(b Schönbüchel [now Krásný Buk], Bohemia, 11 March 1781; d New York, 3 May 1861). American composer of German-Bohemian birth. The adopted son of a wealthy uncle, Heinrich inherited property and a prospering business. However, the Napoleonic wars and the ensuing Austrian financial crash of 1811 destroyed his entire inheritance. He had visited America in 1805, and in 1810 had tried unsuccessfully to establish his business there. Following another abortive business venture in America (1816–17) and the death of his wife, a Bostonian, he remained to embark upon a musical career.
Although Heinrich had studied the violin and piano in his youth, he was essentially self-taught. Nevertheless, he became a dominant American figure as composer in the mid-19th century. His career led him to Philadelphia, Pittsburgh, Kentucky, Boston and finally New York, where he settled in 1837. He was considered America’s first ‘professional’ composer, and critics termed him ‘the Beethoven of America’. At New York in 1842, 1846 and 1853, and at Boston in 1846, ‘Father’ Heinrich was the featured composer in festival concerts that included several of his large orchestral works.
Heinrich’s life is prominently linked with the history of concert music in America during the first half of the 19th century. As a violinist he led one of the first known performances of a Beethoven symphony (probably the First Symphony) in America (Lexington, Kentucky, 12 November 1817). He was chairman of the organizational meeting on 12 April 1842 of the New York Philharmonic Society. The scope of his personal contacts and acquaintances with important men in fields outside music is astonishing: he was close to diplomats, legislators, judges, lawyers, doctors, professors, naturalists, poets and writers. Indeed, he was granted an audience with a president of the USA, John Tyler, at which he played his compositions.
Unlike most American composers of the period, Heinrich’s reputation extended beyond America. He was acquainted with Mendelssohn, and Marschner praised his compositions. He spent the years 1826–31, 1833–7 and 1856–9 in Europe, at times playing violin in the orchestras of Drury Lane and Vauxhall Gardens in London. In 1836 his compositions were acclaimed after a concert at Graz. The same year, his international reputation was acknowledged by his inclusion in Gustav Schilling’s Encyclopädie and it was confirmed in Fétis’s Biographie universelle (1839). His career was crowned with three concerts at Prague in 1857, the last one devoted exclusively to his orchestral works. Despite this notable career, he died in poverty and neglect.
Heinrich’s compositions exemplify the Romantic view of art as self-expression. Many of his works, including numerous autobiographical songs and descriptive compositions, can be traced to specific experiences and events during his life. Shortly before beginning to compose, he made a 300-mile journey by foot through the wilderness from Philadelphia to Pittsburgh, followed by a 400-mile journey down the Ohio River to Kentucky. This encounter with the frontiers and natural wonders of the new nation made a profound and lasting impression on his creative imagination. The frontier spirit is reflected in the title of his first major publication, The Dawning of Music in Kentucky, or The Pleasures of Harmony in the Solitudes of Nature (1820), a large, ambitious and varied collection of songs and pieces for piano and violin (see illustration), and in The Sylviad, or Minstrelsy of Nature in the Wilds of N. America (1823, 1825–6), both without precedent in American publishing. Heinrich had written his first composition (1818) and others during his solitary habitation of a log house in the woods around Bardstown, Kentucky. Throughout his life he fostered the Romantic image of himself as the log-house composer, ‘tutored by nature’.
Like many other 19th-century composers, Heinrich was particularly interested in writing descriptive music. From his frontier experiences, the American Indian made the deepest impression, as nine of his orchestral works show; his first composition conceived for orchestra concerned the Indian (Pushmataha, a Venerable Chief of a Western Tribe of Indians, 1831). He seems to have been the first to attempt a serious treatment in music of the idea of the American Indian, at any rate in the larger forms. One of America’s natural wonders was orchestrally described in The War of the Elements and the Thundering of Niagara, and Heinrich’s patriotism found expression in, among other works, The Jubilee, a large composition for orchestra, chorus and solo voices, tracing the history of America from the Pilgrims up to the War of Independence. Two other descriptive works for orchestra show fruits of his friendship with John James Audubon: The Columbiad, or Migration of American Wild Passenger Pigeons and The Ornithological Combat of Kings, or The Condor of the Andes and the Eagle of the Cordilleras, the latter considered by Heinrich as his best work. Heinrich is buried in the Audubon vault in New Trinity Cemetery, New York.
