Very few conductors have recorded as much Bach as Karl Richter, and none can lay a stronger claim to a legacy based on championing the master. Throughout his prolific though sadly short life (he died at age 54 from a heart attack, though the devoted still steadfastly attribute the burgeoning original-instrument movement for breaking his heart) Richter always returned to Bach and rarely recorded (or performed) the music of other composers. Richter’s reverence for Bach is evinced by the simplicity, splendor, and grandeur with which he consistently imbued his performances. Richter understood that the profound underlying architecture of Bach’s music was critical to its appreciation, enjoyment, and yes, power. As a long-standing Richter fan, I couldn’t be more overjoyed to see these benchmark Archiv performances reissued again (the fourth time for the Brandenburg’s!).
The first CD of this three-disc set begins with a performance of Brandenburg Concerto No. 1 that superbly exemplifies Richter’s remarkable intuitive grasp of Bach’s language. To get an idea of just how ahead of his time Richter was, compare the timing of his first movement (whose “brisk tempos” the Penguin Guide went out of its way to condemn when the cycle was first released in 1987) with the contemporary original-instrument account by Musica Antiqua Köln directed by Reinhard Goebel. Richter’s 1967 modern-instrument performance is two seconds slower. The man was no slouch; he understood that in Bach’s day this was contemporary orchestral music whose success required vitality as well as authority.
I could go on and cite many more highlights, such as Richter’s fiery gestural treatment of the fifth movement Rejouissance of the Fourth orchestral suite, or the brilliant subtlety he elicits from his fellow soloists in the central Adagio, ma non tanto, e dolce of the triple concerto for flute, violin, and harpsichord; but then there is rarely a moment throughout all of these performances where I’m not equally enthusiastic. And rarely will you hear performances of these eminent masterpieces so utterly heartfelt and intelligently conceived.
Archiv’s outstanding newly remastered transfers perfectly complement the musical strengths of these performances. While there is a distinct improvement in the overall weight and balance of the ensemble, you can still hear occasional knob-twisting–but unfortunately that was the norm for Archiv at the time. Stefan Siegert’s notes are erudite and entertaining. This is cornerstone Bach that should not be missed.
