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This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Williams, Margaret Title: The Vespers music of JD Heinichen (1683-1729) General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. THE VESPERS MUSIC OF J. D. HEINICHEN (1683-1729) Volume 4: Hymns, Jubilus and MaTianAntiphons Margaret Williams A dissertation submitted to the University of Bristol in accordancewith the requirements of the degreeof PhD in the Faculty of Arts, School of Arts. Departmentof Music, June 2007 ALL MISSING PAGES ARE BLANK IN ORIGINAL iii TABLE OF CONTENTS Introduction V ........................................................................................................................... J.D. Heinichen ........................................................................................................... The Dresden A court .................................................................................................... Vespers at court ........................................................................................................vi The hymns ...............................................................................................................vii The Marian antiphons............................................................................................. viii Performance ...............................................................................................................x Texts Translations xii and ......................................................................................................... The Liturgical Hymns I ........................................................................................................... Ave maris stella ......................................................................................................... Crudelis Herodes I ..................................................................................................... Decora lux 21 ............................................................................................................... Iste Confessor 29 .......................................................................................................... JesuRedemptor 37 omnium ......................................................................................... lingua 47 Pange ............................................................................................................ Te Joseph 61 celebrent ................................................................................................. Veni Creator Spiritus 69 ............................................................................................... Haec dies 79 ................................................................................................................. iv The Marian Antiphons .........................................................................................................87 Alma RedemptorisMater in E6 ................................................................................89 Alma RedemptorisMater in F ...............................................................................105 Ave Regina .............................................................................................................117 Regina in D caeli ....................................................................................................133 Regina in G caeli ....................................................................................................157 Critical Report ....................................................................................................................185 Sources ...................................................................................................................187 Editorial Methods ...................................................................................................192 Critical Notes 196 ......................................................................................................... V INTRODUCTION J. D. Heinichen Johann David Heinichen (1683-1729) is rememberedtoday chiefly as the author of two treatisesof composition: the 1711 Neu erfundeneundgriindlicheAnweisung... zu 1 vollkommener Erlernung des General-basses, and the lengthier Der General-bassin der Composition of 1728.2But in his day, he occupied what was probably one of the most prestigious musical posts in all Europe, that of Kapellmeister to the Royal and Electoral court in Dresden. Heinichen was the son of a Lutheran pastor, and as a boy attendedthe Thomasschulein 3 Leipzig. He then studied law at Leipzig University, and after his graduation in 1706, began legal practice in Weissenfels.However his legal careercame to an early end when, in 1709, he was appointed opera composerfor the Leipzig opera house,and later court composerto Duke Moritz Wilhelm at Zeitz, and opera composerat Naumburg. These appointmentswere also somewhat short-lived. In 1710, as so many other German musicians before him, Heinichen travelled to Italy, spendingover six years there, mostly in Venice. In 1716 in Venice, he came to the notice of the Crown Prince of Saxony (who would become Elector Friedrich August II of Saxony and King August III of Poland in 1733). The Crown Prince engagedHeinichen as Kapellmeister, and Heinichen arrived in Dresden some time in 1717. He was to remain there in the service of the Royal and Electoral court for the rest of his life. 'Johann David Heinichen, Neu Gründliche Anweisung Erlernung des erfundene und ..zu vollkommener General-Basses (Hamburg, 1711, facs. repr. Kassel, 2000 with introduction by Wolfgang Horn). 2 Johann David Heinichen, Der General-bassin der Composition, (Dresden, 1728, facs repr. Hildesheirn, 1994 as Der Generalbaß in der Komposition). 3 Kurfiirstl. The first scholarly study of Heinichen's life and works is the 1913 Das Leben des K6nig/ und Sdchs.Hojkapellmeisters Johann David Heinichen (Leipzig, 1913) by Gustav Adolph Seibel. For a relatively comprehensivebiography in English, seeGeorge J. Buelow, Thorough-BassAccompaniment According to Johann David Heinichen (Lincoln, 1966, repr. 1986 ). vi The Dresden court The Royal and Electoral court in Dresdenwas seatof the Elector Friedrich August I (known as August der Starke) of Saxony. Friedrich August also held the crown of Poland, ruling there as King August II. A condition of assumingthe Polish crown was that the Elector-King was obliged to becomea Catholic. So the unusual situation arosethat in Saxony,the birthplace of Luther, and the very cradle of the Reformation, the ruling court was Catholic. A Catholic court church was establishedwhich, during Heinichen's time as Kapellmeister, was situatedin a building once occupied by a court theatre, the Theater am Taschenburg.This church was run by a mission of Jesuit priests, who encourageda rich repertory of church music. Rather than the Lutheran cantatas,chorales, and German languageliturgical settingsprevalent elsewherein Saxony, the Dresdencourt required settingsof the Mass, Vespers,and other items of Catholic liturgy. As Kapellmeister to the court, it was one of Heinichen's duties to supply the vast quantities of church music needed. He was helped in this task by his deputy, the Bohemian bom Jan Dismas Zelenka (1679-1745). For important church feasts,new settingswere composed, but the court musicians also made use of numerousworks by other composersof the era. Most notable in this respectare the sacredvocal works of Antonio Vivaldi; to this day, the Dresdenlibrary holds the largest collection of Vivaldi's music outside Italy. Vespers at court The office of Vesperswas secondonly to the Mass in importance in the life of the court church. It was celebratedtwice for any given feast day; once on the evening before the feast, and once on the evening of the feast day itself. The principal componentsof the office were five psalms (the first always Dixit Dominus, the others varied), a liturgical hymn, the Magniflicat and a Marian antiphon. On feast days, these items were set to figural music, whereas other components of the office, such as the antiphons before and after the psalms, were probably sung to plainchant. (Unfortunately it is unclear exactly what the vii practice was in Dresdenat this time. ) In Dresden,Vespers was sung beginning at various times between two and four in the afternoon.4
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