con fuga is assumed to come from Richter’s time in Mannheim, and as a ‘church sinfonia’ in everything but name its inclusion here suits very well indeed. The work is more than just a filler, with its vibrant inventiveness and colourful sequences it goes beyond galant frippery while stopping short of C.P.E. Bach’s striking waywardness.

Both De Profundis and the Messa de Requiem are from Richter’s 20-year tenure in Strasbourg, and both works are highly representative of the opulence possible during one of the most significant periods in the cities history. His church ensemble was at that time the second largest in France, and the richness in sound from these works is very fine indeed. Psalm 129, De Profundis clamavi was commissioned for funeral masses, and the symbolism of its C minor key of mourning, resolving finally into a more hopeful C major in the final Requiem aeternam are just two elements in an impressive and often highly expressive work.

The Messa de Requiem was reportedly composed for the composer’s own funeral, and the booklet notes open with a quote from Christian Friedrich Schubart, describing how Richter passed away with the score in his hand. This may or may not be true, but we can hardly disagree with the claim that it “encapsulates the quintessence of his legacy.” With added trumpets and timpani this is the kind of larger scale requiem which it is not hard to imagine in a line leading towards the grand examples by the likes of Verdi. Set pieces such as the operatic soprano solo Quid sum miser and dramatic Confutatis maledictis of the Dies irae are innovative sounding in this context, and the work’s transitional feel is heightened by their contrast with more antique contrapuntal music which Richter took from Johann Joseph Fux much earlier in his career and held onto throughout.

This is a substantial Requiem, and within its high-Classical idiom has plenty of heartfelt and beautifully poignant moments. The power of the work is rendered with the utmost refinement and musicality by all concerned, with all soloists very strong, and soprano Lenka Cafourková ?uricová deserving of mention as the topping to a very unified and superbly balanced musical cake. Supraphon has made this into nicely presented release, the booklet containing all Latin texts and translations into English, German, French and Czech. If seeking beyond the more familiar choral music of Haydn and Mozart results in unearthing these kinds of glories I for one would welcome digging ever deeper into the archives of the obscure and unpublished.

-- Dominy Clements, MusicWeb International

Creativity, openness to new musical horizons, and zest: such were the personal traits that earned Bohemians the reputation of being the Mediterraneans of Central Europe and enabled them to occupy top positions throughout the European musical world of the eighteenth century. The Mannheim Court occupied the center of this musical universe, and it was there that Franz Xaver Richter, along with Johann Stamitz, rose to prominence and paved the way for Viennese classicism. - Dabringhaus & Grimm

•Franz Xaver Richter (1709-1789), Mannheim master ofcounterpoint and a composer of the most exquisite chamber music and symphonies, receives the posthumous honor of having his seven quartets, op. 5, released for the first time in a completerecording on the SOLO MUSICA label. Two exceptional CDs have been compiled, incooperation with the SWR broadcasting company, featuring the casalQuartett from Zurich.

Franz Xaver Richter actually wrote these symphonies before joining the celebrated group of composers and performers in the Mannheim court orchestra, but they are no less interesting for that. Two of these works (Nos. 10 and 12) follow the "church sonata" format in opening with a slow movement (out of four in total; all of the other symphonies have three). The quick second movement of No. 10 is a fugue, and a very good one, always an indication of the "learned" style. But even the theoretically lighter works are full of melodic and harmonic interest. The minor-key slow movements of Nos. 7 and 8, for example, really are gripping, and in the quick movements Richter strikingly anticipates Classical procedures by writing development sections that really do develop, exhibiting great tonal tension with no loss of coherence.

In short, these works are well worth getting to know, and happily the Helsinki Baroque Orchestra under Aapo Häkkinen plays them stylishly and with plenty of expressive force. The harpsichord continuo sounds a touch dry, but it happily doesn't overwhelm the larger string ensemble as so often happens in music of this period, turning the works into de facto keyboard concertos. Volume 1 in this set of 12 "Grandes Symphonies" already has been released, and it's equally fine, so if you're interested in the history of the classical symphony, and in that fascinating period in which the late Baroque mingled with the nascent style of Gluck (in "reform" mode), Haydn, and Mozart, then you will certainly want to hear this expressively pungent and attractive music.

--David Hurwitz, ClassicsToday.com