Just released from the Kawade Shobo Shinsha editorial department
Karl Richter
KAWADE Dream Mook Literary, Supplementary Volume
November 25, 2016
208 pages, Softcover
ISBN 978-4-309-97906-9
1404 ¥
The book is immediately available at specialized bookshops, from the publisher and Amazon.jp
We asked our contact and editor Prof. Tatsuhiko Itoh from the ICU - International Christian University, Tokyo to send as a short description to share here and on our Blog
Posts mit dem Label 1-English werden angezeigt. Alle Posts anzeigen
Posts mit dem Label 1-English werden angezeigt. Alle Posts anzeigen
24. November 2016
17. Juni 2013
Die frühen Jahre Karl Richters
Preview: Karl Richter in München - Zeitdokumente
1926 -1950, Kindheit und Jugend (Band 7)
Preview: Karl Richter - contemporary documents
The Years 1926 - 1950, childhood and youth [Volume 7]
Bitte haben Sie dafür Verständnis, dass sich der soeben erschienene Band nicht herunterladen und ausdrucken lässt. Das Projekt der Karl Richter Dokumentationen und des Karl Richter Archiv braucht die Verkaufserlöse und Spenden, um die Arbeit zu Ende bringen zu können.
Please understand, that we disabled download and printing, as the project needs all revenue from sales and sponsorship to finance the remaining documentation and the Karl Richter Archive.
Karl Richter, Zeitdokumente in sieben Bänden

Das Vorwort zu Band 1 der Karl Richter Zeitdokumente

Das Vorwort zu Band 2 der Karl Richter Zeitdokumente

Das Vorwort zu Band 3 der Karl Richter Zeitdokumente

Das Vorwort zu Band 4 der Karl Richter Zeitdokumente

Das Vorwort zu Band 5 der Karl Richter Zeitdokumente

Das Vorwort zu Band 6 der Karl Richter Zeitdokumente

Das Vorwort zu Band 7 der Karl Richter Zeitdokumente
Alle Bände der Karl Richter - Zeitdokumente sind über den gut sortierten Buchhandel oder direkt bei Conventus Musicus erhältlich.
1926 -1950, Kindheit und Jugend (Band 7)
Preview: Karl Richter - contemporary documents
The Years 1926 - 1950, childhood and youth [Volume 7]
Bitte haben Sie dafür Verständnis, dass sich der soeben erschienene Band nicht herunterladen und ausdrucken lässt. Das Projekt der Karl Richter Dokumentationen und des Karl Richter Archiv braucht die Verkaufserlöse und Spenden, um die Arbeit zu Ende bringen zu können.
Please understand, that we disabled download and printing, as the project needs all revenue from sales and sponsorship to finance the remaining documentation and the Karl Richter Archive.
Karl Richter, Zeitdokumente in sieben Bänden
Das Vorwort zu Band 1 der Karl Richter Zeitdokumente
Das Vorwort zu Band 2 der Karl Richter Zeitdokumente
Das Vorwort zu Band 3 der Karl Richter Zeitdokumente
Das Vorwort zu Band 4 der Karl Richter Zeitdokumente
Das Vorwort zu Band 5 der Karl Richter Zeitdokumente
Das Vorwort zu Band 6 der Karl Richter Zeitdokumente
Das Vorwort zu Band 7 der Karl Richter Zeitdokumente
Alle Bände der Karl Richter - Zeitdokumente sind über den gut sortierten Buchhandel oder direkt bei Conventus Musicus erhältlich.
9. Februar 2013
Preview: Karl Richter - Zeitdokumente [Volume 6] Die Jahre 1978 - 1981
English [German version see further down]
Today, we are proud to offer again all friends of Karl Richter musik and work a (limited) free preview on the new released book Karl Richter - contemporary documents 1978 - 1981 [Volume VI.].
Please understand, that we disabled download and printing, as the project needs all revenue from sales and sponsorship to finance the remaining work at the Karl Richter Archive.
You can order all Karl Richter books (Print + eBook-PDF) and Video's (DVD) directly from the Publisher Conventus Musicus Verlag [eMail], with worldwide delivery.
Deutsch
Heute bieten wir wieder allen Freunden der Musik Karl Richters und seines Münchener Bach-Chores einen (zeitlich limitierten) Preview des sechsten Bandes Karl Richter - Zeitdokumente (Jahre 1978 - 1981) an.
Bitte haben Sie Verständnis dafür, dass sich der soeben erschienene Band nicht herunterladen und ausdrucken lässt. Das Projekt der Karl Richter - Dokumentationen und des Karl Richter - Archivs braucht die Verkaufserlöse und Spenden, um die Arbeit fortsetzen und zu einem guten Ende bringen zu können.
Als gedrucktes Buch über den gut sortierten / spezialisierten Buchhandel oder direkt über den Conventus Musicus Verlag zu beziehen. Als eBook (PDF-Format) ist die Dokumentation (zur Zeit) nur direkt beim Verlag [Conventus Musicus] erhältlich.
22. September 2012
Karl Richter Archives
What has been created so far: books, filmed documentary, contemporary documents and pictures
Karl Richter, from 1951-1981 cantor at St. Mark's Munich was one of the leading Bach interpreters of the past century. With his concert performances and recordings he has set the standard around the World as a conductor, harpsichordist and organist in the 1960s and 1970s. Eight years ago, we launched the archive project "Karl Richter in Munich" and interviewed more the 40 artists (singers and instrumentalists) about their memories of Karl Richter and their cooperation. The result was - in time to Karl Richter's 80th birthday and 25th anniversary of his early death birthday - in 2006, the book documentary "Karl Richter in Munich - witnesses remember".

In 2006 and 2007 the book documentary was followed by the film documentary 'Karl Richter in Munich', a trilogy on DVD, with rich content on the 30-year era of Karl Richter work and music in Munich. Numerous sequences from Normal8 and Super8 films, live recordings, photographs and excerpts from our interviews with the witnesses which trace and explain the phenomenon of Karl Richter and his Munich Bach-Choir exceptional position in the world of music in Munich, in Germany and around the world.
The DVD's contain many excerpts from the interviews with contemporary witnesses of the era of Karl Richter. Filmed interviews with former members of the Munich Bach Choir and Bach Orchestra and various soloists (among them Claes H. Ahnsjö, Ursula Buckel, Kieth Engen, Ernst Haefliger, Julia Hamari, Edda Moser, Aurèle Nicolet. Kurt-Christian Stier, Hertha Töpper), and give a very vivid picture of Karl Richter's extraordinary interpretations and fascination. Numerous musical examples and comparisons documenting numerous musical examples and astonishing comparison of interpretations accompanying the statements and recollections of our witnesses.

