1. Act I
2. Act II
3. Act III

Dominic Große (König Pelopidus von Lybien)
Julia Kirchner (Erbprinz Philotas)
Stephan Schärpe (Marton)
Amrei Bäuerle (Prinzessin Talestris)
Christian Wiese (Syringa)
Michal Fühmann (Tarpea, Rixane)
Kathleen Danke (Latona)
Jozsef Gal (Scandor)
Thomas Seidel (Araspel, Priester Bogudes)
Iris Meyer (Diana, Venus, Verhängnis)

Barockorchester der Fachrichtung Alte Musik der Hochschule für Musik und Theater Felix Mendelssohn Bartholdy
Susanne Scholz - conductor

Goethe-Theater Bad Lauchstädt (Bach-Fest Leipzig june 18,2010)

The two Heinichen operas that survive completely intact from this period are “The LibyanTalestris”and “Paris undHelena.”Listening to these early operas one realizes just how much Heinichen’s later residence in Italy affected his musical style. The operas written prior to the composer’s time in Italy are significantly different from the brilliant style he adopted after being exposed to composers like Vivaldi. “Paris und Helena”and “The Libyan Talestris”are also fascinating documents of early German opera as they are two of the earliest surviving scores of operas written completely in German, by a German composer, produced in Germany. As such they give us insight into the state of opera in Leipzig, Hamburg, and other German capitols.

“The Libyan Talestris” is Heinichen’s earliest surviving opera. It is available in a recording from Premiere Opera Italy.The opera shows the young composer developing his technique and trying out different forms, which results in a rather eclectic piece in terms of style. There are several arias over a simplebass line, including a hypnotic duet in the first act. There are also arias hinting at the brilliant Italian styleto come. One wonders if Heinichen knew any of Vivaldi’s music (possibly through Kreiger) in this early German period.Heinichen’s love of arias with concertante accompaniment also begins to surfacehere, and there are some interesting arias that take the form of dialogues between singers and solo instruments. Interestingly, while not plentifulthere are more duets and ensemble pieces in “The Libyan Talestris”than in any other surviving Heinichen opera. ---musicweb-international.com

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Cd1

01 - Concerto F-dur Seibel 234 - Vivace
02 - Concerto F-dur Seibel 234 - Adagio
03 - Concerto F-dur Seibel 234 - Un poco Allegro
04 - Concerto F-dur Seibel 234 - Allegro
05 - Concerto F-dur Seibel 235 - Vivace                 play
06 - Concerto F-dur Seibel 235 - Andante
07 - Concerto F-dur Seibel 235 - Presto
08 - Concerto F-dur Seibel 235 - Alla breve
09 - Concerto F-dur Seibel 235 - Allegro
10 - Concerto G-dur Seibel 215 - Andante e staccato
11 - Concerto G-dur Seibel 215 - Vivace
12 - Concerto G-dur Seibel 215 - Largo
13 - Concerto G-dur Seibel 215 - Allegro
14 - Concerto G-dur Seibel 214 - Vivace
15 - Concerto G-dur Seibel 214 - Largo                 play
16 - Concerto G-dur Seibel 214 - Allegro
17 - Concerto D-dur Seibel 226 - Allegro
18 - Concerto D-dur Seibel 226 - Adagio
19 - Concerto D-dur Seibel 226 - Allegro
20 - Concerto G-dur Seibel 213 - Allegro
21 - Concerto G-dur Seibel 213 - Larghetto
22 - Concerto G-dur Seibel 213 - Allegro
23 - Concerto G-dur Seibel 213 - Entrée
24 - Concerto G-dur Seibel 213 - Laoure. Cantabile
25 - Concerto G-dur Seibel 213 - Tempo de Menuet - Air italienne

