A-R Special Publications

The years between 1719 and 1733 might be called the "golden years" of Dresden—a time when Friedrich August I was firmly established as the Polish king (named August II), the elector-prince's extremely fertile marriage secured the survival of the house of Wettin, and Saxony also enjoyed increasing prosperity. Music at the Dresden court was led by Johann David Heinichen, appointed to the post of kapellmeister in 1717 by the elector-prince, and he and the many other young and talented artists from the court transformed the new musical developments of Vienna, Venice, Rome, and Paris into something that could be called the characteristic "Dresden style."

Heinichen's Lamentationes Jeremiae were performed at the court chapel in Dresden in 1724, a year after Jan Dismas Zelenka's setting was stopped mid-performance because Maria Josepha declared it to be too long. Heinichen's Lamentations represent a style that was more to the taste of the court in Dresden, with a regular alternation of recitative and aria organized around the introductory Hebrew letters in the texts. The central Lamentatio II features a bass soloist with string and continuo accompaniment, while the framing Lamentatio I and III, for tenor and alto soloists, respectively, add flutes and oboes to the orchestra.

Johann David Heinichen
Sacred Vocal Music
Edited by Reinhard Goebel

S 2	ISBN 0-89579-537-X	(2003) ix + 38 pp.	$30.00
	ISBN 978-0-89579-537-3 (13-digit)
Includes score and partbooks (ob.; fl. 1/vn. 1; fl. 2/vn. 2; va.; b.c.)

A selection of Heinichen's rich body of church music demonstrates the depth of his ingenuity of expression and instrumentation that among later generations earned him the title of the "German Rameau." His settings of "De profundis" and "Warum toben die Heiden" for bass, strings, and continuo contrast his Dresden style with that of his very early (pre-Venetian) career. Heinichen's setting of "Nisi Dominus" for tenor with obbligato oboe was probably an inspiration for Bach's similarly scored cantata arias. His "Alma Redemptoris Mater" for alto, flutes, oboes, strings, and continuo is composed in concerto form and has a remarkably French elegance.

Franz Clement
Violin Concerto in D Major (1805), Violin and Piano
Edited by Clive Brown

S 3 / N 41P	ISBN 0-89579-578-7	(2005) 72 + 32 pp.	$36.00
	ISBN 978-0-89579-578-6 (13-digit)
Parts (pn., vn.) For complete orchestral score, see N 41

Franz Clement's Violin Concerto in D Major, premiered by its composer in 1805 at a concert in which Beethoven conducted his Eroica Symphony, undoubtedly exerted an important influence on Beethoven's violin concerto (which was written for Clement the following year), not only in respect of the treatment of the solo instrument, but also in terms of musical content. Clement's concerto is a piece of real substance that reveals an exceptionally gifted composer, capable of handling the musical idiom of his day with confidence and imagination. It stands alongside Beethoven's masterpiece as a lonely example of an early-nineteenth-century violin concerto in the Viennese Classical idiom. The present critical score has been prepared from a set of lithographed parts of about 1806–7. The separate violin part, published with a piano reduction, has been edited for performance, taking into account the known bowing and fingering practices of the period.

Dresden Sonatas 2: Sonatas a 5
Edited by Reinhard Goebel

S 5	ISBN 0-89579-544-2	(2006) vii + 42 pp.	$40.00
	ISBN 978-0-89579-544-1 (13-digit)
Includes Parts (vn. 1/viola da braccio 1, vn. 2/viola da braccio 2, va. 1/viola da braccio 3, va. 2/viola da braccio 4, vc.)

Dresden Sonatas 3: Sonatas a 6
Edited by Reinhard Goebel

Nearly all of the music from the seventeenth-century court at Dresden was unfortunately lost when Frederick II of Prussia bombarded the city in 1756. Fragments of the repertoire, however, have been preserved in the libraries of the courts of Protestant northern Europe, which were connected to Dresden by friendship or familial ties. Some of these works are presented here as they have been performed and recorded by the ensemble Musica Antiqua Koln, directed by Reinhard Goebel. The editions include both scores and parts.

Dresden Sonatas 1 includes two trio sonatas for two violins and basso continuo by Carlo Farina (1604–82) and one by Johann Wilhelm Furchheim (ca. 1635–82).

Dresden Sonatas 2 contains sonatas for two violins, two violas, and basso continuo by Pietro Andrea Ziani (ca. 1616–84), Clemens Thieme (1638–68), and Johann Wilhelm Furchheim (ca. 1635–82).

Dresden Sonatas 3 presents two works for three violins, two violas, and basso continuo by Johann Wilhelm Furchheim (ca. 1635–82), as well as the Rondeau in C Major by Johann Joseph Fux (1660–1741), which features violino piccolo and bassoon, with an accompanying ensemble of violin, two violas, and basso continuo.

Rudolph, Archduke of Austria
Sonata in F Minor for Violin and Piano
Edited by Susan Kagan

S 7/ N 21 P	ISBN 978-0-89579-610-3	(1992) 64 + 23 pp.	$32.00
Includes Parts (pn., vn.)

Based on N21

Of Related Interest

SIXTEENTH-CENTURY BICINIA from Munich, Bayerische Staatsbibliothek, Mus. Ms. 260. Edited by Bruce Bellingham and Edward G. Evans, Jr. in R 16-17. Selected by Kevin D. P. McDermott.