In 2011, we began start the publication of the "Karl Richter - contemporary documents" series. Five volumes are already available, and we work on the sixth volume covering the years 1977 - 1981. Publishing date (planned) is Spring 2013. We also have projected an additional band with the Karl Richter's years prior to Munich for early summer of 2013. These "historical documents" series contains almost all available photographs of Karl Richter, his soloists and Bach-chorister, the programs and reviews of concerts and LP recordings, and more in the Karl Richter Archive.
Detailed information about all printed books eBooks and DVD's can be found here...
You can buy all this items in specialized, well-sorted bookstores, at Amazon.de or directly through Conventus Musicus (via eMail, ships worldwide).
Karl Richter, from 1951-1981 cantor at St. Mark's Munich was one of the leading Bach interpreters of the past century. With his concert performances and recordings he has set the standard around the World as a conductor, harpsichordist and organist in the 1960s and 1970s. Eight years ago, we launched the archive project "Karl Richter in Munich" and interviewed more the 40 artists (singers and instrumentalists) about their memories of Karl Richter and their cooperation. The result was - in time to Karl Richter's 80th birthday and 25th anniversary of his early death birthday - in 2006, the book documentary "Karl Richter in Munich - witnesses remember".
In 2006 and 2007 the book documentary was followed by the film documentary 'Karl Richter in Munich', a trilogy on DVD, with rich content on the 30-year era of Karl Richter work and music in Munich. Numerous sequences from Normal8 and Super8 films, live recordings, photographs and excerpts from our interviews with the witnesses which trace and explain the phenomenon of Karl Richter and his Munich Bach-Choir exceptional position in the world of music in Munich, in Germany and around the world.
The DVD's contain many excerpts from the interviews with contemporary witnesses of the era of Karl Richter. Filmed interviews with former members of the Munich Bach Choir and Bach Orchestra and various soloists (among them Claes H. Ahnsjö, Ursula Buckel, Kieth Engen, Ernst Haefliger, Julia Hamari, Edda Moser, Aurèle Nicolet. Kurt-Christian Stier, Hertha Töpper), and give a very vivid picture of Karl Richter's extraordinary interpretations and fascination. Numerous musical examples and comparisons documenting numerous musical examples and astonishing comparison of interpretations accompanying the statements and recollections of our witnesses.
In 2011, we began start the publication of the "Karl Richter - contemporary documents" series. Five volumes are already available, and we work on the sixth volume covering the years 1977 - 1981. Publishing date (planned) is Spring 2013. We also have projected an additional band with the Karl Richter's years prior to Munich for early summer of 2013. These "historical documents" series contains almost all available photographs of Karl Richter, his soloists and Bach-chorister, the programs and reviews of concerts and LP recordings, and more in the Karl Richter Archive.
Detailed information about all printed books eBooks and DVD's can be found here...
You can buy all this items in specialized, well-sorted bookstores, at Amazon.de or directly through Conventus Musicus (via eMail, ships worldwide).
10. Oktober 2011
Preview: Karl Richter - Zeitdokumente [Volume 4] Die Jahre 1968 - 1971
Limited preview | Zeitlich limitierte Vorschau 10.10. - 17.10.2011 (only)
- wegen des regen Interesses verlängern wir den Preview (zunächst) auf unbestimmte Zeit!
English [German version see further down]
On the occasion of Karl Richter's 85th birthday on October 15th, 2011 we offer all friends of Karl Richter musik and work a (limited) free preview on the new release of our book
Karl Richter - contemporary documents
Volume 4: The Years 1968 - 1971
238 Seiten (photos partly in color)
Please understand, that we disabled download and printing, as the project needs all revenue from sales and sponsorship to finance the remaining documentation and the Karl Richter Archive.
You can order all Karl Richter books (Print + eBook-PDF) and DVDs at the Facebook Page 'Karl Richter in Munich' or directly from the Publisher Conventus Musicus Verlag.
Deutsch
Aus Anlass des 85. Geburtstags Karl Richters am 15. Oktober bieten wir allen Freunden der Musik Karl Richters und seinem Münchener Bachchor ein (zeitlich limitierten) Preview der Neuerscheinung.
Karl Richter - Zeitdokumente
Band 4: Die Jahre 1968 - 1971
238 Seiten (mit ersten Fotos in Farbe)
Bitte haben Sie dafür Verständnis, dass sich der soeben erschienene Band nicht herunterladen und ausdrucken lässt. Das Projekt der Karl Richter Dokumentationen und des Karl Richter Archiv braucht die Verkaufserlöse und Spenden um die Arbeit fortsetzen und zu Ende bringen zu können.
Published up to now | Bisher erschienen in Print
Band 1 ISBN 978-3-00-032125-2 (21,80 Euro) (eBook, PDF 16,80 Euro)
Band 2 ISBN 978-3-00-032826-8 (21,80 Euro) (eBook, PDF 16,80 Euro)
Band 3 ISBN 978-3-00-034046-8 (24,80 Euro) (eBook, PDF 18,80 Euro)
Band 4 ISBN 978-3-00-035432-8 (24,80 Euro) (eBook, PDF 18,80 Euro)
und als gedrucktes Buch über den Conventus Musicus Verlag und den gut sortierten Buchhandel zu beziehen. Als eBook (PDF-Format) ist die Dokumentation über die Facebook Page 'Karl Richter in München' [Karl Richter Shop] und direkt beim Verlag [Conventus Musicus] erhältlich.
- wegen des regen Interesses verlängern wir den Preview (zunächst) auf unbestimmte Zeit!
English [German version see further down]
On the occasion of Karl Richter's 85th birthday on October 15th, 2011 we offer all friends of Karl Richter musik and work a (limited) free preview on the new release of our book
Karl Richter - contemporary documents
Volume 4: The Years 1968 - 1971
238 Seiten (photos partly in color)
Please understand, that we disabled download and printing, as the project needs all revenue from sales and sponsorship to finance the remaining documentation and the Karl Richter Archive.
You can order all Karl Richter books (Print + eBook-PDF) and DVDs at the Facebook Page 'Karl Richter in Munich' or directly from the Publisher Conventus Musicus Verlag.
Deutsch
Aus Anlass des 85. Geburtstags Karl Richters am 15. Oktober bieten wir allen Freunden der Musik Karl Richters und seinem Münchener Bachchor ein (zeitlich limitierten) Preview der Neuerscheinung.
Karl Richter - Zeitdokumente
Band 4: Die Jahre 1968 - 1971
238 Seiten (mit ersten Fotos in Farbe)
Bitte haben Sie dafür Verständnis, dass sich der soeben erschienene Band nicht herunterladen und ausdrucken lässt. Das Projekt der Karl Richter Dokumentationen und des Karl Richter Archiv braucht die Verkaufserlöse und Spenden um die Arbeit fortsetzen und zu Ende bringen zu können.
Published up to now | Bisher erschienen in Print
Band 1 ISBN 978-3-00-032125-2 (21,80 Euro) (eBook, PDF 16,80 Euro)
Band 2 ISBN 978-3-00-032826-8 (21,80 Euro) (eBook, PDF 16,80 Euro)
Band 3 ISBN 978-3-00-034046-8 (24,80 Euro) (eBook, PDF 18,80 Euro)
Band 4 ISBN 978-3-00-035432-8 (24,80 Euro) (eBook, PDF 18,80 Euro)
und als gedrucktes Buch über den Conventus Musicus Verlag und den gut sortierten Buchhandel zu beziehen. Als eBook (PDF-Format) ist die Dokumentation über die Facebook Page 'Karl Richter in München' [Karl Richter Shop] und direkt beim Verlag [Conventus Musicus] erhältlich.
5. Oktober 2010
New! Karl Richter: The years 1951 - 1957 – Contemporary Documents (Volume 1)
(Press release Conventus Musicus | Karl Richter Archive)

