Johann David Heinichen

Johann David Heinichen (born April 17, ^jul. / 27. April  1683 ^greg. In Krössuln ; † 16th July 1729 in Dresden ) was a German composer and music theorist .

Life

Heinichen received his first music lessons from his father, David Heinichen (1652–1719), who had been pastor in Krössuln since 1674. At the age of 13 Heinichen was already performing his own compositions in the surrounding villages.

On March 30, 1696, he moved to the Thomasschule in Leipzig . Here he received a high school education and extensive music lessons. Under the direction of the Thomaskantor Johann Schelle (1648–1701), the Thomas students sang every week at the main churches in Leipzig. Heinichen took private organ and harpsichord lessons from Schelle's successor, Johann Kuhnau (1660–1722), and also took composition lessons with Christoph Graupner (1683–1760).

From 1702 to 1705 Heinichen studied law in Leipzig. During this time he played in the Collegium musicum directed by Georg Philipp Telemann and was also involved in performances at the Leipzig Opera House , which has existed since 1693 .

As a student, Heinichen applied for the post of music director at the Leipzig Neukirche , which Telemann had held until 1705, but Melchior Hoffmann received the post.

Whether Heinichen then settled down as a lawyer in Weißenfels cannot be proven. However, it is noticeable that he contact to the Weissenfels court acting Johann Philipp Krieger (1649-1725) and Gottfried Grünewald had. Heinichen was probably also known to the composer Reinhard Keizer (1674–1739) from Teuchern .

Johann David Heinichen's circle of fifths

On behalf of Samuel Ernst Döbricht , the Leipzig opera director, Heinichen composed the following operas, some of which have only survived in fragments: The Pleasant Fraud or the Carneval of Venice (1709), Hercules (?), The Libysche Thalestris (1709). The latter was recently found as a score and is considered to be the only completely surviving opera of the Leipzig Opera House from the Baroque era. In addition, he took over the management of the Collegium musicum in the Lehmannisches Kaffeehaus am Markt, newly founded by Johann Friedrich Fasch in 1708, and wrote the music tract Reinvented and thorough instructions ... for a complete learning of the general bass , which was published in 1711 and in which the circle of fifths (as early as 1710 developed and published), which is based on Heinichen's thoughts, was integrated.

In 1709 Heinichen found employment with Duke Moritz Wilhelm of Saxony-Zeitz . Heinichen's operas Olympia vendicata (1709) and - as the only opera from this period fully preserved - The happy change of love or Paris and Helena (1710) were performed in his Naumburg opera house . In a letter dated July 9, 1710, Heinichen asked his patron to allow him an educational trip to various German courts. This trip, if it took place at all, could only have been brief.

In the same year Heinichen traveled to Italy . The heir to the throne died unexpectedly. Heinichen, dispensable because of the national mourning in which all music had to be silent, joined Rat Buchta, the former informator of the heir to the throne, on his trip to Italy.

Little is known about Heinichen's stay in Italy. Johann Adam Hiller reports in his biography of famous music scholars and musicians (1784) that Heinichen had received an opera commission after his arrival in Venice , but had been cheated of the fee. Heinichen then traveled to Rome . There have of Prince Leopold of Anhalt-Köthen , subsequent employer Johann Sebastian Bach , studied with Heinichen. In return, he is said to have accompanied the prince on his travels through Italy.

Heinichen returned to Venice before the end of 1712. In the carnival season of 1713, his operas Mario and Le passioni per troppo amore went on stage in Sant 'Angelo with great success. He got to know the great composers of Venice: Antonio Lotti , Antonino Biffi , Tomaso Albinoni , Alessandro Marcello , Benedetto Marcello and certainly also Antonio Vivaldi , who was of great importance for Heinichen's style development. The fact that Gottfried Heinrich Stölzel visited him in Venice speaks for Heinichen's reputation .

Heinichen was often a guest of the outstanding singer and great patroness Angioletta Bianchi. In her house, Prince Elector Friedrich August, who later became King August III. (1696–1763), some of Heinichen's cantatas . As a sound recommendation for employment at the Dresden court, Heinichen composed the oratorio La Pace di Kamberga and dedicated it to the Polish-Saxon heir to the throne.