Cd2

01 - Concerto F-dur Seibel 233 - Allegro
02 - Concerto F-dur Seibel 233 - Andante piu tosto un poco allegro
03 - Concerto F-dur Seibel 233 - Presto
04 - Concerto C-dur Seibel 211 - Allegro
05 - Concerto C-dur Seibel 211 - Pastorell
06 - Concerto C-dur Seibel 211 - Adagio
07 - Concerto C-dur Seibel 211 - Allegro assai
08 - Concerto F-dur Seibel 231 - Vivace
09 - Concerto F-dur Seibel 231 - Arioso
10 - Concerto F-dur Seibel 231 - Allegro
11 - Concerto F-dur Seibel 232 - Allegro                        play
12 - Concerto F-dur Seibel 232 - Andante
13 - Concerto F-dur Seibel 232 - Allegro
14 - Concerto G-dur Seibel 217 - Allegro
15 - Concerto G-dur Seibel 217 - Largo e staccato
16 - Concerto G-dur Seibel 217 - Grave
17 - Concerto G-dur Seibel 217 - Vivace
18 - Concerto G-dur Seibel 214 (Venezia 1715) - Vivace
19 - Concerto G-dur Seibel 214 (Venezia 1715) - Andante e staccato    play
20 - Concerto G-dur Seibel 214 (Venezia 1715) - Vivace
21 - Serenata di Moritzburg Seibel 204 - Allegro-Adagio-Allegro
22 - Sonate A-dur Seibel 208 - Allegro
23 - Sonate A-dur Seibel 208 - Adagio e staccato
24 - Sonate A-dur Seibel 208 - Allegro
25 - Konzertsatz c-moll Seibel 240 – Vivace

Cologne Musica Antiqua
Reinhard Goebel – director

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

It's a few years since this set won the Gramophone Award, but hearing it again very recently, it still provides a thrilling listening experience. I'm not normally a lover of prominent brass instruments in early music where the sonorities are often too lean and bright for my taste. Well, there's plenty of brightness here, but it all comes from the sparkle and energy of an orchestra at the very top of its form. I wouldn't say this is a set to listen to at one sitting. Better to pick and choose two or three concertos at a time. Or better still, go for the excitement of progamming just the allegros and hold on to your seat as the rhythms and stratospheric brass catapult you into the midst of the hunt. Great stuff. ---Gary J. Wright

This is a superb recording. The performances are vibrant and the quality of the recording is stunning. There is a warmth and fullness that is often missing in recordings of period instruments. The ensemble sounds HUGE. I particularly like the second movement of the Concerto in F (S. 234). Oboes are used instead of strings as the accompaniment to the flute solo. A must have for any lover of baroque music. ---„blueharp”

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(The Contest of the Gods) (Der Streit der Götter)

1	Sonata: Allegro assai
2	Qui raccolti eterni Dei
3	Dell'Imeneo, che accopia
4	Sa quella, che le fasce
5	Cintia con lieto aspetto
6	Novi eroi germania invita
7	Sì, sì, da sen fecondo
8	Dove tromba di fama ribomba
9	In favor del gran Nodo
10	Aignoto sposo in braccio
11	Con benefici
12	Di mia mano in dì sì lieto
13	Di Giove
14	In mezzo al'acque
15	De' lor diletti
16	Fia sua legge
17	Degna de' regi sposi
18	Sul volto alle belle
19	Sol varietà
20	Traggan pur da strana
21	Dalle legge comune
22	Un cor sì austero
23	Tu con volto
24	I rapidi vanni
25	All'opra
26	Non è facile il ridir
27	Di Stelle concordi

Mercurio: Carola Höhn, soprano
Venere: Alexandra Coku, soprano
Diana: Simone Nold, soprano
Marte: Annette Markert, alto
Il Sole: Katharina Kammerloher, mezzo-soprano
Saturno: Ralph Eschrig, tenor
Giove: Olaf Bär, baritone

Orchester Carl Philipp Emanuel Bach
Hartmut Haenchen – conductor

Live recording from november 23, 2003 of the Konzerthaus Berlin
Broadcasting: December 23, 2003, DLR Berlin

