Listening to Heinichen, I'd like to draw your attention to the new release of the Sächsisches Vocalensemble Dresden. The first of three CDs covering the total of Heinichen's sacred german cantatas has just been published under the title "Gott ist unser Zuversicht". 😊
Heinichen's last composition (1729). Maria Zadori, soprano; Kai Wessel, alto; Wilfried Jochens, tenor; Rheinische Kantorei; Das kleine Konzert, conducted by Hermann Max.
Heinichen, a master of Thorough Bass. He didn't support Rameau's theories of the fundamental bass, and chord inversions of the seventh. For Heinichen D E G# B (where D is the bass and E G# B top voices) was not an inversion of E7, but a contrapunctal function (dissonance of the second between D and E) supported by other intervals, #4 and 6. Thus, chords where nothing but intervals above a bass. I have to admit I have some strong negative feelings towards Rameau and later 19th century functional harmony (ha ha ha, I'm sorry, I can't help it, XD). But Heinichen has proven to be a good alternative, at least for me. He is a big inspiration and I fully support his ideas. I know him as a theorist. As a composer I recognize his quality, thought I don't quite like the setting of some texts, specially some Latin ones, where it's just an ornament for the (always masterfully composed) music (as an example one of his Salve Regina). Perhaps there is a greater attention to rethoric with texts in German? Nevertheless the quality of his compositions is always at it's finest. All in all, very interesting theorist and masterful composer.
Hey, I'm sorry for the late reply (it's been two months!) Unfortunately, a large part of Heinichen's work has not been translated. If you are interested in learning Basso Continuo I recommend "Thorough-Bass Accompaniment according to Johann David Heinichen - by George J. Buelow". There is also a treatise by Heinichen translated, but it is not so easy to read: "Johann David Heinichen's Comprehensive Instruction on Basso - Translation by Bendikt Brilmayer and Casey Casay Mongoven" (as far as I know this is critical edition). But my recommendation is that you start by reading Derek Remeš's academic essays, many of which are available on Academy EDU. "Thoroughbass, Chorale, and fugue: Teaching the Craft of Composition in J. S. Bach's Circle" is one of the most lucid, clear, and comprehensive works I know of by this wonderful author. Although it is not exclusively focused on Heinichen, it does brilliantly point out the relationship between Bach's circle and Heninchen's work as a theorist. I hope you find this useful.
I just found this music on Apple Music about two weeks ago! Had never heard it before. Thanks for posting. If you know where the vocal score can be found that would be great.
My other score-videos of Heinichen > ua-cam.com/play/PLafpqg3vsKmcdyRUmFwjRJDjiTwPuIEw1.html
Listening to Heinichen, I'd like to draw your attention to the new release of the Sächsisches Vocalensemble Dresden. The first of three CDs covering the total of Heinichen's sacred german cantatas has just been published under the title "Gott ist unser Zuversicht". 😊
Heinichen's last composition (1729).
Maria Zadori, soprano; Kai Wessel, alto; Wilfried Jochens, tenor;
Rheinische Kantorei; Das kleine Konzert, conducted by Hermann Max.
Heinichen, a master of Thorough Bass. He didn't support Rameau's theories of the fundamental bass, and chord inversions of the seventh. For Heinichen D E G# B (where D is the bass and E G# B top voices) was not an inversion of E7, but a contrapunctal function (dissonance of the second between D and E) supported by other intervals, #4 and 6. Thus, chords where nothing but intervals above a bass.
I have to admit I have some strong negative feelings towards Rameau and later 19th century functional harmony (ha ha ha, I'm sorry, I can't help it, XD). But Heinichen has proven to be a good alternative, at least for me. He is a big inspiration and I fully support his ideas.
I know him as a theorist. As a composer I recognize his quality, thought I don't quite like the setting of some texts, specially some Latin ones, where it's just an ornament for the (always masterfully composed) music (as an example one of his Salve Regina). Perhaps there is a greater attention to rethoric with texts in German? Nevertheless the quality of his compositions is always at it's finest.
All in all, very interesting theorist and masterful composer.
Really interesting, thanks for sharing. Do you have any tips for further reading on Heinichen’s writings?
Hey, I'm sorry for the late reply (it's been two months!)
Unfortunately, a large part of Heinichen's work has not been translated. If you are interested in learning Basso Continuo I recommend "Thorough-Bass Accompaniment according to Johann David Heinichen - by George J. Buelow".
There is also a treatise by Heinichen translated, but it is not so easy to read: "Johann David Heinichen's Comprehensive Instruction on Basso - Translation by Bendikt Brilmayer and Casey Casay Mongoven" (as far as I know this is critical edition).
But my recommendation is that you start by reading Derek Remeš's academic essays, many of which are available on Academy EDU. "Thoroughbass, Chorale, and fugue: Teaching the Craft of Composition in J. S. Bach's Circle" is one of the most lucid, clear, and comprehensive works I know of by this wonderful author. Although it is not exclusively focused on Heinichen, it does brilliantly point out the relationship between Bach's circle and Heninchen's work as a theorist.
I hope you find this useful.
Thank you so much! This recording is just so precious.
I just found this music on Apple Music about two weeks ago! Had never heard it before. Thanks for posting. If you know where the vocal score can be found that would be great.