BWV 67, 108 and 127 by K. Richter

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BWV 67, 108 and 127 by K. Richter

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Reviewed: Gramophone 5/1993, Jonathan Freeman-Attwood

Karl Richter was pretty well cast aside in the fickle 1980s as an exponent of weighty neoromantic Bach, just when the 'authenticity' movement, as it was then unlovingly known, was taking on the mantle of Bach as its own special domain. The years leading up to Richter's death in 1981 were perhaps not his best, though it seems especially unfortunate that he has been judged solely on a few glamorous recordings from these years, where inconsistent and flabby performances possibly obscured his 'Kapellmeister' roots. These are the very roots which generate many of the rare Bachian insights evident in his cantata and Passion recordings of the 1950s and 1960s. Archiv recorded the bulk of these (sadly most are still unavailable), but Das Alte Werk's offering of three cantatas dating from 1958 should provide the perfect opportunity for re-appraisal.
In short, these are revelatory accounts, as lean and invigorating as any since, with timeless qualities likely to delight those searching in this great music for more than prevailing taste. Cantata No. 67 is a superb example of Bach's unceasing imagination, one which contains the type of dramatic and rhetorical elements ideally suited to Richter's theological understanding and visionary assurance. He recorded this work again about ten years later (Archiv—nla), but the conviction here of the opening chorus, Peter Pears's uplifting ''Mein Jesus ist erstanden'' and Keith Engen's authoritative ''vox Christi'' were never equalled. Only the contralto, Lilian Benningsen, was improved upon.

Cantata No. 108 is no less affectingly handled and if anything the orchestra (not yet the Munich Bach Orchestra) play with greater control, enhanced too by wonderfully refined obbligato playing to accompany Engen and Pears. The last work, No. 127, transfers less well with an ungrateful recorded sound, but one where the miscast flutes (Bach scores recorders) glow pleasingly against the mellow strings and choral sound. Despite a few blips, permitted more readily in yesteryear, Richter again shows himself to be an artist with the perception and judgement to capture the spiritual intensity of Bach. It will take more than period instruments and passing fashions to rival Richter's finest achievements in this repertoire. I hope Archiv will follow this enlightened lead and release their Richter riches. The time is ripe.