Dettelbach, September 30, 2010
For admirers of the musical work of Karl Richter and lovers of classical music, we just released the 1st volume of a new book series "Karl Richter - Contemporary Documents: 1951 - 1957". It covers the early years of Karl Richter in Munich, which can be now tracked, almost entirely, on the basis from contemporary documents (programs, reviews, newspaper clippings, interviews, photos, etc.) and/or called back into memory.
Karl Richter – Contemporary Documents, Volume 1, with 212 pages, many b/w photos and scans is now available, as a printed book and as an eBook (PDF). Editor and publisher of the series is Johannes Martin. A preview is available on the website of the "Karl Richter Archive" and the "Karl Richter Munich Blog" for viewing, downloading and / or integration to other websites (24 pages, on Scribd).
Since the publishing of Johannes Martin’s 1st book documentary "Karl Richter in Munich - Contemporary Witness" in 2005, over five years have passed. Many new documents from the era of Karl Richter in Munich, especially by former Munich Bach-Choir members, have significantly expanded the Karl Richter Archive in quantity and quality. So Johannes Martin, founder of the Karl Richter Archives, can now document the 30 years of the work of Karl Richter in this new expanded project, more fully and detailed.
The launch of the publication series is connected with the upcoming anniversaries in 2011, Karl Richter's 30th day of death on 15 February and his 85th Birthday on 15 October. It is planned to complete the documentary series 'time capsules' with a total of 6 volumes by the summer 2013.
Karl Richter - Contemporary Documents
Publisher: Johannes Martin
Volume 1: The years 1951 to 1957
212 pages, format 165 x 240, b/w
Printed copy, Soft cover
ISBN 978-3-00-032125-2
Order Number: CM-3141
21.80 Euro (plus shipping costs)
eBook edition (PDF)
ISBN 978-3-00-032375-1
Order Number: CM-3142
€ 16.80 (Download | plus shipping costs for shipping on DVD)
Available in book and music stores and direct from
Conventus Musicus Publishing
PO Box 68
97335 Dettelbach
Germany
Phone: +49-9321-9243-986,
eMail: cm@conventus-musicus.de or via Karl.Richter.Munich Facebook Shop at: http://www.facebook.com/Karl.Richter.Munich
Media files:
Book Cover (344 KB, JPG)
Book Sampler (24 pages, PDF, Scribd - free download, embedding]
Dettelbach, September 30, 2010
For admirers of the musical work of Karl Richter and lovers of classical music, we just released the 1st volume of a new book series "Karl Richter - Contemporary Documents: 1951 - 1957". It covers the early years of Karl Richter in Munich, which can be now tracked, almost entirely, on the basis from contemporary documents (programs, reviews, newspaper clippings, interviews, photos, etc.) and/or called back into memory.
Karl Richter – Contemporary Documents, Volume 1, with 212 pages, many b/w photos and scans is now available, as a printed book and as an eBook (PDF). Editor and publisher of the series is Johannes Martin. A preview is available on the website of the "Karl Richter Archive" and the "Karl Richter Munich Blog" for viewing, downloading and / or integration to other websites (24 pages, on Scribd).
Since the publishing of Johannes Martin’s 1st book documentary "Karl Richter in Munich - Contemporary Witness" in 2005, over five years have passed. Many new documents from the era of Karl Richter in Munich, especially by former Munich Bach-Choir members, have significantly expanded the Karl Richter Archive in quantity and quality. So Johannes Martin, founder of the Karl Richter Archives, can now document the 30 years of the work of Karl Richter in this new expanded project, more fully and detailed.
The launch of the publication series is connected with the upcoming anniversaries in 2011, Karl Richter's 30th day of death on 15 February and his 85th Birthday on 15 October. It is planned to complete the documentary series 'time capsules' with a total of 6 volumes by the summer 2013.
Karl Richter - Contemporary Documents
Publisher: Johannes Martin
Volume 1: The years 1951 to 1957
212 pages, format 165 x 240, b/w
Printed copy, Soft cover
ISBN 978-3-00-032125-2
Order Number: CM-3141
21.80 Euro (plus shipping costs)
eBook edition (PDF)
ISBN 978-3-00-032375-1
Order Number: CM-3142
€ 16.80 (Download | plus shipping costs for shipping on DVD)
Available in book and music stores and direct from
Conventus Musicus Publishing
PO Box 68
97335 Dettelbach
Germany
Phone: +49-9321-9243-986,
eMail: cm@conventus-musicus.de or via Karl.Richter.Munich Facebook Shop at: http://www.facebook.com/Karl.Richter.Munich
Media files:
Book Cover (344 KB, JPG)
Book Sampler (24 pages, PDF, Scribd - free download, embedding]
7. Juli 2010
The Karl Richter Archive is growing considerably
more than 400 new historical documents and a lot of work for us
Ingrid Bücher, a former member of the Munich Bach-Choir – from 1962 to 2006 - and founder and director of the Bücher-Dieckmeyer Foundation dedicated to preserve the memory of Karl Richter an his work, has bequeathed the archive more than 400 new documents from the years 1962-1981.
Thus, the Era Karl Richter in Munich from 1951 - 1981 is now fairly complete documented. Of course, there are still some desiderata missing, but with the help of you, our readers and followers here and from former soloists and members of the Munich Bach-Choir, friends of Karl Richter’s Music and contemporaries we hope to add them over time.
If you, dear readers of our Blogs, follower on Twitter, friends on Facebook are aware of or possess any programs, reviews, photos, newspaper clippings, recordings, etc. Karl Richter, I would be very happy to get in contact.
You might be aware of the series ‘Karl Richter – contemporary documents published so far
Part 1: Years 1951 - 1954
Part 2: Years 1955 - 1957
Part 3: Years 1958 - 1959
With this new rich collection from Ingrid Bücher, we will continue chronologically with this project. We plan to release part 4: Years 1960-1962 this Fall 2010.
Here are some specimen documents from the collection of Ingrid Bücher:
Karl Richter and his Munich Bach-Orchestra in Ansbach (1961)
TV guide schedule note for [television premiere] of the ZDF film "Karl Richter and his Munich Bach Choir" in 1968
Karl Richter and his Munich Bach-Orchestra in Ansbach (1961)
Otto Büchner and Maurice André (1969)
Front page of the benefit concert in the monastery church of Einsiedeln, Switzerland
Funeral service in St. Mark's Church in Munich on February 20, 1981
6. Juni 2010
'Karl Richter Shop' on Facebook
In our new 'Karl Richter Shop' on Facebook we have now added more 'Karl Richter in Munich - Contemporary Witnesses' stuff to reflect the current state of documentation at the Karl Richter Archive:
- the book documentation 'Karl Richter in Munich - Remembered'
- the Trilogy on DVD 'Karl Richter in Munich - Remembered' on 4 DVD's
- all time documents from our Karl Richter in Munich archive - the years 1951 - 1959 on DVD / CD's

Rich information and mementos for friends, lover of Karl Richter's music and the musicological research alike. Visit shop now
More about already published results in German
In English
Karl Richter in Munich 1951 - 1981 | Book and Video-Documentation [English]
- the book documentation 'Karl Richter in Munich - Remembered'
- the Trilogy on DVD 'Karl Richter in Munich - Remembered' on 4 DVD's
- all time documents from our Karl Richter in Munich archive - the years 1951 - 1959 on DVD / CD's
Rich information and mementos for friends, lover of Karl Richter's music and the musicological research alike. Visit shop now
More about already published results in German
In English
Karl Richter in Munich 1951 - 1981 | Book and Video-Documentation [English]
um
15:53
Labels:
1-English,
CD,
DVD,
Karl Richter,
Karl-Richter Archiv,
Zeitzeugen,
Zeitzeugen erinnern sich
15. Oktober 2008
Karl Richter in Munich 1951 - 1981 | Book and Video-Documentation [English]
Karl Richter Video Documentation on DVD
Johannes Martin, an Ex-Bach-chorister from 1965 to 1970, together with many friends, former colleagues, artists as well as ardent admirers of Karl Richter’s music have worked intensively for the last three and a half years to produce this outstanding documentary. He collected, sorted out, amended and arranged numerous photos, film documents from private Standard 8 and Super8 films, film documents from the German public service broadcaster ZDF, audio clips from live concerts as well as clippings from more than thirty life-interviews with contemporary witnesses to portrait the life and work of Karl Richter and his outstanding position in Munich musical life and concert halls around the world, during his 30 years era from 1951 – 1981.
The film trilogy on DVD consists of three parts

Part 1 of Karl Richter in Munich ‘Soloists Concerts Tours’ comes on two DVD's (running time: 135 minutes; bilingually German / English). It recognizes the outstanding life and work of Karl Richter, the esteemed organist, harpsichordists and conductors, in Munich and the new Bach tradition created by him with the Munich Bach-Choir and Bach-Orchestra, which has inspired and fascinated so many music-lover and connoisseur around the world and still does today.
The film stretches a far bow from the first sensational concerts of the young Thomas-Organist at his new place of activity at St. Markus in Munich, to rapidly increasing engagements for concerts and tours with the Munich Bach-Choir and Bach-Orchestra and up to the numerous recordings, foremost the works of Bach and Handel.
Many clips and numerous photos document Karl Richter’s growing success around the world.
His concert tours with the Bach-Choir and Orchestra, but also as a soloist on organ and cembalo led him into many European states, repeatedly into the (former) Soviet Union, to the USA, to Japan as well as regular to Brazil and Argentina.
Annual concerts at the Ansbach Bachwoche (until 1964)), the pre-Christmas concert in the Salzburg Festspielhaus as well as 25 years in the Stiftsbasilika Ottobeuren, were fixed obligations. His unexpected death on February 15th, 1981 shook the world of music. Karl Richter is buried at the cemetery Enzenbühl in Zurich (Switzerland).

In part 2 of the Karl Richter documentation ‚Bach-Choir und Bach-Orchestra’ (1 DVD, running time: 92 minutes; bilingually German / English) former members of the Bach-Choir and Bach-Orchestra and vocal soloists of the Karl Richter Era remember and tell about Karl Richter’s work with choir and orchestra. Thanks to a license from the ZDF it includes some footage (about 15 minutes) from the ZDF Documentation "Karl Richter and his Munich Bach-Choir" produced in 1967/68 and numerous clippings from live concerts.
The focuses of the first two chapters are: the Munich Bach-Choir, admission in the choir, choir tone, rehearsals and readiness. The third chapter deals with the Bach-Orchestra, soloist and the dress rehearsals. The fourth and final chapter brings back valuable memories from some of the numerous concert tours.