Heinrich’s compositions are out of the ordinary and quite original. Although eccentric, occasionally rough, and unusually complex and elaborate, his works are truly expressive and never without interest. The sources of his musical style are found in Haydn and to some extent Beethoven, but they have the greater ornateness of Italian opera and often a freer use of chromaticism both melodically and harmonically. Heinrich’s melodic style is strongly influenced by classical dance music, and melodic quotation plays an important role in his compositional technique, particularly self-quotation and the quotation of popular, patriotic tunes (e.g. Hail Columbia, Yankee Doodle, God Save the King). The forms Heinrich favoured most are those of the dance and the theme with variations. Generally, he did not develop material thematically or formally, but juxtaposed successive sections. As a result, his works often have the characteristics of an extemporized fantasy (e.g. A Chromatic Ramble of the Peregrine Harmonist, for piano).
Heinrich consistently rewrote his works and composed for a wide variety of performance media, frequently employing the same musical materials in different ones. Since he was a violinist and pianist, and his first creative efforts were improvisations on the violin, it is not surprising that the majority of his works exhibit a strong instrumental bias. Although he wrote many excellent songs and piano pieces, he was an orchestral writer by temperament and choice, and the orchestral works form the truest expression of his musical personality. He wrote for a large orchestra, with scores employing up to 44 individual parts. The years 1834–5 and 1845–7 produced most orchestral works. Unfortunately, in America at this time there were no orchestras and few vocalists capable of executing properly Heinrich’s extremely complex music.
Although none of his orchestral music was published, the great majority of Heinrich’s other work was. His orchestral manuscripts, personal scrapbook and a large number of music prints are in the Library of Congress. Another, smaller collection of prints is in the Národní Muzeum, Prague.
DAVID BARRON/J. BUNKER CLARK
Edition: Heinrich: Complete Works, ed. A. Stiller (Philadelphia, 1991–)
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The Dawning of Music in Kentucky, or The Pleasures of Harmony in the Solitudes of Nature, op.1 (Philadelphia, 1820, rev. 1820–23/R) [DMK] |
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The Western Minstrel, op.2 (Philadelphia, 1820, rev. 1820–23/R) [WM] |
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The Sylviad, or Minstrelsy of Nature in the Wilds of N. America, 2 collections, op.3 (Boston, 1823, 1825–6/R) [Sa, Sb] |
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Index: u – songs; v – vocal ensembles; w – keyboard; x – vocal with orchestra; y – orchestral; z –instrumental |
Heinrich, Anthony Philip: Works
1 voice, piano, unless otherwise stated
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1819: While the Heart (H.C. Lewis) [also z] |
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1820 (in DMK): A Bottle Song (Burns) [also v]; Coda (W.B. Tappan); Columbia’s Plaint (Lewis); From thee Eliza (Burns); Hail to Kentucky (P.W. Grayson); How Sleep the Brave (W. Collins) [also v]; Ode to the Memory of Commodore O.H. Perry (Lewis) [also z]; Prologue Song (Lewis), 2 settings; Say what is that heart! (Grayson); Sensibility, and Sensibility’s Child (Lewis), 2 songs [no.1 also v]; Sweet Maid; The Birthday of Washington (text from The National Intelligencer); The Bohemian Emigrant (Lewis); The Bride’s Farewell (Lewis); The Musical Bachelor (J.R. Black), also for 1v, fl/vn, pf; The Young Columbian Midshipman (Lewis), 2 versions; ’Tis not in Dreams (Tappan); To my Virtuoso Friends (R.S. Coffin); Visit to Philadelphia (Lewis); Where is that Heart? (Grayson) |
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1820 (in WM): Hast thou seen! (Tappan); Image of my Tears (Byron, Lewis); Irradiate Cause! (Tappan); Love in Ohio (Lewis); Maid of the Valley (Tappan); O smile upon the deaf and dumb (Tappan); Remember me (Lewis), 2 versions; Sailor Boy’s Dream (W. Diamond); The Musical Bachelor (Black); There is an hour (Tappan); The Yager’s Adieu (Grayson); Venez ici! (Lewis); Where are the pleasures (G. Dutton) |
