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GRAMOPHONE (04/2016)
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Reviewer: David Vickers

Augustus the Strong’s convenient conversion to Roman Catholicism in 1697 enabled the Elector of Saxony to become the King of Poland, and the artistic culture of the Dresden court became increasingly defined by Italianate tastes. Accordingly, a distinguished host of illustrious musicians were employed in the Saxon capital. Johann David Heinichen (1683-1729) had trained and worked in Leipzig before gaining broader experience during six years in Italy. It was during the Prince-Elector of Saxony’s visit to Venice that he was sufficiently impressed by Heinichen’s Arcadian-style cantatas to persuade his father to recruit the composer as the new Dresden kapellmeister.

The enterprising Batzdorf Hofkapelle perform four of these cantatas. Marie Friederike Schöder’s gentle singing, a pair of pastoral recorders and whispering pizzicato strings depict the vulnerable plaints of an afflicted lover in Lascia di tormentarmi. Terry Wey’s delicate singing in La bella fiamma (Venice, 1711) is accompanied by elaborate theorbo obbligato parts played deftly by Stephan Rath. Both singers join forces for a dialogue between the lovers Clori and Tirsi in Se mai, Tirsi, mio bene – a cantata that is longer, more poetically varied and full of finely crafted music. The diligently planned programme is enriched by a Vivaldian oboe concerto in G minor played by soloist Xenia Löffler with assured fluidity, and a concise violin concerto in D performed by concertmaster Daniel Deuter with conversational dexterity.

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