In part 3 of Karl Richter in Munich 'Fascination and Interpretation' (1 DVD, running time: 92 minutes; bilingually German / English) contains numerous excerpts from interviews made with contemporary witnesses of Karl Richter’s era, with former members of the Munich Bach-Choir and the Bach-Orchestra as well as "his" soloist singers (et al. Hertha Töpper, Edda Moser, Julia Hamari, Kieth Engen, Christian Kabitz and Paul Meisen), and presents an exceptionally vibrant picture of how Richter’s unique interpretations and the resulting music evoked the fascination of his listeners. Over 26 musical quotes (from live recordings), which help explain the interpretation and the fascination, that Karl Richter wielded over both musicians and audience and which has kept music lovers all over the world aroused and fascinated, even to this day.
Quite touching, that each of the questioned artists emphasizes the exceptional on Karl Richter, but everyone has seen or felt something else in it: charisma, suggestive strength, aura and intellectual energy which touches directly the heart and evokes deep emotion.
Where and how to buy the Karl-Richter-Trilogy
DVD Karl Richter in Munich - Soloists-Concerts-Tours
Part 1: Double-DVD, running time 135 minutes (German/English)
ISBN 978-3-00-019277-7
First released September 2006
DVD Karl Richter in Munich – Munich Bach-Choir and Bach Orchestra
Part 2: DVD, running time 92 minutes (German/English)
ISBN 978-3-00-020726-6
First released March 2007
DVD Karl Richter in Munich - Fascination and Interpretation
Part 3: DVD, running time 92 minutes (German/English)
ISBN 978-3-00-022647-2
First released November 2007
You can order this DVD by eMail. International Payment by PayPal is available.
Book documentation (German language)
Karl Richter in Muenchen (1951 - 1981)
- Zeitzeugen erinnern sich [contemporary witnesses remember]
Size 20 x 20 cm, 276 pages, 370 pictures (b/w)
ISBN 978-3-00-016864-8

The book has been published in autumn 2005. In two-year effortful work, Johannes Martin searched and finally tracked down almost all contemporary witnesses of the Munich era of Karl Richter’s still living (at this time) and interviewed many of them on tape about there memories of their encounter and time with Karl Richter.
The book (in German language) in the format 20 x 20 cm and 276 pages, contains about 370 photos (black and white) from the archives of the contemporary witnesses, the interviews and contributions of 36 contemporary witnesses (among them, Ursula Buckel, Ernst Haefliger, Hertha Töpper, Peter Schreier, Dietrich Fischer-Dieskau, Kieth Engen, Julia Hamari, Edda Moser, Aurèle Nicolet, Paul Meisen, Kurt Hausmann), a detailed appreciation of lives and work of Karl Richter’s as well as a chronicle of important data of the Munich Bach choir of the years 1951-1981.
Johannes Martin, an Ex-Bach-chorister from 1965 to 1970, together with many friends, former colleagues, artists as well as ardent admirers of Karl Richter’s music have worked intensively for the last three and a half years to produce this outstanding documentary. He collected, sorted out, amended and arranged numerous photos, film documents from private Standard 8 and Super8 films, film documents from the German public service broadcaster ZDF, audio clips from live concerts as well as clippings from more than thirty life-interviews with contemporary witnesses to portrait the life and work of Karl Richter and his outstanding position in Munich musical life and concert halls around the world, during his 30 years era from 1951 – 1981.
The film trilogy on DVD consists of three parts
Part 1 of Karl Richter in Munich ‘Soloists Concerts Tours’ comes on two DVD's (running time: 135 minutes; bilingually German / English). It recognizes the outstanding life and work of Karl Richter, the esteemed organist, harpsichordists and conductors, in Munich and the new Bach tradition created by him with the Munich Bach-Choir and Bach-Orchestra, which has inspired and fascinated so many music-lover and connoisseur around the world and still does today.
The film stretches a far bow from the first sensational concerts of the young Thomas-Organist at his new place of activity at St. Markus in Munich, to rapidly increasing engagements for concerts and tours with the Munich Bach-Choir and Bach-Orchestra and up to the numerous recordings, foremost the works of Bach and Handel.
Many clips and numerous photos document Karl Richter’s growing success around the world.
His concert tours with the Bach-Choir and Orchestra, but also as a soloist on organ and cembalo led him into many European states, repeatedly into the (former) Soviet Union, to the USA, to Japan as well as regular to Brazil and Argentina.
Annual concerts at the Ansbach Bachwoche (until 1964)), the pre-Christmas concert in the Salzburg Festspielhaus as well as 25 years in the Stiftsbasilika Ottobeuren, were fixed obligations. His unexpected death on February 15th, 1981 shook the world of music. Karl Richter is buried at the cemetery Enzenbühl in Zurich (Switzerland).
In part 2 of the Karl Richter documentation ‚Bach-Choir und Bach-Orchestra’ (1 DVD, running time: 92 minutes; bilingually German / English) former members of the Bach-Choir and Bach-Orchestra and vocal soloists of the Karl Richter Era remember and tell about Karl Richter’s work with choir and orchestra. Thanks to a license from the ZDF it includes some footage (about 15 minutes) from the ZDF Documentation "Karl Richter and his Munich Bach-Choir" produced in 1967/68 and numerous clippings from live concerts.
The focuses of the first two chapters are: the Munich Bach-Choir, admission in the choir, choir tone, rehearsals and readiness. The third chapter deals with the Bach-Orchestra, soloist and the dress rehearsals. The fourth and final chapter brings back valuable memories from some of the numerous concert tours.
In part 3 of Karl Richter in Munich 'Fascination and Interpretation' (1 DVD, running time: 92 minutes; bilingually German / English) contains numerous excerpts from interviews made with contemporary witnesses of Karl Richter’s era, with former members of the Munich Bach-Choir and the Bach-Orchestra as well as "his" soloist singers (et al. Hertha Töpper, Edda Moser, Julia Hamari, Kieth Engen, Christian Kabitz and Paul Meisen), and presents an exceptionally vibrant picture of how Richter’s unique interpretations and the resulting music evoked the fascination of his listeners. Over 26 musical quotes (from live recordings), which help explain the interpretation and the fascination, that Karl Richter wielded over both musicians and audience and which has kept music lovers all over the world aroused and fascinated, even to this day.
Quite touching, that each of the questioned artists emphasizes the exceptional on Karl Richter, but everyone has seen or felt something else in it: charisma, suggestive strength, aura and intellectual energy which touches directly the heart and evokes deep emotion.
Where and how to buy the Karl-Richter-Trilogy
DVD Karl Richter in Munich - Soloists-Concerts-Tours
Part 1: Double-DVD, running time 135 minutes (German/English)
ISBN 978-3-00-019277-7
First released September 2006
DVD Karl Richter in Munich – Munich Bach-Choir and Bach Orchestra
Part 2: DVD, running time 92 minutes (German/English)
ISBN 978-3-00-020726-6
First released March 2007
DVD Karl Richter in Munich - Fascination and Interpretation
Part 3: DVD, running time 92 minutes (German/English)
ISBN 978-3-00-022647-2
First released November 2007
You can order this DVD by eMail. International Payment by PayPal is available.
Book documentation (German language)
Karl Richter in Muenchen (1951 - 1981)
- Zeitzeugen erinnern sich [contemporary witnesses remember]
Size 20 x 20 cm, 276 pages, 370 pictures (b/w)
ISBN 978-3-00-016864-8
The book has been published in autumn 2005. In two-year effortful work, Johannes Martin searched and finally tracked down almost all contemporary witnesses of the Munich era of Karl Richter’s still living (at this time) and interviewed many of them on tape about there memories of their encounter and time with Karl Richter.
The book (in German language) in the format 20 x 20 cm and 276 pages, contains about 370 photos (black and white) from the archives of the contemporary witnesses, the interviews and contributions of 36 contemporary witnesses (among them, Ursula Buckel, Ernst Haefliger, Hertha Töpper, Peter Schreier, Dietrich Fischer-Dieskau, Kieth Engen, Julia Hamari, Edda Moser, Aurèle Nicolet, Paul Meisen, Kurt Hausmann), a detailed appreciation of lives and work of Karl Richter’s as well as a chronicle of important data of the Munich Bach choir of the years 1951-1981.
16. Mai 2008
Remembering the Era Karl Richter in Munich: Year 1980 und 1981 [EN]
In July 1980 Karl Richter, his Munich Bach-Choir and the Bach-Orchestra went to Ottobeuren for the last time.
Friedemann Winklhofer
I can remember Richter’s last Ottobeuren very well. On Sunday 20th July he conducted his last Mass in B-minor. At the traditional Organ concert the evening before, the Bach-Choir had in addition sung Motetten, including works from J .N. David and Z. Kodaly, which we had rehearsed together. I spent the whole day with him. It was a fantastic experience being able to eavesdrop while he played pieces from Reger and Messian on the two historical organs as well as on the big Marien-Organ.