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1822: Ode to the Memory of Commodore Perry (Lewis) |
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1823: Fair Pupil (M. Neville); Philanthropy (Tappan) [also v, w] (Sa) |
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1825 (in Sb): Fill your Goblets (H. McMurtrie) [also v]; Mary (T. Moore); Overture to the Fair Sylph of America (Neville); The Sylph of Music (C.H. Locke); The Yager’s Adieu (Grayson), 2 versions; Where is the nymph (T. Moore, M. Osborne); Where’s the home (Locke) |
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1826 (in Sb): Sequel, or Farewell to my Log House (J.M. Brown) [also v]; The Log House (Brown); The Western Minstrel’s Recollection (A.G. Whipple) |
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1828: Fantasia vocale (J.H. Payne); The Twin Brothers (L.E. Landon), 2 settings; The Twin Sisters (W. Steele), 2 settings |
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c1828: Be silent now (Steele); Dean Swift’s Receipt to roast mutton (Swift); I love the brilliant courtly scene (T. Gaspey), rev. as The glorious day shall dawn at last; The Absent Charm (Gaspey) |
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1832: I love thee! (T. Hood); The Voice of Faithful Love (Gaspey), 1v, fl, pf |
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c1832: Nay, Lady (N.G[reene]); We wander in a thorny maze (Tappan) |
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?1832: Song of Jacob to Rachel (Tappan), 1v, org |
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1838: The Bonny Brunette (J.M. Moore), 2 versions |
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1842: The Loved One’s Grave (Wordsworth) |
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1846: Breezes from the Wild Wood: no.1, Imoinda (O.H. Mildeberger), no.2, Ne-La-Me (W. Wallace); Cantilene d’affetto: no.6, La toilette de la reine (Mrs G. Killick, G. von Kienbusch), no.7, The Maid of Honor (Steele, von Kienbusch), 2 versions, no.8, Eleanor (A. Mensbier, von Kienbusch), no.9, Love’s Confiding (W.L. Jeffers, von Kienbusch); Reminiscences of Kentucky [see v]: no.1, The Parting (D.C. Driscoll); The Minstrel’s Friend (Tappan); The Tribute [see v]: no.1, Sweet Music (Tappan); The Young Columbian Midshipman (Lewis); Une petite fantaisie d’amour (M.S. Pile) |
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1847: La toilette de la cour (Killick) |
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1848: An Offering of Song: no.1 The Rose of the Sea (M.E. Hewitt), no.2, The Broken Heart (Moore); Sacred Meditations (Tappan): no.1, An Evening Reflection, 1v, org, no.2, Sweet is the Hour of Solitude; The Harp’s Last Echoes: no.1, ’Tis Echo’s Voice (Steele, von Kienbusch), also for 1v, fl, pf Heaven and my Harp (Mrs A.R. Luyster), no.2, The Soul Released (Tappan), 1v, org, no.3 |
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1849: La bohémienne (F. Koller, H.B. Gay); La toilette de la cour (Killick, von Kienbusch); Mým slovanským bratrům v Europě! [To my Slavonian Brethren in Europe] [see w]: no.1, Home of my Youth (Tappan, von Kienbusch), no.2, The Cypress (W.J. Edson, von Kienbusch); Recollections from a Log House [see w]: no.1, Love in Ohio (Lewis); The Calm Sequester’d Cell [Süss ist die Ruh] (Gaspey, A. Mandel) |
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1850: Father Heinrich’s Klage, 1v; Love’s Enchantment (Tappan); Melodie (H. Harring), 1v |
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?1850: An Elegiac Song (A. Carey); The Garland (Luyster) |
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1851: How Sleep the Brave (Collins); Must I resign; The Yager’s Adieu (Grayson) |
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1852: The Unknown Man |
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?1852: Our hearts were bowed; Remember me (Lewis) |
