Franz Xaver Richter

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.

1 Biography

1.1 17091739 Origins and education

Franz Xaver Richter conducting

Franz (Czech: Frantiek) Xaver Richter, known as

Franois Xavier Richter in France[1] (December 1, 1709
September 12, 1789) was an Austro-Moravian[2] singer,
violinist, composer, conductor and music theoretician
who spent most of his life rst in Austria and later in Holeov (modern view)
Mannheim and in Strasbourg, where he was music di-
rector of the cathedral. From 1783 on Haydns favourite Franz Xaver Richter was probably born in Holleschau,
pupil Ignaz Pleyel was his deputy at the cathedral.
now Holeov),[5] Moravia (then part of Habsburg Monar-
The most traditional of the rst generation composers of chy, now the Czech Republic), although this is not en-
the so-called Mannheim school, he was highly regarded in tirely certain. There is no record of his birth in the
his day as a contrapuntist. As a composer he was equally Holleschau church register. In his employment con-
at home in the concerto and the strict church style.[3] tract with the Prince Abbot of Kempten it says that he
Mozart heard a mass by Richter on his journey back hailed from Bohemia, the musicologist Friedrich Wil-
from Paris to Salzburg in 1778 and called it charmingly helm Marpurg has Richter being from Hungarian descent
written.[4] Richter, as a contemporary engraving clearly and on his Strasbourg death certicate it says: ex Kratz
shows, must have been one of the rst conductors to ac- oriundus.[6]
tually have conducted with a music sheet roll in his hand. Although his whereabouts until 1740 are nowhere docu-
Richter wrote chiey symphonies, concertos for mented, it is clear that Richter got a very thorough train-
woodwinds, trumpet, chamber and church music, his ing in counterpoint and that this took place using the in-
masses receiving special praise. He was a man of a uential counterpoint treatise Gradus ad Parnassum by
transitional period, and his symphonies in a way consti- Johann Josef Fux; Richter may even have been Fuxs
tute one of the missing links between the generation of pupil in Vienna. Richters lifelong mastery of the strict
Bach and Handel and the Viennese classic. Although church style which is particularly evident in his liturgi-
sometimes contrapuntal in a learned way, Richters cal works but also shines through in his symphonies and
orchestral works nevertheless exhibit considerable drive chamber music, is testimony to his roots in the Austrian
and verve. Until a few years ago Richter survived and south German Baroque music.

1
2 1 BIOGRAPHY

1.2 1740-1747 Vize-Kapellmeister in

Kempten

Mannheim (1755)

Frststift Kempten (Modern view) sacred music and as music theoretician. In 1748 the Elec-
tor commissioned him to compose an oratorio for Good
On April 2, 1740 Richter was appointed deputy Friday, La deposizione dalla croce. It is sometimes con-
Kapellmeister (Vize-Kapellmeister) to the Prince-Abbot cluded that this oratorio was not a success as there was
Anselm von Reichlin-Meldeg of Kempten in Allgu. Re- only one performance and Richter was never commis-
ichlin Meldeg as Prince Abbot presided over the Frststift sioned to write another one.[12]
Kempten, a large Benedictine Monastery in what is now
Richter was also a respected teacher of composition.
south-western Bavaria. The monastery certainly would
Between 1761 and 1767 he wrote a treatise on com-
have had a choir and probably a small orchestra (rather a
position (Harmonische Belehrungen oder grndliche An-
band, as it was called then),[7] as well, but this must have
weisung zu der musikalischen Ton-Kunst oder regulren
been a small aair. Richter stayed in Kempten for six
Komposition[13] ), based on Fuxs Gradus ad Parnassum
years but it is hard to imagine that a man of his educa-
the only representative of the Mannheim School to
tion and talents would have liked the idea of spending the
do so. The lengthy work in three tomes is dedicated
rest of his life in this scenically beautiful but otherwise
to Charles Theodore. Among his more notable pupils
completely parochial town.
were Joseph Martin Kraus, probably Carl Stamitz and
Twelve of Richters symphonies for strings were pub- Ferdinand Frnzl.
lished in Paris in the year 1744. In February 1743 Richter
After 1768 Richters name disappears from the lists of
married Maria Anna Josepha Moz, who was probably
court singers. During his Mannheim years Richter made
from Kempten. It is assumed that Richter left Kempten
tours to the Oettingen-Wallerstein court in 1754 and later
already before the death of Reichlin-Meldeg in Decem-
to France, the Netherlands and England where his com-
ber 1747.[8]
positions found a ready market with publishers.
It seems clear from Richters compositions that he did
1.3 1747-1768 Singer and Cammercompos- not really t in at the Mannheim court. Whereas his
iteur[9] in Mannheim colleagues at the orchestra were interested in lively, en-
ergetic, homophonic music that focused on drive, bril-
Just how much Richter must have disliked Kempten can liancy and sparkling orchestral eects gained from stock
be deduced from the fact that in 1747 his name ap- devices, Richter, rooted in the Austrian Baroque tradi-
pears among the court musicians of the Prince elector tion, wrote music that was in a way reminiscent of Han-
Charles Theodore in Mannheim but not as music di- del and his teacher Fux. Thus, when in 1769 an opening
rector or in any other leading function but as a simple at Strasbourgs cathedral became known Richter seems to
singer (bass). Obviously Richter preferred being one have applied right away.
among many (singers and orchestra combine numbered
more than 70 persons) in Mannheim to acting deputy
Kapellmeister in a small town like Kempten. 1.4 1769-1789 Maitre de Chapelle de
Because of his old fashioned, even reactionary music Notre-Dame de Strasbourg
style Richter was not popular in Mannheim.[10] The title
awarded to him in 1768 as Cammercompositeur (cham- In April 1769 he succeeded Joseph Garnier as
ber composer) seems to have been merely an honorary Kapellmeister at Strasbourg Cathedral, where both
one.[11] He was slightly more successful as a composer of his performing and composing activities turned increas-
1.5 1770 Richter meets Marie Antoinette 3

