Heinichen: Missa Nr. 12; Bach: Magnificat (Rademann)


Heinichen’s last Mass, composed in the style of the high baroque as a ”number mass,“ is imposing as a result of its architectonic force and its inexhaustible originality. The basis for the brilliant, festive character of Bach's Magnificat is the scoring for trompets, timpani and a choir which here is expanded to five voices.


Compact Disc

12,5 x 14 cm, CD in jewel case
EUR19,90 / copies

Product information


2 Works Show


Hans-Christoph Rademann Personal details

Soloist - soprano

Monika Frimmer Personal details
Kerstin Klein Personal details

Soloist - alto

Kai Wessel Personal details

Soloist - tenor

Hermann Oswald Personal details

Soloist - bass

Andreas Scheibner Personal details
Egbert Junghanns Personal details


Dresdner Kammerchor Personal details


Dresdner Barockorchester Personal details


Mit der sukzessiven Fertigstellung der Dresdner Frauenkirche kann sich der Blick für die Dresdner Musikkultur der Barockzeit weiten. Johann David Heinichen wirkte 1717-1729 in Elbflorenz, die aktuelle Verbreitung seiner Musik hat mit deren Qualität nichts zu tun. Offensichtlich ist die hier präsentierte letzte Messe Heinichens ein besonderes Kleinod, wer so feinsinnig instrumentieren kann (Hörner!) und formal und melodisch dermaßen überzeugt, hat bestimmt sonst auch keinen Mist geschrieben. Die „Nummernmesse“ teilt das Ordinarium in 19 Teile, in zwölfen ist der Chor mal mehr, mal weniger gefragt. Auf der CD erscheint immerhin der Hinweis, dass die „Music“ bei Carus Stuttgart „in preparation“ sei, im neuen Katalog steht sie allerdings nicht. Auf der Scheibe wird frisch und lebendig musiziert, teilweise sind berückende Vokal- und Instrumentalsoli zu hören. Der Chor singt homogen, (meist) auch in den Koloraturen exakt, in den wenigen ruhigen Phasen wohltuend zielgerichtet. Im Orchester sind speziell in der Borockszene Aktive, sowie Mitglieder der Sächsischen Staatskapelle und der Dresdner Philharmoniker vereint. Im Tutti ist das nicht störend bemerkbar, die Instrumentalsoli werden erstere übertragen bekommen haben. Die Soli (bei Bach wirkt noch Constanze Bockes, Sopran II, mit) singen in unterschiedlichen technischen Ansätzen letztlich überzeugend und, wie gesagt, manchmal sogar berückend schön. Das Verdienst des Dirigenten ist der Schwung der Produktion, von der Werkauswahl bis zum letzten Ton. Dieses Programm würde ich gerne mal als Adventskonzert hören. Unsere fugenfreudigen Chöre sind nicht überfordert!
Reinhard Krämer
Quelle: Württembergische Blätter für Kirchenmusik 6/2003


„Die Interpreten agieren mit schönster Natürlichkeit, Frische und ansteckender Begeisterung.“
Quelle: Klassik heute 7/01


Lest you may someday make the mistake of underestimating the compositional skill and artistic achievement of 18th-century Dresden court composer Johann David Heinichen, you may want to listen to this recording of his D major Mass No. 12. Besides the showers of ravishing music, which often come in relatively short, less-than-two-minute downpours, you'll enjoy colorful orchestrations, sudden and surprising shifts of mood and abrupt endings, and an overall experience that shines a welcome light on yet another corner of Baroque repertoire long hidden in the shadow of Bach. An earlier recording of another Heinichen mass by these same forces also received ClassicsToday.com's highest rating.
My take on this is that in these masses he was not thinking of posterity or of creating grand masterpieces but rather kept things short simply in consideration of his "audience"--and yet he didn't cheat them at all in terms of stirring, lively tunes and excitingly rhythmic choral and orchestral sections. Just listen to the terrific horn riffs in the opening of the Gloria and during the Handelian alto solo "Quoniam tu solus Sanctus" (including what sounds like an ever-so-brief quote from the Water Music!). Delightful melodic figures spring from both chorus and orchestra in the opening of the Credo, and quickly disappear in the section's sudden, quiet ending; similar quick-but-mighty thrills await at the Credo's final fugal "Et vitam" passage and in the lightning-fast runs in the Osanna--only 50 seconds, total--that rival any of Handel's similar effects. And this chorus takes to the challenge without a stumble.
Oh yes, the other work on the disc is Bach's inimitable masterpiece of a Magnificat, and these performers--chorus, orchestra, and soloists all--present the piece as if born to it. Conductor Hans-Christoph Rademann leads with authority, emphasizing crisp rhythms, beautiful sonorities, vibrant, electric energy, purposeful tempos, and nice expressive gestures--little dynamic gradations, extra-precise articulations (as in the ending of the word "Magnificat")--that give impetus, clarity, and emotional radiance to the performance. Especially fine are the bass solo "Quia fecit", the alto/tenor "Et misericordia", and the "Suscepit Israel trio. No, the soprano soloist's edgy tone in "Et exsultavit" will not engender uniform praise from all listeners, and some, like me, may wish for a slightly faster tempo in the "Quia respexit"--and of course, the "Omnes generationes" doesn't have nearly the driving force of Gardiner's. But this is the kind of work that probably never will allow an "ideal" performance--there's always something you'd like to fix. But not all listeners are that fussy, thank heaven--and if you get this recording, chances are excellent that you'll be very happy with what you hear. In keeping with what seems like Carus' standard practice, texts are in Latin and German only, and there is (annoyingly) no basic track listing in the liner booklet--only on the back of the outer package.
David Vernier
Quelle: Classics today