Heinichen was very impressed by Heinichen's avant-garde music and appointed him in the name of King Augustus the Strong (reigned 1694–1733) as Royal Polish and Electoral Saxon Kapellmeister with effect from August 1, 1716. Heinichen thanked the prince with the composition and performance of a birth cantata. Heinichen left Venice in early 1717. Friedrich August had not only engaged him, but in preparation for his wedding to Maria Josepha , the strictly Catholic daughter of Joseph I of Austria , also Francesco Maria Veracini and an opera company led by Antonio Lotti .

For the wedding celebrations that took place in Dresden in 1719, Heinichen composed the serenatas La gara degli Dei (“The Competition of the Gods” - performed on September 10, 1719) and Diana sull'Elba (performed on September 18, 1719 on an elaborately decorated ship in the form a giant clam). They were so satisfied with Heinichen's compositions that his salary was increased by 300 to 1,500 thalers. In October of the same year, Heinichen's Serenata di Moritzburg was staged to frame a royal hunt at Moritzburg Castle .

Heinichen wrote his only opera for the Dresden court, Flavio Crispo, for the carnival in 1720 . But because of a dispute with the two castrati Senesino and Matteo Berselli , who were employed at the court, the work , which was already finished except for the final chorus, was not performed. Without further ado, August the Strong dismissed the entire opera company, which Georg Friedrich Handel then committed to London for his Opera Academy .

In the following years the Lutheran Heinichen composed Catholic church music for the Dresden court . Of tuberculosis ill, he often ailing and had to by his colleagues Jan Dismas Zelenka and Giovanni Alberto Ristori be represented.

Heinichen married in Weissenfels in 1721. In January 1723 he had become the father of a girl. In his final years he gave composition lessons to Johann Georg Pisendel and Johann Joachim Quantz and worked on his treatise on figured bass , which had started to go to press in 1722. This work is one of the most important musical theoretical legacies of the 18th century.

He died on July 16, 1729 in Dresden and was buried in the Johannes cemetery.

Works

Masses, Requiem

1. Missa primitiva in D major (1721, Agnus Dei missing);
2. Missa in F major (1721);
3. Missa in F major (1722);
4. Missa in D major (1722, Sanctus fragm.);
5. Missa in F major (1723);
6. Requiem solenne (probably before 1724 - this is where the Domine Jesu Christe in A minor from 1724 belongs );
7. Missa in D major (1724);
8. Missa in D major (1724);
9. Missa in D major (1725);
10. Missa in D major with Concertino (1726);
11. Requiem nel giorno del defuncto Imperatore Gioseffo in E flat major (1726);
12. Missa in D major (1728);
13. Missa in D major (1729);
14. Missa in D major (lost, only Et vitam venturi saeculi in an arrangement by Jos. Schuster survived);
15. Sanctus in D major (authenticity questionable).

Magnificat

1. Magnificat in F major (1721);
2. Magnificat in B flat major (1723);
3. Magnificat in E flat major (1724);
4. Magnificat in B flat major (c. 1726);
5. Magnificat in F major (1726);
6. Magnificat in G major (1727);
7. Magnificat (lost);
8. Magnificat in B flat major (1728);
9. Magnificat in A major (1729, Heinichen's last composition).

Psalms

1. Dixit Dominus in F major (1721);
2. Lauda Jerusalem in F major (ca.1723);
3. Beati omnes in G minor (1723);
4. Credidi in F major (1723);
5. Dixit Dominus in D minor (1723);
6. Laetatus sum in C major (1723);
7. Nisi Dominus in C minor (1723);
8. De profundis in C minor (ca.1724);
9. Laudate Dominum in F major (approx. 1724);
10. Beatus Vir D minor (1724);
11. Confitebor in G major (1724);
12. Dixit Dominus in B flat major (1724);
13. Laudate pueri in C major (1724);
14. Memento Domine David in G minor (1724);
15. Confitebor in G minor (ca.1726);
16. Lauda Jerusalem in C major (ca.1726);
17. Beatus vir F major (1726);
18. Dixit Dominus in E flat major (1726);
19. Domine probasti me in E minor (1726);
20. In convertendo Dominus in C major (1726);
21. In exitu Israel in A minor (1726);
22. Laetatus in D major (1726);
23. Lauda Jerusalem in D major (1726);
24. Laudate pueri in G major (1726);
25. Nisi Dominus in G minor (1726);
26. Confitebor in A minor (1726);
27. Dixit Dominus in F major (1727);
28. Beatus vir E flat major (undated);
29. In exitu Israel in B flat major (undated);
30. Laudate pueri in F major (undated).