From 1783 on, and due to Richters 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, aged 79, at Strasbourg, in the year of the
French Revolution. Thus he did not have to witness his
deputy Ignaz Pleyel being forced to write hymns to praise
the supreme being and the death by guillotine of Jean-
Frdric Edelmann, a gifted composer from Strasbourg.

1.5 1770 Richter meets Marie Antoinette

Strasbourg street sign Rue Franois Xavier Richter (2010)

Strasbourg (ca. 1644)

ingly to sacred music. He was by then recognized as

a leading contrapuntist and church composer. Johann
Sebastian Bachs rst Biographer, composer and musi-
cologist Johann Nikolaus Forkel, wrote about Richter in
1782: Marie Antoinette (1769)

Ist ein sehr guter Contrapunktist und

Kirchenkomponist.[14] (Is a very good
contrapuntist and church composer.)

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
Richters sacred music was composed during his Stras-
bourg years. He was active as a composer until his last
year. During his last years Haydns favourite pupil Ignaz
Pleyel served as his assistant at the cathedral.
In 1787 he visited Munich, where he met Mozarts father
Leopold, one last time. In Munich he met most of his Strasbourgs Palais Rohan where Marie Antoinette stayed and
former colleagues of the Mannheim court orchestra who where Richter conducted the Tafelmusik (Modern view)
by then had moved to Munich to where the court had been
transferred. In 1770 Marie Antoinette, future queen of France, on
4 1 BIOGRAPHY

her way from Vienna to Paris passed through the Alsa-

tian capital, where she stayed at the Episcopal Palace,
the Palais Rohan. Richter, who almost certainly di-
rected the church music when Marie Antoinette went to
mass the next day,[15] witnessed the earliest stages of his-
torical events that would later contribute to the down-
fall of the French monarchy. The prelate who greeted
Marie Antoinette on the steps of the cathedral, proba-
bly in Richters presence, was the same Louis Rohan who
would later, duped by a prostitute impersonating Marie
Antoinette, trigger the Aair of the Diamond Neck-
lace. 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.[16]
But Richter did not live to see this. What he saw was
Strasbourg all dressed up to greet the Dauphiness:

The city of Strasburg was in gala array. It had

prepared for the dauphiness the splendours it
had displayed 25 years before for the journey
of Louis the Well-beloved. (...) Three compa-
nies of young children from twelve to fteen
years of age, habited as Cent-Suisses, formed
the line along the passage of the princess.
Twenty-four young girls of the most distin-
guished families of Strasbourg, dressed in the
national costume, strewed owers before her; W. A. Mozart (1780)
and eighteen shepherds and shepherdesses pre-
sented her with baskets of owers. (...)
out me. You cannot think how
On the following day (May 8, 1770) Marie An-
much I am esteemed and beloved
toinette visited the cathedral. By a strange co-
here. People say that I am disinter-
incidence the prelate who awaited her with the
ested as well as steady and polite,
chapter at the entrance to felicitate her, and
and praise my manners. Everyone
who greeted her the soul of Maria Theresa
knows me. As soon as they heard
about to unite itself to the soul of the Bour-
my name, the two Herrn Silber-
bons, was the nephew of the bishop, that
mann [i. e. Andreas Silbermann
prince, Louis de Rohan, who was later to inict
and Johann Andreas Silbermann]
upon the dauphiness, become queen, the dead-
and Herr Hepp (organist) came to
liest of injuries. But in the midst of the then
call on me, and also Kapellmeis-
so brilliant prospect who could discern these
ter Richter. He has now restricted
shadows?"[17]
himself very much ; instead of forty
bottles of wine a day, he only drinks
1.6 1778 Richter meets Mozart twenty! ... If the Cardinal had
died, (and he was very ill when I ar-
Both Wolfgang Amadeus Mozart and his father Leopold rived,) I might have got a good sit-
knew Richter. Mozart would have met him still as a boy uation, for Herr Richter is seventy-
on his Family Grand tour in 1763 when the Mozart family eight years of age. Now farewell !
came through Schwetzingen, the summer residence of the Be cheerful and in good spirits, and
Elector Palatinate. Mozart met him once again in 1778 remember that your son is, thank
on his way back from Paris when he was headed for the God ! well, and rejoicing that his
unloved Salzburg after his plans to gain permanent em- happiness daily draws nearer. Last
ployment in Mannheim or Paris had come to naught. In Sunday I heard a new mass of Herr
a letter to his father, dated November 2, 1778, Mozart Richters, which is charmingly writ-
seems to suggest that the by then elderly Richter was ten.
something of an alcoholic:
However, Mozart was not one to laud lightly. The epithet
Strasbourg can scarcely do with- charmingly written can be taken at face value and from
 5

someone like Mozart this was high praise indeed.