Friedemann Winklhofer and Leonard Bernstein during the rehearsal for the Karl-Richter-Memorial concert
Prior P. Theodor Lutz
During the last years of his life Richter had repeatedly been preoccupied with presentiments of death. He had often spoken about these fears with a friend he stayed with during the Ottobeuren Concerts. His last concert in July 1980 was predominately made up of Organ music that had death as its theme. It is obvious that these forebodings that then became reality had long been present. I can remember Richter some time before this, having trouble with his eyes. After a successful eye-operation, he was so happy, that he came especially to Ottobeuren, to tell Abbot Vitalis, how grateful he was to be able to see properly again.

Prior P. Theodor during our interview on July 21, 2005 on the Dreifaltigkeits-Organ in Ottobeuren
A few days afterwards on 20th July in the Collegiate Church Karl Richter conducted his last Mass in B-Minor.
Claes H. Ahnsjoe
I don’t know, how many times I had sung the B-Minor Mass. It was the last performance in the summer of 1980. Many happy moments transpired there, the Benedictus or the Duet as well as all the other wonderful Arias that in his hands alone became formed and styled to an incredibly high standard.
Kieth Engen took part in the very last Christmas Oratorio, Part One, as he had done so often over the last 25 years.
Kieth Engen
Karl Richter’s dressing room was usually downstairs, because he always wanted to be the first to leave after the concert. And as fate would have it, at this last concert in the German Museum, for the first time I had to share this room with him. The very last Concert was the Christmas Oratorio. We hardly spoke a word to one another, after 25 years and he left so quickly that time. I didn’t even have the chance to say goodbye.

Kieth Engen during our interview on June 10, 2004
Aurèle Nicolet
I had the luck to be with him at the last concert of his life. We traveled as a Duo through many German towns. Frankfurt, Munich of course, Nuremberg, and in north Germany as well. The last Concert was in Wilhelmshafen. He was very tired. After the Concert I stayed in his room and ordered a beer. He said to me: "Aurèle, take a look in my suitcase, there is a piece of paper lying in there." And that piece of paper was a copy of Luther’s Testament. And we tried to translate it into French, and I can only remember the last sentence: 'We are all beggars'.

Aurèle Nicolet during our interview on March 3, 2005
Kieth Engen
Karl Richter died, aged 54, on Septuagesima Sunday. A sunny day but bitterly cold. It happened in Hotel Vierjahreszeiten in Munich. Next door in the 'Englische Garten' Dr. Weymar and his wife were taking a walk, they didn’t know he, was dying up there in his room. I was here, and when I heard, what had happened, I opened my motto book. These mottos and songs were always drawn up 3 years in advance. For 15th of February there was a song from Philipp Spitta: "On the day when he wants to speak, open your heart and be still. So that he with you his work can do, let the work of your hands rest so." For me that was somehow for Karl Richter. There was something eternal about his work and in his mastery and in what he had created with his Bach-Choir and the Bach Renaissance here in Munich; something unique, a magnificent period of time. We must, in spite of everything, get down on our knees and say thanks to the Lord, and to Karl Richter and to Johann Sebastian Bach.

Memorial tablet at the entrance of the Markus-Church in Munich
Karl Heckel
Karl Richter’s widow, Gladys Richter, a painter, in Erlenbach on Lake Zurich, where she and Richter had later bought a house, requested me, because I was nearby, if I would, as a Lutheran clergyman, conduct the burial service in lieu of the Pastor belonging to the established national church. I was more than happy to be able to render this last service to my master, and I must say audio tutor, because I had never attended any of his courses at the Academy.
I was understandably very nervous, at the idea of carrying out the funeral of this great man, which clergyman wouldn’t be. I spent a lot of time thinking about what kind of special gesture I could make to mark the funeral of someone so special. It crossed my mind that I owned a copy of the Peters edition of the Bach-Motetten, which I had sometimes used in the past, when I had sung Motetten with Richter. Some of these Motetten were distinctly Motetten for the dead. I thought to myself, I would sacrifice this book by throwing it into the grave for all to see as a sign, that one of the last great musicians to have understood and interpreted Bach has gone forever.

Grave of Karl Richter's at the cemetery Enzenbuehl, Zuerich
Karl Heckel
At the funeral service held for Karl Richter in the Markus-Church in Munich, I looked down from above onto his coffin, and felt, that a part of my young life had, together with him, been taken away from me. On my way out of the church I heard one elderly lady say to another: "Richter impressed me so much so, that I started going to church again. Thanks to him and to Bach’s Music I have found my way back to God."

Inscriptions cut on Karl Richter’s Gravestone
Friedemann Winklhofer
I can remember Richter’s last Ottobeuren very well. On Sunday 20th July he conducted his last Mass in B-minor. At the traditional Organ concert the evening before, the Bach-Choir had in addition sung Motetten, including works from J .N. David and Z. Kodaly, which we had rehearsed together. I spent the whole day with him. It was a fantastic experience being able to eavesdrop while he played pieces from Reger and Messian on the two historical organs as well as on the big Marien-Organ.
Friedemann Winklhofer and Leonard Bernstein during the rehearsal for the Karl-Richter-Memorial concert
Prior P. Theodor Lutz
During the last years of his life Richter had repeatedly been preoccupied with presentiments of death. He had often spoken about these fears with a friend he stayed with during the Ottobeuren Concerts. His last concert in July 1980 was predominately made up of Organ music that had death as its theme. It is obvious that these forebodings that then became reality had long been present. I can remember Richter some time before this, having trouble with his eyes. After a successful eye-operation, he was so happy, that he came especially to Ottobeuren, to tell Abbot Vitalis, how grateful he was to be able to see properly again.
Prior P. Theodor during our interview on July 21, 2005 on the Dreifaltigkeits-Organ in Ottobeuren
A few days afterwards on 20th July in the Collegiate Church Karl Richter conducted his last Mass in B-Minor.
Claes H. Ahnsjoe
I don’t know, how many times I had sung the B-Minor Mass. It was the last performance in the summer of 1980. Many happy moments transpired there, the Benedictus or the Duet as well as all the other wonderful Arias that in his hands alone became formed and styled to an incredibly high standard.
Kieth Engen took part in the very last Christmas Oratorio, Part One, as he had done so often over the last 25 years.
Kieth Engen
Karl Richter’s dressing room was usually downstairs, because he always wanted to be the first to leave after the concert. And as fate would have it, at this last concert in the German Museum, for the first time I had to share this room with him. The very last Concert was the Christmas Oratorio. We hardly spoke a word to one another, after 25 years and he left so quickly that time. I didn’t even have the chance to say goodbye.
Kieth Engen during our interview on June 10, 2004
Aurèle Nicolet
I had the luck to be with him at the last concert of his life. We traveled as a Duo through many German towns. Frankfurt, Munich of course, Nuremberg, and in north Germany as well. The last Concert was in Wilhelmshafen. He was very tired. After the Concert I stayed in his room and ordered a beer. He said to me: "Aurèle, take a look in my suitcase, there is a piece of paper lying in there." And that piece of paper was a copy of Luther’s Testament. And we tried to translate it into French, and I can only remember the last sentence: 'We are all beggars'.
Aurèle Nicolet during our interview on March 3, 2005
Kieth Engen
Karl Richter died, aged 54, on Septuagesima Sunday. A sunny day but bitterly cold. It happened in Hotel Vierjahreszeiten in Munich. Next door in the 'Englische Garten' Dr. Weymar and his wife were taking a walk, they didn’t know he, was dying up there in his room. I was here, and when I heard, what had happened, I opened my motto book. These mottos and songs were always drawn up 3 years in advance. For 15th of February there was a song from Philipp Spitta: "On the day when he wants to speak, open your heart and be still. So that he with you his work can do, let the work of your hands rest so." For me that was somehow for Karl Richter. There was something eternal about his work and in his mastery and in what he had created with his Bach-Choir and the Bach Renaissance here in Munich; something unique, a magnificent period of time. We must, in spite of everything, get down on our knees and say thanks to the Lord, and to Karl Richter and to Johann Sebastian Bach.
Memorial tablet at the entrance of the Markus-Church in Munich
Karl Heckel
Karl Richter’s widow, Gladys Richter, a painter, in Erlenbach on Lake Zurich, where she and Richter had later bought a house, requested me, because I was nearby, if I would, as a Lutheran clergyman, conduct the burial service in lieu of the Pastor belonging to the established national church. I was more than happy to be able to render this last service to my master, and I must say audio tutor, because I had never attended any of his courses at the Academy.
I was understandably very nervous, at the idea of carrying out the funeral of this great man, which clergyman wouldn’t be. I spent a lot of time thinking about what kind of special gesture I could make to mark the funeral of someone so special. It crossed my mind that I owned a copy of the Peters edition of the Bach-Motetten, which I had sometimes used in the past, when I had sung Motetten with Richter. Some of these Motetten were distinctly Motetten for the dead. I thought to myself, I would sacrifice this book by throwing it into the grave for all to see as a sign, that one of the last great musicians to have understood and interpreted Bach has gone forever.
Grave of Karl Richter's at the cemetery Enzenbuehl, Zuerich
Karl Heckel
At the funeral service held for Karl Richter in the Markus-Church in Munich, I looked down from above onto his coffin, and felt, that a part of my young life had, together with him, been taken away from me. On my way out of the church I heard one elderly lady say to another: "Richter impressed me so much so, that I started going to church again. Thanks to him and to Bach’s Music I have found my way back to God."
Inscriptions cut on Karl Richter’s Gravestone
8. Mai 2008
Remembering the Era Karl Richter in Munich: Year 1973 ff [EN]
Claes H. Ahnsjoe
In September 1973 I came to Munich to take up a permanent engagement at the Opera, although I had been there often enough for rehearsals, etc. A meeting had been arranged for me with Professor Richter. I made my way to the Academy, I was very nervous and excited, because I knew what an incredible personality he was. He showed me into a room with piano and asked: "Which music have you brought with you?" I answered: "Mass in B-minor, the Schoepfung and Johannes Passion". "Yes, Johannes Passion is good."

