Born in Saxony in 1926, Karl Richter discovered his true musical vocation in Leipzig, where he studied under the great Karl Straube and Günther Ramin. The organ and the harpsichord were at the origin of his career, and his first performances were devoted to serving Bach through these keyboard instruments on which he was a virtuoso and a poet. Soon, however, Richter was swept up by a passion for the orchestra and the choral masses. He founded the Munich Bach Choir and the Munich Bach Orchestra in the 1950s, toured with his ensembles all over the world and made about 150 recordings. Richter was perhaps at his most compelling when interpreting his two great fellow countrymen Bach and Handel. He was superb at translating Handel’s monumental rhythms and vast soundscapes, the dynamic writing and sanguine spirit of his music. Although Richter saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own style, which was considered revolutionary in the 1950s and 60s. This was a “de-romanticized” approach to the Baroque which was characterized, among other things, by a reduced body of performers more in keeping with the original forces. Richter’s style also accented a cool, brisk, almost abstract attitude toward the music, which eschewed exaggerated dynamics and rubato.
Händel, Concerto for Organ in B flat minor, op.4/2
Born in Saxony in 1926, Karl Richter discovered his true musical vocation in Leipzig, where he studied under the great Karl Straube and Günther Ramin. The organ and the harpsichord were at the origin of his career, and his first performances were devoted to serving Bach through these keyboard instruments on which he was a virtuoso and a poet. Soon, however, Richter was swept up by a passion for the orchestra and the choral masses. He founded the Munich Bach Choir and the Munich Bach Orchestra in the 1950s, toured with his ensembles all over the world and made about 150 recordings. Richter was perhaps at his most compelling when interpreting his two great fellow countrymen Bach and Handel. He was superb at translating Handel’s monumental rhythms and vast soundscapes, the dynamic writing and sanguine spirit of his music. Although Richter saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own style, which was considered revolutionary in the 1950s and 60s. This was a “de-romanticized” approach to the Baroque which was characterized, among other things, by a reduced body of performers more in keeping with the original forces. Richter’s style also accented a cool, brisk, almost abstract attitude toward the music, which eschewed exaggerated dynamics and rubato.
Händel, Concerto for Organ in G minor, op.4/3
Born in Saxony in 1926, Karl Richter discovered his true musical vocation in Leipzig, where he studied under the great Karl Straube and Günther Ramin. The organ and the harpsichord were at the origin of his career, and his first performances were devoted to serving Bach through these keyboard instruments on which he was a virtuoso and a poet. Soon, however, Richter was swept up by a passion for the orchestra and the choral masses. He founded the Munich Bach Choir and the Munich Bach Orchestra in the 1950s, toured with his ensembles all over the world and made about 150 recordings. Richter was perhaps at his most compelling when interpreting his two great fellow countrymen Bach and Handel. He was superb at translating Handel’s monumental rhythms and vast soundscapes, the dynamic writing and sanguine spirit of his music. Although Richter saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own style, which was considered revolutionary in the 1950s and 60s. This was a “de-romanticized” approach to the Baroque which was characterized, among other things, by a reduced body of performers more in keeping with the original forces. Richter’s style also accented a cool, brisk, almost abstract attitude toward the music, which eschewed exaggerated dynamics and rubato.
Händel, Concerto for Organ in F major, op.4/4
Born in Saxony in 1926, Karl Richter discovered his true musical vocation in Leipzig, where he studied under the great Karl Straube and Günther Ramin. The organ and the harpsichord were at the origin of his career, and his first performances were devoted to serving Bach through these keyboard instruments on which he was a virtuoso and a poet. Soon, however, Richter was swept up by a passion for the orchestra and the choral masses. He founded the Munich Bach Choir and the Munich Bach Orchestra in the 1950s, toured with his ensembles all over the world and made about 150 recordings. Richter was perhaps at his most compelling when interpreting his two great fellow countrymen Bach and Handel. He was superb at translating Handel’s monumental rhythms and vast soundscapes, the dynamic writing and sanguine spirit of his music. Although Richter saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own style, which was considered revolutionary in the 1950s and 60s. This was a “de-romanticized” approach to the Baroque which was characterized, among other things, by a reduced body of performers more in keeping with the original forces. Richter’s style also accented a cool, brisk, almost abstract attitude toward the music, which eschewed exaggerated dynamics and rubato.