1.7 Early Symphony

Example B

2 Works (overview)

2.1 Orchestral
Example A. The Augmented Sixth Chord in m. 25
Symphonies (approximately 80 are extant[20] )
Adagio and Fugue in G minor for Strings(1760) is one
of Franz Xaver Richters symphonies, which features the Thereof: Grandes Symphonies 1-6 (Paris
learned style in 18th century orchestral works. His expe- 1744)[Now published by Artaria Editions]
rience in churches also contributes to his sophisticated
contrapuntal style in his orchestral works.[18] The rst Thereof: Grandes Symphonies 7-12 (Paris
movement begins with the tonic key, G minor, entitled 1744)[Now published by Artaria Editions]
Adagio and fugue, and it distinguishes from later sonata Several concertos for ute and orchestra, oboe and
form by Haydn and Mozart. The opening material is orchestra, and trumpet and orchestra
quite dierent from the primary theme in symphonies
by Mozart and Haydn. First, the opening material is not
highly melodic recognizable and easy to grasp for the au- 2.2 Sacred music
dience. One could call it primary key area instead of the
primary theme. It is in highly learned style with a lot Kempten Te Deum for soli, choir and orchestra
of sequential passages. The music progresses until m. (1745)
23 when it reaches a structural V chord in the rst sec-
tion after an augmented sixth chord (m. 25) is empha- 39 Masses[21]
sized (Example A). Again the music is still in the tonic La Deposizione della Croce (Oratorio, 1748)
key area when the fugue begins. The fugue subject is
in g minor, and the answer is in d minor. The music Numerous motets and psalms.
goes to B-at major for the rst time in m. 60 after a
V-I motion. The B-at major passage starts another se-
quence until m. 67. The third tonal area in this piece is 2.3 Chamber music
C major, starting after a French augmented sixth chord
resolving to a dominant chord (G-B-D) in m. 120. A Sonate da camera Op.2 Nr. 1-6 (sonatas for harpsi-
cadence on C major is elided in m. 217, the bass pro- chord, ute and violoncello)
gresses to a D-G motion, sitting on the tonic key G minor String quartets Op. 5 Nr. 1-6 (1757)
in m. 222. Overall, the rst movement includes two sec-
tion, Adagio (can be seen as an introduction to fugue)
and a fugue (in fugue form), which is very dierent with
sonata-allegro form composed by Mozart and Haydn. As
3 Notes and references
Jochen Reutter acclaims, Franz Xaver Richters com-
positional idiom changed from a late Baroque sound [1] Richter et son temps, Les Dernires Nouvelles d'Alsace
(French)
to a tonal language which reached the threshold of the
Classical style. He was inuenced by the 18th-century [2] Richter was by all probability a native German speaker.
learned style and he adapted the Mannheim symphonic There is no hint that he spoke Czech.
style with his own dierentiated instrumentation. Ac-
[3] Lit. translation of German: Strenger Kirchenstil.
cording to Jochen Reutter, his [Richters] works from
this period include such conservative traits as fugal tech- [4] (Mozart 1866), p. 273
niques, Baroque sequences and the frequent use of minor
tonality. As shown in this work Adagio and Fugue in G [5] There has always been a strange confusion surrounding the
question of Richters birthplace although Johann Nikolaus
minor for Strings, the rst movement is almost entirely
Forkel already in 1782 clearly (and probably correctly)
based on various kinds of sequences and fugal style. This
named Holleschau.
early symphony makes an intriguing subject for a scholar-
study of early symphonies.[19] [6] Ex oriundus is Latin for: hailing from
6 4 SOURCES
[7] Probably: 4-8 violins, 2 violas, 2 cellos, 2 oboes and 2
horns. On festival occasions trumpets and kettle drums
would have been provided by a town or regimental band.
[8] Robert Mnster: Entry Franz Xaver Richter in (Blume
1949-1987).
[9] Why this strange mixture of German and French? In the
19th century French was to German what English is to
German today. The court language in most German courts
during the 17th and 18th century was French. To interlace
German with French was a sign of education and breeding
signalling rank and position to others.
[10] (Alfried Wieczorek er. alii 1999), pp. 371-2
[11] In (Alfried Wieczorek et. alii 1999) it is said: 1746
wechselte er (F.X. Richter) als Bassist an den Mannheimer
Hof. Er tauschte damit eine leitende Position gegen
die eines einfachen Hofmusikers ein. In den folgen-
den Jahren schrieb er zwar einige wenige Werke fr den
Mannheimer Hof, doch mehr als den Ehrentitel eines kur-
frstlichen Cammercompositeurs konnte er seines kon-
servativen Kompositionsstils wegen nicht gewinnen. Ex-
panded Translation: In 1746 he (F.X. Richter) switched
to the Mannheim court to take up a position as a bassist.
By doing so he exchanged a leading position for the rank
of a simple court musician. Although during the follow-
ing years he wrote a few works for the Mannheim court, he
never managed to raise above the rank of chamber com-
poser to the Prince Elector, and this was an honorary ti-
tle at that. The reason for this (and that he was excluded
from promotions that came quite naturally to people like
Christian Cannabich or Ignaz Holzbauer, who as com-
posers were little or no better than Richter) must have
been Richters conservative style of composition which
did not endear him to the Charles Theodore.
[12] (Alfried Wieczorek er. alii 1999), pp. 371-2
[13] (Randel 1996), p. 743. What a title. Here is an at-
tempt at a translation: Harmonic instructions or system-
atic directives concerning musical art and the rules of
composition. The treatise was published and translated
into French (Trait dharmonie et de composition, Paris
1804) by Christian Kalkbrenner. According to douard
Sitzmann however the best of Richters treatise was left
out of the translation (Sitzmanns 1910 biographical dic-
tionary online, p. 572).
[14] (Forkel 1781), p.72
[15] There is no direct source that says that Richter actually did
meet Marie Antoinette, but it can be concluded from the
events documented by a number of writers. It is clear that
Marie Antoinette entered the cathedral on May 8, 1770,
and went there again the next day to attend mass. The
brothers Goncourt (Goncourt 1884, p. 17) also write that
there was a messe en musique (a mass with music) and even
report un grand concert au palais piscopal (i.e. Palais Ro-
han). None other than Richter could have been in charge
of the music on both occasions.
[16] For instance the eminent historian and librarian Frantz
Funck-Brentano writes: Among all the trial cases
recorded in history, the Aair of the Necklace is the one
which has exercised the deepest inuence on the destinies
of our country (i.e. France). It was taken up with passion,
and in the hands of politicians became a battering-ram for
shattering the monarchy. The case of the Necklace, said
Mirabeau, was the prelude of the Revolution. (Funck-
Brentano 1911), p. 1
[17] (Rocheterie 1895), pp. 16-17
[18] Van Boer, Bertil (2012). Historical Dictionary of Music
of the Classical Period. Lanham: The scarecrow Press.
[19] Wolf, Eugene K. (September 1994). Reviewed Work: Stu-
dien zur Kirchenmusik Franz Xaver Richters (1709-1789)
by Jochen Reutter. Second Series 51, No. 1. p. 128.
[20] (Randel 1996), p. 743
[21] (Randel 1996), p. 743
4 Sources
Blume, Friedrich, Hrsg. Die Musik in Geschichte
und Gegenwart. Allgemeine Enzyklopdie der
Musik. Ungekrzte elektronische Ausgabe der er-
sten Auage. Kassel: Brenreiter, 1949-1987.
Forkel, Johann Nikolaus. Musikalischer Almanach
fr Deutschland auf das Jahr 1782. Leipzig: Im
Schwickertschen Verlag, 1781.
Funck-Brentano, Frantz. The Diamond Necklace.
Translated by H. Sutherland Edwards. London:
Greening & Co. LTD, 1911.
Goncourt, Edmond et Jules de. Histoire de Marie
Antoinette. Paris: G. Charpentier et Cie., 1884.
Mozart, Wolfgang Amadeus. The Letters of Wolf-
gang Amadeus Mozart. Edited by Ludwig Nohl.
Translated by Lady Wallace (i.e. Grace Jane Wal-
lace). Vol. 1. 2 vols. New York: Hurd and
Houghton, 1866.
Randel, Don Michael, ed. The Harvard Biographi-
cal Dictionary of Music. Cambridge, Massachusetts:
The Belknap Press of Harvard University Press,
1996. ISBN 0-674-37299-9
Riemann, Hugo. Handbuch der Musikgeschichte.
Die Musik des 18. und 19. Jahrhhunderts. Zweite,
von Alfred Einstein durchgesehene Auage. Bd. II.
V Bde. Leipzig: Breitkopf & Hrtel, 1922.
Rocheterie, Maxime de la. The Life of Marie An-
toinette. Translated by Cora Hamilton Bell. Vol.
1. 2 vols. New York: Dodd, Mead and Company,
1895.
Slonimsky, Nicolas, ed. Bakers Biographical Dic-
tionary of Musicians. 5th Completely Revised Edi-
tion. New York, 1958.
 7

