F. X. Richter - Te Deum 1781, Exsultate Deo, Oboe Concerto
Franz Xaver Richter (1709-1789) - Te Deum 1781, Exsultate Deo (from Quatro Motetti per la processione del Corpus Christi)*, Oboe Concerto in F*, Sinfonia No. 52 in D
Markéta Böhmová, Pavla Radostová - soprano, Piotr Olech - alto, Jaroslav Březina, Jakub Kubín - tenor, Jiří M. Procházka - bass, Luise Haugk - oboe, Czech Ensemble Baroque, conductor: Roman Válek
Nearly 1,000 kilometres separate Holešov, Moravia, from Strasbourg, if one takes a detour through Mannheim. Franz Xaver Richter's professional journey started in Count Rottal's court orchestra in Holešov and ended in the prestigious post of Kapellmeister at the Cathédrale Notre-Dame in Strasbourg. He is primarily known as one of the major representatives of the renowned Mannheim School, with his "trumpet" Sinfonia No. 52 in D being a typical example of the late Mannheim form. The grandiose Te Deum, featured on the present CD, is Richter's second setting of the hymn and was first performed in 1781 in Strasbourg, during the celebrations marking the centenary of the city's coming under French administration. Along with the motet Exsultate Deo, the piece falls within the composer's vocal-instrumental oeuvre, which has yet to be explored (and, just as in the case of Jan Dismas Zelenka's music, contains many unexpected twists and turns). The virtuoso, engrossing and masterfully balanced Oboe Concerto with the original cadenzas represents Richter's concertante style. Following their premiere recordings of Richter's Requiem (Supraphon, SU 4177-2) and the Passion oratorio La Deposizione dalla croce di Ges? Cristo (SU 4204-2), the present Czech Ensemble Baroque CD maps another part of the remarkable 18th-century composer's work.
Newly discovered gems from Franz Xaver Richter's undeservedly overlooked oeuvre.
“The composer cannot take all the credit, though; this is a team effort,
and Válek and his excellent musicians (the choir has four singers per part and
he uses 44221 strings) are perfect advocates of their compatriot’s output;
the soloists are taken from the tutti group (with the exception of tracks 5 and
9 where another tenor is used), and throughout the singing is first rate with
nicely articulated lines and neat ornamentation. The booklet notes, which say no
more than they have to (in four languages!), promise more releases in the
series – I, for one, shall be waiting!” Early Music Review, February 2018