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1852–3: Sunset Chimes, 1v, pf, org: no.1, I have something sweet to tell you (Mrs F.S. Osgood), no.2, O! say, my Leila (F.W. Fish), no.3, Loving Hearts (A. Duganne), no.4, The Forsaken (Duganne), no.5, Hope on (Duganne), no.6, Hope’s Diadem (H.T. Drowne), no.7, Remember me (Lewis), no.8, Forget me not (Tappan), no.9, Capriccio vocale, 2 versions, no.10, The Boston Bard (Coffin), no.11, Must I resign, no.12, That awful day (I. Watts) |
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1854: A Votive Wreath [Dem Verdienste seine Krone] [see w, y]: no.3, Love’s Enchantment [= u 1850], no.4, La bohémienne [= u 1849], no.5, The Spirit Bond [Das Geister Band] (Hewitt, G. Aigner); Legends of the Wild Wood [Urwald Sagen] [see w, y]: no.4, Fleeting Hours (W.J. Wetmore, M. Langenschwartz), no.5, The Old Harper (Wetmore, Aigner) |
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?1858: Balladen: no.1, Die Liebe, no.2, Der Engel Wanderung (E. Vacano) |
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Uncertain date: Accettate gli ossequi; A Lone Trembling Flower (Steele); Du bist gestorben (Heine), 2 settings; Fantasia amorosa (S.S. Fitch); Hark! I heard; I love to watch the evening sky; In Lebanon (Tappan), 1v, org; I’ve something sweet to tell you (Osgood); Oh Happy Land (Wetmore); Shadows of Memory (Wetmore); The Home of Childhood’s Hour (Drowne); The Lilac, 3 settings; The Spirit Bond (Hewitt) |
Heinrich, Anthony Philip: Works
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1820 (in DMK): A Bottle Song (Burns), solo vv, STB, pf [also u]; How Sleep the Brave (Collins), 1v, unison vv, pf, also for STB [also u]; Sensibility, 2vv, fl, pf [also u]; The Sons of the Woods (Lewis), 1v, unison vv, pf |
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1823 (in Sa): Philanthropy (Tappan), SATBB, pf [also u, w]; The Minstrel’s Catch, S, 8–40 mixed vv (more ad lib), pf |
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1825 (in Sb): Epitaph on Joan Buff (W. Staunton, Osborne), 5vv, pf; Fill your Goblets (McMurtrie), 4vv, pf [also u] |
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1826 (in Sb): Bohemia (Watts), SS(A)BB, org; Sequel, or Farewell to my Log House, 4vv, pf [also u]; The Minstrel’s Adieu (Locke), SSB, pf; The Western Minstrel’s Musical Compliments (Grayson), SSB, pf |
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1832: 4 hymns in N.D. Gould: National Church Harmony (Boston, 1832): Antonia, 4vv, Death of a Christian (A.L. Barbauld), SSTBB, org; Harmonia, 4vv, On Judah’s Plain (Tappan), 4vv; Funeral Anthem (C. Murray), 2 Tr, T, 2 B, chorus, org/pf; Hail Beauteous Spring (Tappan), ST(S)B, pf |
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1836: Des Christen Tod (Barbauld, Mandel), SSTBB, pf/org |
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1845: The Adieu, opening from oratorio The Wild Woods’ Spirits Chant (Eng. text Edson, Ger. text C.J. Hempel), S, A, T, 2 B, chorus, org/pf |
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1846: Elegiac quintetto vocale (Wallace), SATBB, org/pf; Reminiscences of Kentucky [see u]: The Valentine, ‘Lovely are Maidens’ (G.B. King), S, T, pf; The Tribute [see u]; no.2, The City of Fraternal Love (Lewis), 1v, SATB, pf |
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1847: Funeral Anthem (Hewitt), S, A, T, 2 B, chorus, org |
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1851: Music, the Harmonizer of the World (King), 1v, SATB, pf |
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1854: Musa sacra, no.4: The Death of a Christian [Des Christen Tod] (Barbauld, Mandel), SATBB, org/pf |
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?1858: 2 choruses from The Columbiad, pt.2: Erkenne Gott! (Langenschwartz), SATB, pf, Soli Deo gloria, S, A, T, B, chorus, pf |
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Uncertain date: Our Hearts, 2vv, pf, also for S, A, T, 2 B, chorus, pf |
Heinrich, Anthony Philip: Works
piano 2 hands, unless otherwise stated