Hymns

1. Ave maris stella in F major (1723);
2. Iste confessor in A minor (1724);
3. Jesu redemptor omnium in F major (1724);
4. Pange lingua in D minor (1724);
5. Veni creator spiritus in G minor (1724);
6. Crudelis Herodes in G minor (1724 or later);
7. Te Joseph celebrent in A minor (1724 or later);
8. Pecora lux aeternitatis in C major (ca.1725).

Marian antiphons

1. Alma redemptoris mater in E flat major (c. 1723);
2. Regina coeli laetare in B flat major (c. 1724, lost);
3. Alma redemptoris mater in F major (1726);
4. Ave regina coelorum in E flat major (1727);
5. Regina coeli laetare in G major (1727);
6. Regina coeli laetare in D major (undated).

Litanies

1. Litania pro festo corporis Domini in C minor (1723);
2. Litania pro festo S. Francisci Xaverii in C minor (1724);
3. Litania pro festo S. Francisci Xaverii in E minor (1726);
4. Litania pro festo corporis Domini in E minor (1727).

Te Deum

1. D major (1722);
2. D major (1728);
3. D major (undated).

Varia

1. 3 Lamentationes Jeremiae in coena Domini (1724);
2. Quis ascends in montem Domini in G major, motetto (1725);
3. Cibavit eos in D minor (undated);
4. Haec dies in G major, motetto (undated);
5. Lamentatio I of Good Friday (lost);
6. 3 lamentations of Holy Saturday (lost);
7. 9 responsories of Maundy Thursday (lost);
8. 1 Good Friday responsory (lost);
9. 1 Holy Saturday responsory (lost);
10. 1 Responsorium pro nocte nativitatis Domini (lost).

Oratorios and Passion Cantatas

1. La pace di Kamberga (1716);
2. Not the ribbon that strikes you (1724);
3. L'aride tempie ignude (probably 1724);
4. Come? S'imbruna il ciel (1728).

Serenates

1. Serenata fatta su l'Elba in G major (Seibel 200)
2. Serenata nel Giardino Chinese in G major (Seibel 201)
3. Serenata à 2 voci: Zeffiro e Chori in D major (Seibel 202)
4. Serenata: Le notte di Nettuno e di Teti (Seibel 203)
5. Serenata di Moritzburg left 6th Ottob. 1719 F major (Seibel 204)

Stage works (operas)

Fully preserved operas

• The Lybian Thalestris. (Text: Heinrich Anselm von Ziegler and Kliphausen ). Michaelism Fair Leipzig, 1709
• The happy exchange of love or Paris and Helena. Peter and Paul Fair Naumburg, 1710
• Calfurnia , also Mario, also Calpurnia or Die Römische Großmut (Libretto: Grazio Braccioli ), opera (Carnival 1713 Venice); in the translation by Johann Ulrich König also "performed in the month of February 1716 at the Hamburg Theater"
• Le passioni per troppo amore , also Opera fatta in Italia (Libretto: Matteo Noris ), Opera (Carnival 1713 Venice)
• Flavio Crispo (lyricist unknown), opera (planned Carnival 1720 Dresden, canceled)

Operas from which individual arias have been preserved

• The Pleasant Deception or The Venice Carneval. (Text: Mauritz Cuno ). Leipzig 1709
• Olimpia vendicata. Peter and Paul Fair Naumburg, 1709

Lost and dubious operas

• The faithful shepherdess Daphne. (Text after Erdmann Neumeister ). Leipzig 1710 (attribution not certain)
• L'amicizia in terzo overo Il Dionigio , 3rd act of a pasticcio opera (March 1738 Neuburg an der Donau) (together with Augustin Reinhard Stricker )

