The most seasoned discophiles will remember a shock advertising campaign in 1993. Archiv wanted to make a big splash by presenting us with an unknown, Johann David Heinichen (1683-1729), as the “German Vivaldi” to promote his ” Dresden Concerti” by Musica Antiqua Köln and Reinhard Goebel. In nearly 30 years, Heinichen has hardly emerged from anonymity, which does not detract from the interest of his music. The idea that struck then remains: there is a lot of Italy in this German baroque. This can be explained by Heinichen’s stay in Venice, which began in 1710. Heinichen, who had failed to succeed Telemann as a good Germanic musician in Leipzig in 1705, returned “Italianized” in 1716 and was hired in Dresden, where Antonio also worked Lotti. This sacred disc is at least as convincing as the concertos unearthed 29 years ago by Goebel. It offers Vespers artificially reconstituted from the sacred corpus bequeathed by Heinichen between 1721 and 1724. Modest soloists, from the choir, however somewhat limit its scope.
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