dilluns, 17 d’abril del 2023

HEINICHEN, Johann David (1683-1729) - Concerto con Corni da Caccia

Pietro Longhi (1702-1785) & Alessandro Longhi (1733-1813) - Colazione in villa


Johann David Heinichen (1683-1729) - Concerto (F-Dur) con Corni da Caccia, SeiH 231
Performers: Pеtеr Arnοld (horn); SWR Rundfunkorchester Kаisеrlаutеrn

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German composer and theorist. He was the son of David Heinichen who, after an education at Leipzig's Thomasschule and the university, moved to Krössuln for a lifelong career as pastor. Like his father, Heinichen studied at the Thomasschule, having displayed considerable musical gifts as a child. (According to his own testimony in Der General-Bass in der Composition, these involved composing and conducting sacred music in local churches.) He enrolled at the Thomasschule on 30 March 1695 and his education included harpsichord and organ lessons with Johann Kuhnau. Heinichen's talent impressed Kuhnau, who employed the young student as his assistant, with responsibility for copying and correcting Kuhnau's own manuscripts. In 1702 Heinichen entered Leipzig University as a law student, completing the degree in 1706 and immediately moving to Weissenfels to begin a practice as an advocate. Here the musical life of the court, under the patronage of Duke Johann Georg, seems soon to have attracted Heinichen away from his career in law. Johann Philipp Krieger, the Kapellmeister, apparently encouraged Heinichen to write music for court occasions. In addition, Heinichen came into contact with other composers including Gottfried Grünewald, Krieger's assistant, the court organist Christian Schieferdecker, and for a while Reinhard Keiser, Hamburg's leading opera composer. In 1709 Heinichen returned to Leipzig at the request of the manager of the opera house, for which he composed several operas. He also became the director of the collegium musicum that met at Lehmann's coffee house. During this period Heinichen was appointed composer to the court of Zeitz and opera composer to the court of Naumburg. During this year, if not earlier, he found time to write the first version of his thoroughbass treatise, published in 1711. In 1710 Heinichen gave up his successful career in Leipzig to travel to Venice, the centre of Italian operatic music, the style of which Heinichen was determined to learn at first hand. 

In Venice he was commissioned to write two operas for the Teatro S Angelo, Mario and Le passioni per troppo amore, both successfully produced in 1713. In Venice Heinichen came into personal contact with numerous important Italian musicians and composers, including Gasparini, Pollaroli, Lotti and Vivaldi. In 1712 he went to Rome, where he gave music lessons to the young Prince Leopold of Anhalt-Cöthen, later J.S. Bach's patron. No further details of Heinichen's travels in Italy have been found. He remained in Italy, mainly in Venice, until 1716. His growing fame as a composer attracted the attention of the Prince-Elector of Saxony, who engaged him as Kapellmeister to the court at Dresden, a post Heinichen assumed in 1717 and retained all his life. In Dresden Heinichen shared the duties as Kapellmeister with Johann Christoph Schmidt. The court of August the Strong maintained one of the most important musical establishments in Europe. In the court orchestra Heinichen found such outstanding musicians as the violinists Veracini, Volumier and Pisendel (one of Heinichen's pupils), the flautists Buffardin, Hebenstreit and Quantz, and the lutenist S.L. Weiss. For the court theatre he wrote only one opera, Flavio Crispo, which was never performed. For reasons which remain obscure, the Italian opera company at court was dissolved by order of the king when quarrels broke out between the composer and the singers Senesino and Berselli. The score of Flavio Crispo breaks off without explanation near the end of the final act, as if the composer gave it up at the time of these disagreements. Although opera no longer had any significance in Heinichen's career, he wrote a large amount of music, both secular (in the form of cantatas, serenades and instrumental works) and sacred, in numerous scores largely performed in the royal chapel. During Heinichen's final years he revised and rewrote his earlier thoroughbass manual, publishing it in 1728 at his own expense. He died from tuberculosis, and was buried on 19 July 1729 in the cemetery of the Johanniskirche.

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