Alfried Wieczorek, Hansjrg Probst, Wieland

Koenig, Hrsg. Lebenslust und Frmmigkeit - Kur-
frst Carl Theodor (17241799) zwischen Barock
und Aufklrung. Bd. 2. 2 Bde. Regensburg, 1999.
ISBN 3-7917-1678-6

5 Discography (selection)
Grandes Symphonies (1744), Nos. 1-6 (Set 1)
(Helsinki Baroque, Hakkinen) NAXOS 8.557818
Grandes Symphonies (1744), Nos. 7-12 (Set 2)
(Helsinki Baroque, Hakkinen) NAXOS 8.570597
Sonate da camera (1764): Nos. 1-3 (Fred, Pel-
toniemi, Hakkinen) NAXOS 8.572029
Symphonies (London Mozart Players, Bamert)
Chandos

6 External links
Artaria Editions providing a biography and editions
of Richters works
NAXOS Records providing a biography and discog-
raphy of NAXOS Richter recordings
Sheet Music from Schott Publishers

Free scores by Franz Xaver Richter at the

International Music Score Library Project
8 7 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

7 Text and image sources, contributors, and licenses

7.1 Text
Franz Xaver Richter Source: https://en.wikipedia.org/wiki/Franz_Xaver_Richter?oldid=776877712 Contributors: Deb, JASpencer, Hy-
acinth, Qertis, Gene Ward Smith, Varlaam, Schissel, Alai, FeanorStar7, Noetica, Graham87, BD2412, Opie, Volunteer Marek, Superslum,
Attilios, SmackBot, Chris the speller, Reccmo, Ser Amantio di Nicolao, RCS, Cydebot, Kbthompson, JAnDbot, Waacstats, Commons-
Delinker, Smrolando, Tomaxer, BOTijo, SieBot, Monegasque, Martin H., Iaroslavvs, Addbot, Vejvanick, LaaknorBot, Lightbot, Dim-
itris, Drpickem, Luckas-bot, Yobot, DisillusionedBitterAndKnackered, JmCor, Xqbot, FrescoBot, LucienBOT, IRISZOOM, Thomas W.
Jeerson, T700, RenamedUser01302013, Cobaltblue73, Insert coins, ChuispastonBot, Kwan820, Hmainsbot1, VIAFbot, Edelseider, Kas-
parBot, Yiyigao and Anonymous: 15

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