Richter, Ferdinand Tobias, baptized 22 July 1651 Würzburg, †3 November 1711 Vienna, Austrian composer and organist of German origin. He was probably taught by his father, Tobias Richter (†1682), Kapellmeister to the Elector of Mainz, and by his godfather, P.F. Buchner, Kapellmeister to the Archbishop of Würzburg. Between 1675 and 1679, Richter served as organist and, from June 1676, also directed the boys’ choir at the Cistercian abbey in Heiligenkreuz (Lower Austria). From July 1683 until the end of his life, he was the organist (after A. Poglietti) at the court of Emperor Leopold I in Vienna. In 1690, he also became the first organist of the imperial chapel and from 1692, he was the teacher of the imperial children (including the future emperors Joseph I and Charles VI). Richter was a teacher to many German organists who came to Vienna specifically for this purpose. J. Pachelbel recognized Richter as the most outstanding representative of the South German organ school in his Hexachordum Apollinis (Nuremberg, 1699). Richter’s students included C.D. Draghi and J.G.Ch. Störl.
Richter was one of the most outstanding imperial musicians of his era. At the Habsburg court, he was valued not only for his skill in playing keyboard instruments, but also for his music for stage works and oratorios.
Suites dominate his keyboard works; the dances are preceded by virtuoso preludes and elaborate fugues, and sometimes concluded with a showy passacaglia. The influence of J. Froberger and A. Poglietti is evident in these works. In many cases, the use of textural and expressive contrasts and the drawing on operatic stylistics foreshadow the works of Richter’s successors, J. Fux and Th. Muffat. The sonatas and balletti for instrumental ensembles continue the tradition of A. Bertali, J. Schmelzer, and A. Poglietti.
The music for the plays staged at Jesuit colleges in Vienna and Linz stands out from other works of this type due to its artistic qualities, good sense of dramatic action, and saturation with operatic stylistics. These works consist of arias, recitatives, and duets, as well as instrumental interludes, dances, and ballets, with madrigal choruses closing the scenes. The oratorios are constructed in a similar way; the instrumental introduction to S. Ermenegildo, in the form of a concerto grosso, deserves special attention. In his liturgical works, Richter skillfully employed concertante and fugal techniques. Two serenades, composed to celebrate the birthdays of Archduchess Eleonora (L’istro ossequioso) and Leopold I (Le promesse degli Dei), containing graceful instrumental dance interludes, are examples of typical occasional works.
Literature: A. Gottron Zur Biographie Ferdinand Tobias Richters und Johann Ignaz Clausecks, “Die Musikforschung” XX, 1967; C.D. Harris Viennese Keyboard Music at Mid-Baroque, “Diapason” LX, 1968/69; C.D. Harris Problems in editing harpsichord music: Suite in D by Ferdinand Tobias Richter (1649–1711) in: Notations and editions: A book in honor of Louise Cuyler, ed. E. Borroff, Dubuque 1974; M. Eberhardt Das Clavierwerk des Wiener Hoforganisten Ferdinand Tobias Richter (1651–1711): Biographie und Analyse, Edition der Quellen im Faksimile, Passau 2011; M. Eberhardt Musik als habsburgische Propaganda: Ferdinand Tobias Richters Jesuitendrama Altera Bethlehem (Linz 1684) in: Studien zur Barockmusik im bayerisch-österreichischen Donauraum, ed. M. Eberhardt, Stuttgart 2015.
