Heinichen, Graupner, Fasch, Graun: Overtures - C. Coloniensis

Heinichen, Graupner, Fasch, Graun
Overtures
Cappella Coloniensis, Hans-Martin Linde
Phoenix Edition 173

These recordings have been in and out of the catalog since they were first recorded back in the late 1980s. They display all the virtues of other Cappella Coloniensis CDs of a similar vintage: moderate tempo choices, technically adroit playing, good blend between sections, and plenty of energy. On the negative side, they suffer from the same problems: an oversized acoustic and distant miking, which results in less bite to accents and phrases, as well as a moderate loss of instrumental color (though to be fair, this isn’t the case with the three Graupner chalumeau soloists, placed in a sonic spotlight). The pleasure derived from these performances is consequently compromised, though not entirely lost.

As for the music, these Baroque overture-suites run the gamut from two movements to seven, providing an unsystematic and personal mix of overture, dance movements, and airs. One of the gems is the Graupner, unusual for its harmonic waywardness, chalumeau section, and rhythmically accurate Polonaise. Is it the composer’s answer to Telemann’s so-called “Polish” concertos, exaggerating eccentric effects supposedly heard from rural folk musicians? If so, it certainly hits the mark. The more conventional Heinichen combines inventiveness, memorable turns, and excellent craft. The Zerbst Kapellmeister, Fasch, is typically more conservative than either, but his overture-suite is lively, imaginative, and sparkling in its rhythmic élan—most notably in a lengthy, flowing Minuet, and a beguiling Passapied. Only the Graun lowers the ceiling of inspiration. It is technically competent, but pedestrian. The fugal portion of the first of its two movements is a fine piece of workmanship, however—not unexpected from a man to whom J. S. Bach entrusted the musical education of his eldest son.

The liner notes are very brief and devoid of nearly all pertinent information, but bizarre enough to wish they were longer. We are told that among other matters, Heinichen’s law degree “may account for the sometimes acerbic, willful edge to his melodies.” Something to consider for young modern composers, who might want to avoid ambulance chasing if they wish someday to write like Puccini.

I hope someone will commit the Graupner and Heinichen to disc again in the near future, and in more forward sound. For now, though, if you want to hear either piece, this is the only version available, and certainly worth hearing.

Barry Brenesal, Fanfare

Heinichen: Concertos & Sonatas - Epoca Barocca

Johann David Heinichen
Concertos & Sonatas
Epoca Barocca
CPO 777 115-2

Once just a name among the galaxy of musical stars assembled at the Dresden court by Augustus the Strong, Johann David Heinichen (1683–1729) has in recent years emerged from near-oblivion to become recognized as one of the ornaments of that court. Thanks in no small measure to the persuasive advocacy of Reinhard Goebel, Heinichen has today taken his place alongside such names as Zelenka (for many years his deputy), and Veracini. Although a substantial body of both vocal and instrumental works by Heinichen remains extant, it seems likely that many more are either lost or remain to be unearthed.

The chamber works on the present disc would seem to fall into the category of newly found pieces, since they are referred to in the notes as having only recently come to attention as the result of musicological research. That presumably accounts for them not carrying Seibel numbers (the cataloging system used for Heinichen’s works). All are apparently unique sources housed in library collections of oboe sonatas by various composers in Dresden and Darmstadt. Judging from the essay by Karl Böhmer, it would appear that the trio sonatas for oboe and violin (in C Minor, and B♭) were originally designated for two oboes, although it is not easy to determine from the documentation the original instrumentation of all the works involved. What is certain is that the final trio sonata on the disc is not “in B,” as given in the program listing, but B♭, as Böhmer correctly states.

Both music and performances are a source of unmitigated joy. There is not a work here that does not testify to Heinichen’s outstanding craftsmanship, inventiveness, and melodic inspiration. Pride of place must go to the four-movement Concerto in D, scored for violin, viola da gamba, cello, and continuo, a small masterpiece that opens with a glorious Andante of such noble breadth, such exquisitely contrived interplay between the beautiful violin part and the gamba’s counter-melody that Handel would have been proud to be its creator. Remarkably, the remaining movements maintain this quality of writing. If nothing else quite attains this elevated level, the equivalent movement of the G-Major Concerto also lodges itself insidiously in the mind by way of the wistfully beguiling dialogue between oboe and bassoon.

This is my first encounter with the euphoniously named Epoca Barocca, but I certainly hope it will not be the last. All six of it members are consummately gifted artists who play with the natural spontaneity of musicians totally secure in their technique, and at ease with each other. Nothing is forced or exaggerated; nothing imposes itself between auditor and music, leaving the listener with the unfailing pleasure of simply relishing Heinichen’s enchanting creations. This is an obligatory acquisition for anyone who loves Baroque chamber music.

Brian Robins, Fanfare

Heinichen: Dresden Wind Concertos - Fiori musicali, Albert

Johann David Heinichen
Dresden Wind Concertos
Dean, Stadler, Herrle, Fiori musicali, Thomas Albert
CPO 999 637-2

Classics Today rating: 10/10

A few years ago, the name of Johann David Heinichen (1683-1729) came out of the blue as a wonderful surprise. Baroque music lovers around the world were amazed to discover an obscure composer who, in his best works, was second to none--easily comparable to Vivaldi in terms of originality, rhythmic exuberance, and boundless imagination. A half decade and a few recordings later, Heinichen has become a popular name, and rightly so. These Dresden Wind Concertos display treasures of passionate invention, energized by a spectacular use of dynamic contrasts and poetized by delicate touches of lyricism in the solo writing for woodwinds. Just listen to the dialogue (an obbligato figure in Heinichen's style) between traverso flute and pizzicato strings in the Concerto S. 225's last movement, or the biting orchestral outbursts in the G minor oboe concerto. Examples of Heinichen's vivid, sometimes unpredictable inspiration abound in every page of these extraordinary works. The Fiori Musicali ensemble, on period instruments, plays with enthusiasm and poetic commitment. The virtuosity may not be as extreme as that of Concerto Köln (on Capriccio), but each performance reaches a perfect balance between expressive ardor and precision--a quality mirrored by the accurate and natural sonics of the Radio Bremen engineers.

Luca Sabbatini, ClassicsToday.com

Heinichen: Dresden Concerti - Goebel, Musica Antiqua Köln

Johann David Heinichen
Dresden Concerti
Reinhard Goebel, Musica Antiqua Köln
Archiv 477 6330

Heinichen's Dresden Concertos created quite a stir when they were first released a couple of years ago, and for good reason. This is vital, colorful music scored for a large and varied ensemble. Like most composers of his day, Heinichen spent the majority of his compositional talent in the service of vocal music, for either the opera house or church. These pieces represent his only surviving set of concertos, and anyone who enjoys, for example, Bach's Brandenburg Concertos or the orchestral works of Zelenka will certainly want to hear these as well. These performances are simply the last word in style and virtuosity.

David Hurwitz, Amazon.com