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1820 (in DMK): A Chromatic Ramble, pf, 1v; A Divertimento; A Serenade, pf, ?vv; Avance et retraite; Farewell to Farmington, arr. pf; Hail Columbia!; Kentucky March, Trio, and Quick-step Waltz; La buona mattina, pf, 1v; Lord Byron’s Cotillion (incl. Fair Haïdée’s Waltz); Marche concertante, arr. pf, 1v; Marcia di ballo; Rondo Waltz; The Fair Bohemian; The Henriade; The Minstrel’s Petition, pf, 1v, vn; The Prague Waltz; The Sarah; The Unamiable; Three Cotillions, pf, ?fl, 1v; Visit to Farmington; Yankee Doodle Waltz |
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1820 (in WM): Gipsey Dance; Ländler of Austria; Philadelphia Waltz; The Minstrel’s March |
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1823 (in Sa): A Divertimento di ballo; Canone funerale; Philanthropy [also u, v]; The Minstrel’s Musical Compliments; Toccatina capricciosa; Valsetto triangolo |
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1825 (in Sb): A Sylvan Scene; Bernhard, Duke of Saxe Weimar’s March; Overture de la cour; The Four-pawed Kitten Dance, pf 4 hands; The Minstrel’s Entertainment with his Blind Pupil, pf 4 hands; The Minstrel’s March; The Minstrel’s Vote; The Students’ March; Toccata grande cromatica |
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1826 (in Sb): The Debarkation March; The Embarkation March; Vivat Britain’s Fair! |
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c1830: Avance et retraite, arr. pf |
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c1832: A Divertimento di ballo; A Recollection of England; Il divertimento di Londra; La promenade du diable; Multum in parvo; Paganini’s Incantation [with T. Welsh]; The First Labour of Hercules; The Rübezahl Dance; The Waltz of the N. York Graces |
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1835: Le départ d’Angleterre |
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c1835: Musical Week: The Amaranth, The Brown Beurré, The Hickory, pf, vc, The Phoenix, The Sensitive Plant |
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1838: The May Day Waltz |
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1839: L’esprit et la bonté; Pocahontas |
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1840: An Elegiac Impromptu Fantasia; The Nymph of the Danube; 3 Elssler Dances: The Laurel Waltz, The New York Capriccio, The Zephyr Dance |
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1841: The Maiden’s Dirge; The President’s Funeral March, pf/org; 3 Indian Fanfares; 3 petits caprices; 2 Waltzes pastorale |
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1842: The New York Rondo; The Yankee Welcome to Boz, 2 waltzes; 3 Images of Musical Thought: The March and Waltz of the Muses, The Return from School |
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1844: Texas and Oregon Grand March; Tyler’s Grand Veto Quick Step |
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1847: The Laurel and the Cypress |
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1848: Der Triller; Valentine Wedding Waltz |
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1849: A Valentine, pf, vn ad lib; Divertimento leggiadro: Capriccio volante, Finale trionfante, St Valentine’s; Marcia della regina e Passo doppio Coburg; Mým slovanským bratrům v Europě! [To my Slavonian Brethren in Europe] [see u]: no.3, Žalost Čechů! Bohemia’s Funeral Honors to Josef Jungmann (1847), no.4, The Moan of the Forest; Recollections from a Log House [see u]: no.2, The Wood-land Stroll Waltz; The Festival of the Dead and the Cries of the Souls, pf, org ad lib; The Indian Carnival, toccata |
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1850: Barnum’s Invitation to Jenny Lind; General Taylor’s Funeral March; Song without Words |
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c1850: Jenny Lind and the Septinarian [see y]: Jenny Lind’s Maelstrom |
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1851: Voluntary, org |
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1853: Caprice dansante concertante: Le minuet du grand-père et La valse des grands enfants |
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1854: Adieu to America; A Votive Wreath [Dem Verdienste seine Krone] [seeu]: The First Labour of Hercules; Legends of the Wild Wood [Urwald Sagen] [see u]: no.2, Ischl or Union of Spirits, no.3, Ouisahiccon |
