Johann David Heinichen

Mixed chorus
String ensemble
Religious music
Secular cantatas
Sacred cantatas
Sacred hymns
by popularity


26 Cantatas, D-Dl Mus.2398-I-13 Lamentationes Jeremiae in Coena Domini, S.71-7331 Cantatas, D-Dl Mus.2398-I-2


Alma redemptoris Mater, S.22Alma redemptoris Mater, S.23Anweisung zu vollkommener Erlernung des General-BassesAscolta Eurillo ascolta e datti pace, S.176Ave maris stella, S.59Ave regina, S.24


Bassoon Sonata in D majorBeati omnes in G minor, S.25Beatus vir, S.26Beatus vir, S.27Beatus vir, S.28Bella se pur gradite, S.191


Calfurnia, S.121Cantata al Sepolcro di nostro Signore, S.29Cantata al sepolcro di nostro signore, S.30Concerto for 2 Horns in F major, S.231Concerto for 2 Oboes in E minor, S.222Concerto for 2 Oboes in F major, S.230Concerto for Flute and Oboe in G minor, S.238Concerto for Oboe and Violin in C minor, S.240Concerto for Oboe and Violin in G major, S.245Concerto in C major, S.211Concerto in D major, S.226Concerto in F major, S.232Concerto in F major, S.233Concerto in F major, S.234Concerto in F major, S.235Concerto in G major, S.213Concerto in G major, S.214Concerto in G major, S.215Concerto in G major, S.217Confitebor tibi Domine, S.31Confitebor tibi Domine, S.32Confitebor tibi Domine, S.33Credidi propter quod locutus sum, S.34Crudelis Herodes Deum, S.62


D'amante sventurato, S.188De profundis, S.35Decora lux aeternitatis, S.57Delizie del mio core, S.173Der General-Bass in der CompositionDer Herr ist naheDer Segen des HerrnDixit Dominus in F major, S.45Dixit Dominus, S.44Dixit Dominus, S.46Dixit Dominus, S.47Dixit Dominus, S.48Domine Jesu Christe in A minor, S.100Domine probasti me, S.49Dove fiorito impero, S.158


Es naheten aber zu Jesu allerlei Zöllner und Sünder


Fantasia durch alle Tonarten gehendFlavio Crispo, S.120Flute Concerto in D major, S.225Flute Sonata in D major, S.260


Gelobet sei der Herr der Gott Israel


Haec dies quam fecit Dominus, S.56


In convertendo, S.63In exitu Israel, S.64In exitu Israel, S.65Iste confessor in G minor


Jesu redemptor omnium, S.60


La bella fiamma ò Tirsi, S.183Là dove in grembo al colle, S.137La pace di Kamberga, S.19Laetatus sum, S.69Laetatus sum, S.70Laß dich's nicht irrenLauda Jerusalem, S.78Lauda Jerusalem, S.79Lauda Jerusalem, S.80Laudate Dominum, S.83Laudate pueri, S.81Laudate pueri, S.82Laudate pueri, S.84Le nozze di Nettuno e di Teti, S.203Leggi bell'idol mio, S.154Litania pro Festo Corporis Domini, S.86Litania pro Festo Corporis Domini, S.88Litania pro Festo San Francesco Xaverii, S.85Litania pro Festo San Francesco Xaverii, S.87Lobe den Herrn meine SeeleLuci voi siete quelle, S.184


Mag auch ein Blinder den Weg weisenMagnificat in A major, S.90Magnificat in B-flat major, S.93Magnificat in B-flat major, S.94Magnificat in B-flat major, S.95Magnificat in E-flat major, S.96Magnificat in F major, S.91Magnificat in F major, S.92Magnificat in G major, S.89Memento Domine David, S.97Mia Climene adorata, S.150Mio cor amante dimmi perchè, S.179Missa in D major, S.10Missa in D major, S.2Missa in D major, S.3Missa in D major, S.4Missa in D major, S.5Missa in D major, S.6Missa in D major, S.7Missa in D major, S.8Missa in D major, S.9Missa in F major, S.11Missa in F major, S.12Missa in F major, S.13Missa in F major, S.14Mitilde mio tesor così veloce, S.160Musica da tavola per il giorno del nome di Federico Augusto, S.267