Händel, Concerto for Organ in F major, op.4/5
Born in Saxony in 1926, Karl Richter discovered his true musical vocation in Leipzig, where he studied under the great Karl Straube and Günther Ramin. The organ and the harpsichord were at the origin of his career, and his first performances were devoted to serving Bach through these keyboard instruments on which he was a virtuoso and a poet. Soon, however, Richter was swept up by a passion for the orchestra and the choral masses. He founded the Munich Bach Choir and the Munich Bach Orchestra in the 1950s, toured with his ensembles all over the world and made about 150 recordings. Richter was perhaps at his most compelling when interpreting his two great fellow countrymen Bach and Handel. He was superb at translating Handel’s monumental rhythms and vast soundscapes, the dynamic writing and sanguine spirit of his music. Although Richter saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own style, which was considered revolutionary in the 1950s and 60s. This was a “de-romanticized” approach to the Baroque which was characterized, among other things, by a reduced body of performers more in keeping with the original forces. Richter’s style also accented a cool, brisk, almost abstract attitude toward the music, which eschewed exaggerated dynamics and rubato.
Bach, Brandenburg Concerto No. 4 in G major, BWV 1049
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas.
Bach, Brandenburg Concerto No. 5 in D major, BWV 1050
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas.
Händel, Music for the Royal Fireworks
Born in Saxony in 1926, Karl Richter discovered his true musical vocation in Leipzig, where he studied under the great Karl Straube and Günther Ramin. The organ and the harpsichord were at the origin of his career, and his first performances were devoted to serving Bach through these keyboard instruments on which he was a virtuoso and a poet. Soon, however, Richter was swept up by a passion for the orchestra and the choral masses. He founded the Munich Bach Choir and the Munich Bach Orchestra in the 1950s, toured with his ensembles all over the world and made about 150 recordings. Richter was perhaps at his most compelling when interpreting his two great fellow countrymen Bach and Handel. He was superb at translating Handel’s monumental rhythms and vast soundscapes, the dynamic writing and sanguine spirit of his music.
Mozart, Symphony No.28 in C major, K. 200
Filmed mainly in Vienna’s splendid “Musikvereinssaal,” the Mozart symphonies conducted by Karl Böhm are all interpreted by one of the world’s foremost orchestras, the Vienna Philharmonic Orchestra, whose principal conductors have included Wilhelm Furtwängler, Bruno Walter, Herbert von Karajan, Claudio Abbado and, of course, Karl Böhm. “Thanks to Bruno Walter’s exemplary performances, particularly of Mozart’s works, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart.” (Karl Böhm) Like the “Little” G-minor Symphony, K. 200 is also one of the early “Salzburg” symphonies. Its originality places it on a par with the G-minor work. The onward-rushing, sharply profiled theme prefigured an evolution which led to a more individual characterization of the melodies and to a more thorough exploitation of their combinative possibilities. While the muted strings and “sigh” motifs of the Andante point to techniques Mozart was to perfect in later works, the final sprightly Presto recalls the structure of the opening movement, thus rounding off the work in an admirable fashion. Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Böhm’s first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his autobiography, Böhm wrote that “Richard Strauss revealed to me the ultimate secrets of this, in my opinion, greatest of all musical geniuses, Mozart.” Böhm’s discovery of these secrets transformed his Mozart interpretations into unforgettable events.
Mozart, Symphony No.39 in E flat major, K. 543
Filmed mainly in Vienna’s splendid “Musikvereinssaal,” the Mozart symphonies conducted by Karl Böhm are all interpreted by one of the world’s foremost orchestras, the Vienna Philharmonic Orchestra, whose principal conductors have included Wilhelm Furtwängler, Bruno Walter, Herbert von Karajan, Claudio Abbado and, of course, Karl Böhm. “Thanks to Bruno Walter’s exemplary performances, particularly of Mozart’s works, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart.” (Karl Böhm) This symphony is the first segment of the famous symphonic triptych composed by Mozart in the summer of 1788. Although we do not know exactly why Mozart wrote these three symphonic masterpieces at that time, it is assumed that they were intended for a series of concerts in Vienna. Despite his waning popularity in Vienna and his desperate financial situation, Mozart succeeded in forgetting his daily concerns and created a masterpiece of good spirits and self-confidence. The stately introduction leads into a graceful, urbane theme that seems to flow without effort. But a highlight of this work is the Trio of the Minuet, a pastoral Ländler for woodwinds that contrasts strikingly with the pounding energy of the Minuet. Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Böhm’s first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his autobiography, Böhm wrote that “Richard Strauss revealed to me the ultimate secrets of this, in my opinion, greatest of all musical geniuses, Mozart.” Böhm’s discovery of these secrets transformed his Mozart interpretations into unforgettable events.