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1855: A Katinka: Caprice; Jäger’s Adieu |
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1858: Zerrinnen des geisterhaften Traumbildes |
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Uncertain date: An Elegy, org; Divertimento di ballo; La Colombiade; Phantasy, org/pf; Pushmataha; 4 capricci: Il dilettante, Il filosofo, Il professore, Il romantico; The Virtuoso’s March to Olympus; 2 pieces (unidentified) |
Heinrich, Anthony Philip: Works
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O Santa Maria (2 texts: sacred Lat., secular by Steele), S, T, chbr orch, 1834 |
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Musa sacra, no.2: Adoramus te Christe, offertorio, 3vv, orch, 1835; no.3: O Santa Maria, motetto, STBB, chbr orch, ?1835 |
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The Jubilee (Edson), S, A, T, 2 B, chorus, orch, 1841 |
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The Warriors’ March to the Battlefield (Grayson), S, A, T, B, chorus, orch, 1845 |
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Coro funerale (Hewitt), S, A, T, 2 B, chorus, semichorus, orch, org, ?1847 |
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Amor patriae – Our Native Land (Eng. Wetmore), S, A, T, 2 B, chorus, orch/pf, before 1854 |
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Noble Emperor (Wetmore), S, A, T, 2 B, chorus, orch; perf. as orch piece (vv tacent) as Hoch Oesterreich, ?1854 |
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The Columbiad (Langenschwartz, E. Rosenbaum), pt.1, orch; pt.2, S, A, T, 2 B, chorus, pf, 1857–8 |
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Der Felsen von Plymouth, pt.1, orch; pt.2 borrowed from Adoramus te Christe, Soli Deo gloria, 1858–9 |
Heinrich, Anthony Philip: Works
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Pushmataha, a Venerable Chief of a Western Tribe of Indians, fantasia, 1831 |
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A Concerto for the Kent Bugle; Complaint of Logan, the Mingo Chief, fantasia; The Indian War Council; The Mocking Bird to the Nightingale, capriccio; The Tower of Babel, oratorical divertissement; 1834 |
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The Treaty of William Penn with the Indians, conc. grosso, 1834, rev. 1847 |
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The Jäger’s Adieu, 1835 |
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Gran sinfonia eroica, c1835 |
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Pocahontas, fantasia romanza; The Columbiad, sym. [see x]; The Hunters of Kentucky, sym.; 1837 |
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The Wild Wood Spirits’ Chant, fantasia, c1842 |
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Musa sacra, no.1: The Tower of Babel, sinfonia canonicale, 1843 [based on music of 1834], adds 1852 |
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Johannis Berg, grand potpourri dansante; Manitou Mysteries, sym.; The |
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Indian Carnival, sinfonia eratico-fantastica; The War of the Elements, capriccio grande; before 1845 |
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Boadicèa, concert ov.; The Empress Queen and the Magyars, sinfonia patriotica-dramatica; The Mastodon, sym.; To the Spirit of Beethoven, sym.; ?1845 |
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Schiller, grande sinfonia dramatica, 4 of the 5 movts, 1830s, rev. with adds 1847 |
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The Ornithological Combat of Kings, sym., 1847, rev. 1856 |
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The Tomb of Genius: to the Memory of Mendelssohn-Bartholdy, sinfonia sacra, ?1847 |
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The Castle in the Moon, orch romanza, 1850 |
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Jenny Lind and the Septinarian [see w]: Jenny Lind’s Journey, divertissement, c1850 |