Augustus I, Elector of Saxony, King of Poland, and Grand Duke of Lithuania, decided to celebrate the wedding of his son to Archduchess Maria Josepha of Austria with … well, no, not an opera after a nice, private family dinner. Augustus was an expansive monarch who believed everything he did had to be on a scale greater than all others could imagine, let alone manage. Thus there was a festival on seven successive days dedicated to six Roman gods—Jupiter, Mars, Diana, Venus, Saturn, and Mercury—framing the Sun, which could be seen in one symbolic sense as the forthcoming union. On September 2, 1719, Maria Josepha appeared in a barge traveling down the Elbe, accompanied by musicians from the Dresden court orchestra. On the 3rd, there was a Te Deum performed in the court chapel, punctuated at one point by a 330-gun salute, and afterwards, a huge banquet with musical accompaniment, followed at night by Antonio Lotti’s opera Giove in Argo . On successive days there were eight Italian and French plays, four more operas, fights to the death between animals, displays of balletic horsemanship, tilting at the ring, fireworks, more banquets, fox-throwing (at which Augustus was considered a past master), battles elaborately simulated on land and water, and at its centerpiece, the Festival of the Sun, with Heinichen’s Il gara degli dei performed for the first time after an introduction by 64 trumpeters and 8 timpanists.

As Mel Brooks would say, “Ah, it’s good to be the king.”

Under such circumstances, a slavish pastorale is only what one might expect, and Il gara degli dei delivers. Jupiter judges a series of hymns of praise to the newly married couple from each of the other gods, and more than one in some instances. The expressive limitations are apparent, as a succession of arias celebrating a single emotion have a largely ceremonial value, devoid of much character. That isn’t to say that Heinichen failed to make what he could of his situation. His arias do try to inject elements of variety—Diana’s “Cintia con lieto aspetto” is in six-eight, with recorders prominent to give it a pastoral feeling, and Mars’s “Dove Tromba” imitates the chordal intervals of trumpet calls as an indication of his martial nature. There’s some harmonic and rhythmic cleverness in several pieces, notably Saturn’s single contribution, but even Handel would have failed before this succession of single-minded musical paeans; and Heinichen, a very fine composer and good friend of the Saxon émigré, was no Handel.

The singers are a variable lot. The best are Olaf Bär, a solid, agile bass despite some aspirants in his fioritura , and Simone Nold, a lyric soprano with attractive tone and good phrasing. At the other end of the scale, Carola Höhn has trouble maintaining basic steadiness, and Alexandra Coku’s otherwise admirable Venus stumbles repeatedly over her relatively simple coloratura. Hartmut Haenchen is, as always, sensitive to his singers while leading a thoroughly disciplined performance. The CPE Bach Chamber Orchestra is a fine ensemble that utilizes all the tonal resources historically available to an orchestra of this period, from scordatura to vibrato.

While the recording is good, it should be pointed out that the enclosed libretto is in Italian and (rather pedestrian) German only, despite the presence of English liner notes. Not that you’re missing much, but those seeking an understanding in English of exactly what’s being said won’t find it here.

With reservations, then, La gara degli dei is recommended. There are many Baroque operas I’d like to hear that have never been recorded, and this was never one of them. But it has its charms, and the performance is listenable. ---FANFARE: Barry Brenesal, arkivmusic.com

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Lamentationes Jeremiae Prophetae (1724) (Die Klagelieder Des Propheten Jeremia) (34:44)
1-1 	Lamentatio I: »Incipit Lamentatio Jeremiae« (Seibel 71)	12:58
1-2 	Lamentatio II: »Vau. Et Egressus Est« (Seibel 72)	10:40
1-3 	Lamentatio III: »Jod. Manum Suum Misit Hostis« (Seibel 73)	11:06
1-4 	Beatus Vir (Seibel 26; 1726)	4:14
1-5 	Alma Mater Redemptoris (Seibel 22; 1726)	8:16
1-6 	Nisi Dominus Aedificaverit (Seibel 99; 1723)	5:04
1-7 	De Profundis (Seibel 35)	6:53