Claes H. Ahnsjoe during our interview on May 22, 2004
I had been told previously, that the Professor had very little time and that I should concentrate on a few recitatives and one aria. I began with the first recitative and went on and on. After about a quarter of an hour he cut me short and said: "You know if you breathe here a bit earlier, we can see what happens, and then we can do it all over again." I did just as he had said and then he stopped playing, looked at me and said: "Yes my dear friend, that’s how it works."

Claes H. Ahnsjoe in Paris 1981
In 1975 Bach’s Matthews-Passion was performed in the Stiftsbasilika, Julia Hamari sang contralto.
1976 The Stabat Mater from Antonin Dvořák was on the program for Ottobeuren. One year earlier Richter had presented this impressive work in Munich. Beside Julia Hamari and Wolfgang Brendel, Peter Schreier and Edda Moser also took part.
Friedemann Winklhofer
I have always had pleasure in playing the Basso continuo; even during my school years it was a very special love of mine. And I had always liked the way Karl Richter played the continuo, I had filtered this out of the many Gramophone Records available. My biggest wish all through the years was to play one time with Karl Richter, a rather difficult wish, because he only let his own pupils play on the continuo. Otto Buechner and many others had often said to him: "Take Winklhofer, he plays very well." To which he had always replied: "I know that, but he is not my student."

Friedemann Winklhofer during our interview on August 1, 2005
Then came my 26th birthday in 1977, to which I had treated myself to a concert in Innsbruck featuring the Bach-Orchestra. When I arrived, I was told to go at once to Professor Richter, Richter asked me, if I would be able to play the B-minor Mass in Schaffhausen at the Bach-Woche in May. "Of course I can", I replied, "that is a very nice birthday present", which pleased him as well.

Friedemann Winklhofer in the 80’s
In September 1973 I came to Munich to take up a permanent engagement at the Opera, although I had been there often enough for rehearsals, etc. A meeting had been arranged for me with Professor Richter. I made my way to the Academy, I was very nervous and excited, because I knew what an incredible personality he was. He showed me into a room with piano and asked: "Which music have you brought with you?" I answered: "Mass in B-minor, the Schoepfung and Johannes Passion". "Yes, Johannes Passion is good."
Claes H. Ahnsjoe during our interview on May 22, 2004
I had been told previously, that the Professor had very little time and that I should concentrate on a few recitatives and one aria. I began with the first recitative and went on and on. After about a quarter of an hour he cut me short and said: "You know if you breathe here a bit earlier, we can see what happens, and then we can do it all over again." I did just as he had said and then he stopped playing, looked at me and said: "Yes my dear friend, that’s how it works."
Claes H. Ahnsjoe in Paris 1981
In 1975 Bach’s Matthews-Passion was performed in the Stiftsbasilika, Julia Hamari sang contralto.
1976 The Stabat Mater from Antonin Dvořák was on the program for Ottobeuren. One year earlier Richter had presented this impressive work in Munich. Beside Julia Hamari and Wolfgang Brendel, Peter Schreier and Edda Moser also took part.
Friedemann Winklhofer
I have always had pleasure in playing the Basso continuo; even during my school years it was a very special love of mine. And I had always liked the way Karl Richter played the continuo, I had filtered this out of the many Gramophone Records available. My biggest wish all through the years was to play one time with Karl Richter, a rather difficult wish, because he only let his own pupils play on the continuo. Otto Buechner and many others had often said to him: "Take Winklhofer, he plays very well." To which he had always replied: "I know that, but he is not my student."
Friedemann Winklhofer during our interview on August 1, 2005
Then came my 26th birthday in 1977, to which I had treated myself to a concert in Innsbruck featuring the Bach-Orchestra. When I arrived, I was told to go at once to Professor Richter, Richter asked me, if I would be able to play the B-minor Mass in Schaffhausen at the Bach-Woche in May. "Of course I can", I replied, "that is a very nice birthday present", which pleased him as well.
Friedemann Winklhofer in the 80’s
6. Mai 2008
Remembering the Era Karl Richter in Munich: Year 1971 ff [EN]
In these three decades of Karl Richter’s era in Munich, the concert tours with and without the Munich Bach-Choir and Bach-Orchestra had increased and multiplied not only within Europe, but also in far away countries such as Brazil, Argentina, the USA and Japan.
Anna Reynolds
I can’t remember all the Concert tours very well; it was not very nice in the very beginning. The plane was late and we didn’t land in Washington until around midnight and then had to sing on the next day. What I can remember is a trip from New York to Princeton, we had hired a car and Kieth Engen was driving. It was late September and I saw for the first time these incredible forests of Maple trees. It was a wonderful autumn day filled with sunshine, it was very beautiful.

Anna Reynolds during our interview on August 1, 2004
Horst Laubenthal
I was once in Buenos Aires with Richter. We performed the 'Missa solemnis' from Beethoven, the Matthew-Passion and the opera Xerxes from Handel. He conducted the Opera and it was very, very exciting: for three or four weeks we lived in very cramped quarters together with the director. Richter was always present at rehearsals. It was very exciting for us to see him, the absolute concert conductor standing at the podium of, for that time, the biggest Opera house in the world. We, on stage, were often 20 to 30 meters away from him and we really had to pay attention.

Horst Laubenthal during our interview on October 24, 2004
Johannes Fink and Edda Moser
Once a cellist or someone who played the Bass viol was so off-key that John van Kesteren gave him a disparaging look, whereupon the cellist went at van Kesteren with a knife. Richter of course disappeared immediately, thinking there was going to be a knifing. Then there was nothing else for it but to have Johannes Fink flown in. The cellist was anything else but reliable, and at one point or other during a break Richter said either to himself or to John van Kesteren: “ you can only hear him, when he plays in the interval”. Unfortunately the Cellist was one of the few who could understand German, and he of course felt his honor had been offended. There was a lot of excitement and a huge row, ending with the removal of the Cellist from the Orchestra, and that is why Johannes Fink was flown in.

