Johann David Heinichen
Compositions for: Soprano
#
31 Cantatas, D-Dl Mus.2398-I-2A
Ascolta Eurillo ascolta e datti pace, S.176Ave maris stella, S.59Ave regina, S.24B
Beati omnes in G minor, S.25Beatus vir, S.27Beatus vir, S.28Bella se pur gradite, S.191C
Cantata al Sepolcro di nostro Signore, S.29Cantata al sepolcro di nostro signore, S.30Confitebor tibi Domine, S.31Confitebor tibi Domine, S.32Confitebor tibi Domine, S.33Credidi propter quod locutus sum, S.34Crudelis Herodes Deum, S.62D
D'amante sventurato, S.188Decora lux aeternitatis, S.57Delizie del mio core, S.173Der Herr ist naheDer Segen des HerrnDixit Dominus in F major, S.45Dixit Dominus, S.46Dixit Dominus, S.48Domine Jesu Christe in A minor, S.100Domine probasti me, S.49Dove fiorito impero, S.158E
Es naheten aber zu Jesu allerlei Zöllner und SünderF
Flavio Crispo, S.120G
Gelobet sei der Herr der Gott IsraelH
Haec dies quam fecit Dominus, S.56I
In convertendo, S.63In exitu Israel, S.64In exitu Israel, S.65Iste confessor in G minorJ
Jesu redemptor omnium, S.60L
Là dove in grembo al colle, S.137La pace di Kamberga, S.19Laß dich's nicht irrenLauda Jerusalem, S.78Lauda Jerusalem, S.79Lauda Jerusalem, S.80Laudate Dominum, S.83Laudate pueri, S.81Laudate pueri, S.82Laudate pueri, S.84Leggi bell'idol mio, S.154Litania pro Festo Corporis Domini, S.86Litania pro Festo Corporis Domini, S.88Litania pro Festo San Francesco Xaverii, S.85Lobe den Herrn meine SeeleLuci voi siete quelle, S.184M
Mag auch ein Blinder den Weg weisenMagnificat in A major, S.90Magnificat in B-flat major, S.93Magnificat 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.7Missa in D major, S.9Missa 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.267N
Nisi Dominus, S.98Nisi Dominus, S.99O
O beato quel giorno, S.178O deluse speranze, o fè tradita, S.169Or che stanco, S.182Oratorio todesco al sepolcro santo, S.20P
Pange lingua in D minor, S.61Per svegliar nove fiamme, S.143Q
Quis ascendet in montem Domini, S.21R
Regina caeli, S.101Requiem in E-flat major, S.18Ruscelletto che vai scherzando, S.166S
Se mai Tirsi mio bene, S.180Sedea Fileno un giorno, S.155Selve amene, antri ombrosi, S.185T
Te Deum, S.116Te Deum, S.117Te Joseph celebrent, S.58Tormento dell'alma, S.172Tu mi chiedi s'io t'amo, S.146V
Veni creator spiritus, S.62Z
Zeffiro e Clori, S.202
WikipediaJohann 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.