Nicht Das Band, Das Dich Bestricket (Seibel 20; 1724) - Oratorio Tedesco Al Sepolcro Santo (Oratorio De La Passion)	(49:04)
2-1 	1. Aria (Alt): » Nicht Das Band, Das Dich Bestricket« 	9:53
2-2 	2. Recitativo (Alt): »So Schleppt Man Dich Zum Richthaus Fort« 	0:49
2-3 	3. Coro (Sopran, Alt, Tenor): »Kommt, Schauet Petrus' Tränen An« 	3:33
2-4 	4. Recitativo (Bass): »Ruchloser Geist, Verräterischer Sinn« 	2:09
2-5 	5. Aria (Bass): »Ach Mein Mund, Ach Meine Zunge« 	3:04
2-6 	6. Recitativo (Bass): »Was Nützt Mir's Nun, Daß Ich So Rein An Füßen« 	2:04
2-7 	7. Aria (Bass): »Mein Herze, Quille Blut« 	3:20
2-8 	8. Recitativo (Sopran): »O Weh! Die Ganze Schar Schnaubt Voller Grimm« 	1:16
2-9 	9. Aria (Sopran): »Die Sporne, Die Meinen Erlöser Durchstechen« 	5:16
2-10 	10. Recitativo (Sopran, Tenor): »Jetzt Lösen Sie Dich Auf« 	4:32
2-11 	11. Aria (Tenor): »Der Abgrund Muß Erzittern« 	3:59
2-12 	12. Recitativo (Sopran, Alt): »So Leidet Selbst Die Unschuld So Viel Qualen« 	4:13
2-13 	13. Coro (Sopran, Alt, Tenor, Bass): »Ich Wünsche Mir, Jesu, Dir Einzig Zum Ruhme« 	4:56
2-14 	Warum Toben Die Heiden (Seibel 39; 1715)	14:21
2-15 	Pastorale A-Dur (Seibel 242)	6:20

Alto Vocals [Die Andächtige Seele] – Axel Köhler (tracks: 1-3, 1-5, 2-1 to 2-13)
Art Direction – Lutz Bode
Bass Vocals [St. Petrus] – Raimund Nolte (tracks: 1-2, 1-7, 2-1 to 2-13)
Bassoon – Adrian Rovatkay, Henriette Bakker
Cello – Detmar Leertouwer, Mark Mefsut, Markus Möllenbeck
Flute [Transverse Flute] – Cordula Breuer, Jed Wentz, Marion Moonen, Martin Sandhoff
Harpsichord – Christian Rieger 
Oboe – Markus Deuter, Michael Niesemann, Monika Nielen, Susanne Regel, Wolfgang Dey
Oboe [Solo] – Susanne Regel (tracks: 1-6, 2-15)
Oboe [Solo] – Monika Nielen (tracks: 2-15)
Organ – Andreas Spering 
Recorder – Michael Niesemann, Wolfgang Dey
Soprano Vocals [Die Gläubige Seele] – Mechthild Georg (tracks: 2-1 to 2-13)
Tenor Vocals [St. Johannes] – Jörg Dürmüller (tracks: 1-1, 1-4, 1-6, 2-1 to 2-13)
Tenor Vocals – Scot Weir (tracks: 1-4)
Theorbo – Michael Dücker
Viola – Almut Geldsetzer, Fred Günther, Marie-Luise Geldsetzer, Victoria Gunn
Violin – Anton Steck, Christoph Mayer, Daniel Deuter, Florian Deuter, Katharina Wolff,
 Sebastian Griewisch, Sherman Plessner, Ulrike Fischer, Ulrike Kunze, Wolfgang Von Kessinger
Violone – Jonathan Cable 

Musica Antiqua Köln
Reinhard Goebel - conductor

Reinhard Goebel, with his Musica Antiqua Köln, was a vigorous advocate for the music of Heinichen, and this 2-CD recording from 1996 was one of MAK's finest ever. The "Lamentations of Jeremiah" and four Latin motets comprise one CD, while the second CD features a German-language Passion oratorio that even Bach might have envied for its emotive potency and thoughtful counterpoint. ---The "H" Trinity, amazon.com

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