Edda Moser during our interview on July 26, 2004
A fixed program event was and remained Ottobeuren. Every year in summer great musical works for Choir and Orchestra were performed, as well as the traditional Organ concert, which took place on the eve of the event itself. Here many an Oratorio from Georg Friedrich Handel could be enjoyed: Judas Makkabaeus, Samson, Belsazar, the Messiahs and Israel in Egyptian in addition to Mozart’s Requiem. Hayden’s Schoepfung, Mendelssohn’s Elias, Bach’s Passions as well as the high Mass in B-minor could also be heard.
Elmar Schloter
For the big concerts in Ottobeuren, the organ builder Albrecht Deininger always brought a Continuo-Organ with him. And then we knew, what was in store for us. But there were other situations, when the Dreifaltigkeits-Organ was to be played. The Dreifaltigkeits-Organ has an old tuning, meaning a half a note lower. I then had to play the complete Continuo half a note higher.

Dreifaltigkeits-Organ at the Basilica Ottobeuren
The problem with both of these historical organs in Ottobeuren, on the right the Dreifaltigkeits-Organ, on the left the Heiliggeist-Organ, was that in those days there was no standard keyboard. That meant that the keys were either pretty broad or pretty narrow, and the pedals were cramped and short, it really meant getting into practice to be able play at an organ Concert. And Richter really knew how to do just that excellently. I often used to wonder how he in such a short time and on such an organ was able to deliver the concerts that he did. He was truly a virtuoso.

Heiliggeist-Orgel at the Basilica Ottobeuren
Edda Moser
Of course Richter grew up in the great tradition of the Kreuzchor in Dresden, but Mendelssohn suited him better. The sweetness of the music and the immense drama of the choir, that satisfied him, he could really live out his feelings. He had done this with Bach in such a way that one had the feeling it could not have been done better, but when he conducted Mendelssohn or the Missa Solemnis from Beethoven, it was as though other resources deep within him started to flow.

Edda Moser and Karl Richter in Paris 1974
Anna Reynolds
I can’t remember all the Concert tours very well; it was not very nice in the very beginning. The plane was late and we didn’t land in Washington until around midnight and then had to sing on the next day. What I can remember is a trip from New York to Princeton, we had hired a car and Kieth Engen was driving. It was late September and I saw for the first time these incredible forests of Maple trees. It was a wonderful autumn day filled with sunshine, it was very beautiful.
Anna Reynolds during our interview on August 1, 2004
Horst Laubenthal
I was once in Buenos Aires with Richter. We performed the 'Missa solemnis' from Beethoven, the Matthew-Passion and the opera Xerxes from Handel. He conducted the Opera and it was very, very exciting: for three or four weeks we lived in very cramped quarters together with the director. Richter was always present at rehearsals. It was very exciting for us to see him, the absolute concert conductor standing at the podium of, for that time, the biggest Opera house in the world. We, on stage, were often 20 to 30 meters away from him and we really had to pay attention.
Horst Laubenthal during our interview on October 24, 2004
Johannes Fink and Edda Moser
Once a cellist or someone who played the Bass viol was so off-key that John van Kesteren gave him a disparaging look, whereupon the cellist went at van Kesteren with a knife. Richter of course disappeared immediately, thinking there was going to be a knifing. Then there was nothing else for it but to have Johannes Fink flown in. The cellist was anything else but reliable, and at one point or other during a break Richter said either to himself or to John van Kesteren: “ you can only hear him, when he plays in the interval”. Unfortunately the Cellist was one of the few who could understand German, and he of course felt his honor had been offended. There was a lot of excitement and a huge row, ending with the removal of the Cellist from the Orchestra, and that is why Johannes Fink was flown in.
Edda Moser during our interview on July 26, 2004
A fixed program event was and remained Ottobeuren. Every year in summer great musical works for Choir and Orchestra were performed, as well as the traditional Organ concert, which took place on the eve of the event itself. Here many an Oratorio from Georg Friedrich Handel could be enjoyed: Judas Makkabaeus, Samson, Belsazar, the Messiahs and Israel in Egyptian in addition to Mozart’s Requiem. Hayden’s Schoepfung, Mendelssohn’s Elias, Bach’s Passions as well as the high Mass in B-minor could also be heard.
Elmar Schloter
For the big concerts in Ottobeuren, the organ builder Albrecht Deininger always brought a Continuo-Organ with him. And then we knew, what was in store for us. But there were other situations, when the Dreifaltigkeits-Organ was to be played. The Dreifaltigkeits-Organ has an old tuning, meaning a half a note lower. I then had to play the complete Continuo half a note higher.
Dreifaltigkeits-Organ at the Basilica Ottobeuren
The problem with both of these historical organs in Ottobeuren, on the right the Dreifaltigkeits-Organ, on the left the Heiliggeist-Organ, was that in those days there was no standard keyboard. That meant that the keys were either pretty broad or pretty narrow, and the pedals were cramped and short, it really meant getting into practice to be able play at an organ Concert. And Richter really knew how to do just that excellently. I often used to wonder how he in such a short time and on such an organ was able to deliver the concerts that he did. He was truly a virtuoso.
Heiliggeist-Orgel at the Basilica Ottobeuren
Edda Moser
Of course Richter grew up in the great tradition of the Kreuzchor in Dresden, but Mendelssohn suited him better. The sweetness of the music and the immense drama of the choir, that satisfied him, he could really live out his feelings. He had done this with Bach in such a way that one had the feeling it could not have been done better, but when he conducted Mendelssohn or the Missa Solemnis from Beethoven, it was as though other resources deep within him started to flow.
Edda Moser and Karl Richter in Paris 1974
um
09:06
Labels:
1-English,
Anna Reynolds,
Edda Moser,
Elmar Schloter,
Horst Laubenthal,
Japan,
John van Kesteren
30. April 2008
Remembering the Era Karl Richter in Munich: Year 1970 ff [EN]
Anna Reynolds from England was along with Julia Hamari (born in Budapest) Karl Richter’s most important contralto in the seventies.
Anna Reynolds
The first time I met Karl Richter was in Vienna in 1970. I’d had a concert there with Josef Krips. After the concert Karl Richter who I did not know at all, came to my dressing room and said: “I’m Richter, that was very good” and then went off again. I hadn’t said one single word. Many years later I asked him, why he had come to the concert and he answered, “Certainly not to listen to Krips”!

Anna Reynolds
The first concert I sang with him was in June 1971. A Cantata evening at the Bach Festival in Munich and it was 'Brich dem Hungrigen dein Brot'. For me it was wonderful, I had never worked with anyone like him before. Of all the things I did it for him, above all, it was working together with him, that I particularly enjoyed the most. He never needed to say much, hardly made a gesture; just a small movement of his hand, and one understood him implicitly. There was a “rapport”, an alliance between us. I loved to sing and I always sang with him if I could. It hardly ever happened, that I could not come when he asked me to, thank God, otherwise he maybe would not have engaged me again.

Karl Richter, Elisabeth Speiser and Anna Reynolds (right)
In July 1970 the Archive Production of the Deutsche Grammophon Company decided to lunch a large Cantata cycle project with altogether 75 Bach Cantatas, in which earlier recordings would be integrated. A cantata for each Sunday of the church year, Edith Mathis sang soprano in all the new productions, Julia Hamari or Anna Reynolds Contralto, the Tenor was always Peter Schreier, and Dieter Fischer-Dieskau sang Baritone.
Anna Reynolds
We made the recordings I think in September. I had a lot of performances there and in some years 15 performances in one month. It was always smaller pieces: no big ones, but I can remember very well, that every morning, when I had to sing Wagner in the afternoon, I practiced Bach for the Grammophon records later on. And that was a very good preparation for Wagner.

Julia Hamari
Julia Hamari
I love one of these Cantatas dearly, with the Aria 'Wie furchtsam wankten meine Schritte'. And the way I had sung it, I suddenly thought oh my goodness, I won’t be able to sing like that now. Richter had adopted an unbelievably slow tempo, I had to take breath in until, I thought my lungs must burst. But I did it staring at him the whole time, I had to sing off by heart, otherwise it would have been absolutely impossible. Then everyone looked at me, and the Orchestra started to applaud. I went up into the studio rooms, my arms stretched out away from me; I’d really expanded my lungs with this slow tempo.
Suddenly Richter appeared behind me and said: “It was pretty slow, wasn’t it?” I turned around and asked: “Isn’t that what you wanted?” “Of course not! Now you’ll get the right Tempo and everything will be fine.”