Nisi Dominus, S.98Nisi Dominus, S.99


O beato quel giorno, S.178O deluse speranze, o fè tradita, S.169Oboe Concerto in A minor, S.212Oboe Concerto in C minorOboe Concerto in G major, S.216Oboe Concerto in G minor, S.237Oboe Sonata in F major, S.263Oboe Sonata in G minor, S.265Or che stanco, S.182Oratorio todesco al sepolcro santo, S.20Ouverture-Suite in G major, S.205


Pange lingua in D minor, S.61Parto a te menzogniero, S.175Pastorale per la Notte di Natale, S.242Per svegliar nove fiamme, S.143


Quis ascendet in montem Domini, S.21


Regina caeli, S.101Regina caeli, S.102Requiem in C major, S.17Requiem in E-flat major, S.18Ruscelletto che vai scherzando, S.166


Se mai Tirsi mio bene, S.180Sedea Fileno un giorno, S.155Selve amene, antri ombrosi, S.185Serenata di Moritzburg, S.204Serenata nel giardino cinese, S.201Serenata sull'Elba, S.200Sinfonia in A major, S.208Sinfonia in D major, S.207Sinfonia in F major, S.209Sinfonia in F major, S.210Sonata for Oboe and Bassoon in C minor, S.277Sonata in B-flat major, S.257Sonata in D major, S.253Sonata in F major, S.255Sonata in G major, H.3.17


Te Deum laudamus, S.118Te Deum, S.116Te Deum, S.117Te Joseph celebrent, S.58Tormento dell'alma, S.172Trio Sonata in B-flat majorTrio Sonata in C minor, S.254Trio Sonata in C minor, S.258Trio Sonata in C minor, S.259Trio Sonata in F major, S.256Trio Sonata in G major, S.243Trio Sonata in G major, S.246Trio Sonata in G major, S.252Tu mi chiedi s'io t'amo, S.146


Veni creator spiritus, S.62Violin Concerto in A minorViolin Concerto in D major, S.224Violin Sonata in C minor, S.266


Zeffiro e Clori, S.202
Johann David Heinichen (17 April 1683 – 16 July 1729) was a German Baroque composer and music theorist who brought the musical genius of Venice to the court of Augustus II the Strong in Dresden. After he died, Heinichen's music attracted little attention for many years.
Johann David Heinichen was born in the small village of Krössuln (currently part of the town Teuchern, in Saxony-Anhalt) near Weissenfels. His father, Michael Heinichen, had studied music at the celebrated Thomasschule Leipzig associated with the Thomaskirche, served as cantor in Pegau and was pastor of the village church in Krössuln. Johann David also attended the Thomasschule Leipzig. There he studied music with Johann Schelle and later received organ and harpsichord lessons with Johann Kuhnau. The future composer Christoph Graupner was also a student of Kuhnau at the time.
Heinichen enrolled in 1702 to study law at the University of Leipzig and in 1705–1706 qualified as a lawyer (in the early 18th century the law was a favored route for composers; Kuhnau, Graupner and Georg Philipp Telemann were also lawyers). Heinichen practiced law in Weissenfels until 1709.
However, Heinichen maintained his interest in music and was concurrently composing operas. In 1710, he published the first edition of his major treatise on the thoroughbass. He went to Italy and spent seven formative years there, mostly in Venice, with great success with two operas, Mario and Le passioni per troppo amore (1713). Mario was staged again in Hamburg in 1716 with the German title, Calpurnia, oder die romische Grossmut.
In 1712, he taught music to Leopold, Prince of Anhalt-Köthen, who took him as composer. The same prince would appoint Johann Sebastian Bach Kapellmeister at the end of 1717. In 1716, Heinichen met in Venice Prince Augustus III of Poland, son of King Augustus II the Strong, and thanks to him was appointed the Royal-Polish and Electoral-Saxon Kapellmeister in Dresden. His pupils included Johann Georg Pisendel. In 1721, Heinichen married in Weissenfels; the birth of his only child is recorded as January 1723. In his final years, Heinichen's health suffered greatly; on the afternoon of 16 July 1729, he was buried in the Johannes cemetery after finally succumbing to tuberculosis.
His music began to be better known after 1992 when Musica Antiqua Köln under Reinhard Goebel recorded a selection of Dresden Concerti (Seibel 204, 208, 211, 213–215, 217, 226, 231–235, 240), followed by a recording of Heinichen's Lamentationes and Passionsmusik (1996). His sole opera for Dresden, Flavio Crispo (1720), was never performed and was not recorded until 2018.