Orchestral music and concerts

1. Sonata in A major (Seibel 208)

1. Dresden Concerto in C major (Seibel 211)
2. Dresden Concerto in G major (Seibel 213)
3. Dresden Concerto in G major (Seibel 214)
4. Dresden Concerto in G major (Seibel 215)
5. Dresden Concerto in G major (Seibel 217)
6. Dresden Concerto in D major (Seibel 226)
7. Dresden Concerto in F major (Seibel 231)
8. Dresden Concerto in F major (Seibel 232)
9. Dresden Concerto in F major (Seibel 233)
10. Dresden Concerto in F major (Seibel 234)
11. Dresden Concerto in F major (Seibel 235)

1. Concert movement in C minor (Seibel 240)

1. Oboe Concerto in A minor (Seibel 212)
2. Oboe Concerto in G minor (Seibel 237)

estate

Part of the musical estate of Johann David Heinichen is kept in the music department of the Saxon State Library - State and University Library Dresden (signature: Mus.2398-…). It contains music autographs and copies totaling around 170 catalog numbers.

Fonts

• Newly Invented and Thorough Instruction How A Music-Lover Can Respond to Certain Beneficial Arth To complete learning of the general bass, Either through one's own diligence or be briefly and happily led there by others in such a way that he as well as the churches as theatrical things in particular I understand well the accompaniment of the recitative styli and know how to skillfully trace it. [...] In addition to a detailed preface. Benjamin Schiller, Hamburg 1711.
• The general bass in the composition, or: New and thorough instruction How to learn a music lover with particular advantage through the principles of the composition, not only the general bass in the church, Cammer and theatrical style, & in altiori gradu ; but also at the same time in the composition itself, making important profectus. In addition to an introduction or musical reasoning about music in general, and many special subjects of today's praxeos . Self-published, Dresden 1728.

See also

• List of German composers of classical music

literature

• George J. Buelow: Thorough-bass accompaniment according to Johann David Heinichen. University of California Press, Berkeley 1966.
• Herbert A. Frenzel : Thuringian Castle Theater. Berlin 1965.
• Lothar Hoffmann inheritance law:  Heinichen, Johann David. In: New German Biography (NDB). Volume 8, Duncker & Humblot, Berlin 1969, ISBN 3-428-00189-3 , p. 303 ( digitized version ).
• Richard Lorber: The Italian cantatas by Johann David Heinichen (1683-1729). G. Bosse, Regensburg 1991.
• Michael Maul : Baroque Opera in Leipzig, catalog volume. Rombach publishing house, Freiburg i. Br. 2009. ISBN 978-3-7930-9584-2
• Gustav Adolph Seibel: The life of the royal. Polish and Elector Saxon. Hofkapellmeister Johann David Heinichen, along with a chronological list of his operas and a thematic catalog of his works. Breitkopf & Härtel, Leipzig 1913 ( archive.org ).
• Philipp Spitta:  Heinichen, Johann David . In: Allgemeine Deutsche Biographie (ADB). Volume 11, Duncker & Humblot, Leipzig 1880, pp. 367-369.
• Melvin P. Unger: The German choral church compositions of Johann David Heinichen. P. Lang, New York 1990.

Discography

• Violin concerts from Dresden. Pisendel, Heinichen, Fasch, Handel, Telemann. Johannes Pramsohler . International Baroque Players. (Surround sound RK 3105)
• Flavio Crispo, baroque opera. Jörg Halubek . il Gusto Barocco (cpo 6096073)

Web links

• Works by and about Johann David Heinichen in the catalog of the German National Library
• Compositions by Johann David Heinichen in the Saxon State Library - State and University Library Dresden
• Compositions by Johann David Heinichen n in the International Library of Music (RISM)
• Works by and about Johann David Heinichen  in the German Digital Library
• Sheet music and audio files by Johann David Heinichen in the International Music Score Library Project

Individual evidence

1. ↑ Baroque opera «Talestris» performed again after more than 300 years. (No longer available online.) Ad-hoc-news.de, May 17, 2010, archived from the original on July 23, 2012 ; Retrieved April 27, 2014 .