Dietrich Fischer-Dieskau, Karl Richter and Kurt Guntner checking the recordings
Anna Reynolds
The first time I met Karl Richter was in Vienna in 1970. I’d had a concert there with Josef Krips. After the concert Karl Richter who I did not know at all, came to my dressing room and said: “I’m Richter, that was very good” and then went off again. I hadn’t said one single word. Many years later I asked him, why he had come to the concert and he answered, “Certainly not to listen to Krips”!
Anna Reynolds
The first concert I sang with him was in June 1971. A Cantata evening at the Bach Festival in Munich and it was 'Brich dem Hungrigen dein Brot'. For me it was wonderful, I had never worked with anyone like him before. Of all the things I did it for him, above all, it was working together with him, that I particularly enjoyed the most. He never needed to say much, hardly made a gesture; just a small movement of his hand, and one understood him implicitly. There was a “rapport”, an alliance between us. I loved to sing and I always sang with him if I could. It hardly ever happened, that I could not come when he asked me to, thank God, otherwise he maybe would not have engaged me again.
Karl Richter, Elisabeth Speiser and Anna Reynolds (right)
In July 1970 the Archive Production of the Deutsche Grammophon Company decided to lunch a large Cantata cycle project with altogether 75 Bach Cantatas, in which earlier recordings would be integrated. A cantata for each Sunday of the church year, Edith Mathis sang soprano in all the new productions, Julia Hamari or Anna Reynolds Contralto, the Tenor was always Peter Schreier, and Dieter Fischer-Dieskau sang Baritone.
Anna Reynolds
We made the recordings I think in September. I had a lot of performances there and in some years 15 performances in one month. It was always smaller pieces: no big ones, but I can remember very well, that every morning, when I had to sing Wagner in the afternoon, I practiced Bach for the Grammophon records later on. And that was a very good preparation for Wagner.
Julia Hamari
Julia Hamari
I love one of these Cantatas dearly, with the Aria 'Wie furchtsam wankten meine Schritte'. And the way I had sung it, I suddenly thought oh my goodness, I won’t be able to sing like that now. Richter had adopted an unbelievably slow tempo, I had to take breath in until, I thought my lungs must burst. But I did it staring at him the whole time, I had to sing off by heart, otherwise it would have been absolutely impossible. Then everyone looked at me, and the Orchestra started to applaud. I went up into the studio rooms, my arms stretched out away from me; I’d really expanded my lungs with this slow tempo.
Suddenly Richter appeared behind me and said: “It was pretty slow, wasn’t it?” I turned around and asked: “Isn’t that what you wanted?” “Of course not! Now you’ll get the right Tempo and everything will be fine.”
Dietrich Fischer-Dieskau, Karl Richter and Kurt Guntner checking the recordings
24. April 2008
Remembering the Era Karl Richter in Munich: Year 1969 ff. [EN]
Numerous ZDF/Unitel film productions, as well as many organ concerts and Georg Friedrich Handel’s Feuerwerksmusik, recorded in the new Schloss Schleissheim, affected the years between 1967 and 1971. Pieces for Cembalo and Organ were produced in Ottobeuren. The Marienmuenster in Diessen in Ammersee was an ideal setting for the recording of Bach’s High Mass in B-minor, featuring the soloists Gundula Janowitz, Hertha Toepper, Horst Laubenthal and Hermann Prey.

Marienmuenster Diessen, the Lake Ammersee
Elmar Schloter
For these television recordings, Karl Richter wanted a very special organ sound in certain passages, a sound he could not be produced on the continuo. We decided to fall back on the church organ in Diessen and recorded different sequences with this organ in the background. That worked out very well, because the church was not so big. For example in the B-minor Mass, at the Confiteor, where only the continuo and the choir were fairly present, this whole sequence was recorded on the Diessen Church Organ.

Elmar Schloter playing the Continuo-Organ in Diessen
These Recordings as well as the Johannes Passion, which had been recorded in Diessen, at the same time with Peter Schreier as Evangelist, Ernst-Gerold Schramm as Christus, together with the soloists Helen Donath, Julia Hamari, Siegmund Nimsgern and Kieth Engen were digitally transferred and published on DVD in 2006.
The Brandenburg Concertos, recorded at Schloss Schleissheim, are in the meantime available on DVD, as well as Bach’s Matthews Passion, which was dramatically staged in the Bavaria Studios in Munich Geiselgasteig again featuring the soloists Helen Donath, Julia Hamari, Peter Schreier, Ernst-Gerold Schramm and Siegmund Nimsgern, the Bass part was sung by Walter Berry.

Ernst-Gerold Schramm and Siegmund Nimsgern
Siegmund Nimsgern
If you ask me other colleagues had been primarily intended, the engagement happened very quickly and only the 'bad men' came for me in question. Kieth Engen and Walter Berry had the Bass arias, they were essentially established people. Of course I would have liked to have sung the really important parts, although I must say: Pilatus in the Johannes Passion, if you count the notes and not the importance of the role, has almost more to say than Jesus. And that is a very good figure. He is the one who says the only phrase that most people remember from the Passions at all: 'WHAT IS TRUTH'

Siegmund Nimsgern and Karl Richter amidst Chor and Orchester
Julia Hamari
The Matthews Passion was in the Bavarian Film Studios, I can remember this huge Studio. And we had to sing properly. There was no Playback, we had to sing. And he stood there and as I opened my mouth for the first time, I thought, I didn’t have much of a voice. But then I got used to it: I hear so much - and I sing so much - nothing more. And when I had sung the aria for the first time, the directors’ voice came over the loud speaker: "You sang that fantastically, Hamari!"

Julia Hamari and Helen Donath in Geiselgasteig
Marienmuenster Diessen, the Lake Ammersee
Elmar Schloter
For these television recordings, Karl Richter wanted a very special organ sound in certain passages, a sound he could not be produced on the continuo. We decided to fall back on the church organ in Diessen and recorded different sequences with this organ in the background. That worked out very well, because the church was not so big. For example in the B-minor Mass, at the Confiteor, where only the continuo and the choir were fairly present, this whole sequence was recorded on the Diessen Church Organ.
Elmar Schloter playing the Continuo-Organ in Diessen
These Recordings as well as the Johannes Passion, which had been recorded in Diessen, at the same time with Peter Schreier as Evangelist, Ernst-Gerold Schramm as Christus, together with the soloists Helen Donath, Julia Hamari, Siegmund Nimsgern and Kieth Engen were digitally transferred and published on DVD in 2006.
The Brandenburg Concertos, recorded at Schloss Schleissheim, are in the meantime available on DVD, as well as Bach’s Matthews Passion, which was dramatically staged in the Bavaria Studios in Munich Geiselgasteig again featuring the soloists Helen Donath, Julia Hamari, Peter Schreier, Ernst-Gerold Schramm and Siegmund Nimsgern, the Bass part was sung by Walter Berry.
Ernst-Gerold Schramm and Siegmund Nimsgern
Siegmund Nimsgern
If you ask me other colleagues had been primarily intended, the engagement happened very quickly and only the 'bad men' came for me in question. Kieth Engen and Walter Berry had the Bass arias, they were essentially established people. Of course I would have liked to have sung the really important parts, although I must say: Pilatus in the Johannes Passion, if you count the notes and not the importance of the role, has almost more to say than Jesus. And that is a very good figure. He is the one who says the only phrase that most people remember from the Passions at all: 'WHAT IS TRUTH'
Siegmund Nimsgern and Karl Richter amidst Chor and Orchester
Julia Hamari
The Matthews Passion was in the Bavarian Film Studios, I can remember this huge Studio. And we had to sing properly. There was no Playback, we had to sing. And he stood there and as I opened my mouth for the first time, I thought, I didn’t have much of a voice. But then I got used to it: I hear so much - and I sing so much - nothing more. And when I had sung the aria for the first time, the directors’ voice came over the loud speaker: "You sang that fantastically, Hamari!"
Julia Hamari and Helen Donath in Geiselgasteig