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National Memories, ov., 1844–52 |
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The Wildwood Troubadour, ov., 1834–53 |
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Austria: The Flight of the Double Eagle, ov.; Bohemia, sinfonia romantica; before 1854 |
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A Votive Wreath [see u]: The Empress Queen and the Magyars; Legends of the Wild Wood [Urwald Sagen] [see u]: no.1, The Wild Wood Troubadour; 1854 |
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Homage à la Bohème, sym., 1855 |
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Austria: Heil dir ritterlicher Kaiser, march; Die Allianz beider Hemispheren; ?1858 |
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Marcia [? Das Schloss im Monde]; The Harper of Kentucky, ov.; uncertain date |
Heinrich, Anthony Philip: Works
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While the Heart, fl/cl/vn, 1819 [also u] |
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Ode to the Memory of Commodore O.H. Perry, pf, vn/fl [also u]; Tema di Mozart and an Original Air, 2 vn, db/vc, pf ad lib; The Yankee Doodleiad, 3 vn, db/vc, pf; 1820 (DMK) |
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Storia d’un violino, vn, 1831 |
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2 Scores for 11 Performers: The Columbiad, The Tower of Babel, fl/pic, 2 cl, bn, 2 hn, tpt, 2 vn, va, vc, db [bn, 2nd cl ? added later], 1837 |
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Marcia funerale, brass band, perc, after 1850 |
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Souvenir of the Hudson Highlands, pf, vn; Trip to the ‘Catskill Mountain House’, vn, pf; 1851 |
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Marcia funebre for the Heroes, brass band, perc, ?1850–54 |
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Ottetto, 3 vn, 2 va, 2 vc, db, triangle, ?1857–8 |
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Scylla and Charybdis, pf, vn; The Adieu, fl, 2 vn, 2 va, vc, db, ?inc. [incl. The Greeting]; unknown date |
Heinrich, Anthony Philip: Works
l. – lost
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Heinrich habitually assigned new titles to old works, so that some works listed here may exist under other titles. |
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Voice(s) with keyboard: I enter thy garden of roses (Byron), with vn, perf. 1821, l.; Maidens in your mystic bower (?McMurtrie), perf. 1821, l.; Youths who merit (McMurtrie), perf. 1821, l.; Lover’s Prayer (Coffin), before 1825, l.; Away, away, perf. 1825, l.; The Stranger’s Requiem (Edson), duet, perf. 1842, l.; Stay with me (?Oterman), 1854, inc.; Fantasia amorosa (Fitch), inc.; Funeral Anthem (Hewitt), SATBB, org, inc.; Gloria, inc.; I’ve something sweet to tell you (Osgood), inc.; Sensitive Plant (Tappan), inc.; Sweet is the hour of solitude (Tappan), inc.; Take back the token, inc. |
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Keyboard: The Bachelor’s Quick Step and Wedding Waltz, pf, perf. 1832, l.; A Chromatic Ramble, toccata, pf, inc. [see version in DMK]; An Offertorio, l.; Denmark’s Funeral Honors to Thorwaldsen, pf, l.; The Dedication Waltz, l.; Toccata grande, org, l. |
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Vocal with orch: The Child of the Mountain (McMurtrie), melodrama, some inst pieces, arr. pf, extant; The Minstrel, opera, 1835, l.; The Ornithological Combat of Kings, oratorio, 1837, l.; The Maiden Queen, oratorio, l. |
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Orch: A National Olio, perf. 1821, 1.; Capriccio, perf. 1821, l.; Finale (Tutti), perf. 1821, l.; Ov., perf. 1821, l.; A New Divertimento, perf. 1832, l.; The Mythological Concerti Grossi for a grand orch, before 1845, only l page extant; Tecumseh, ov., perf. 1846, l.; The New England Feast of Shells, divertimento, perf. 1853, tpt extant; A Concertante, ob, orch, l.; Potpourri, l.; The Cosmopolitan Grand March, l.; The ‘Nec Plus Ultra’ Yankeedoodleiad, l. |
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Miscellaneous: Postillion Waltzes, vn, perf. 1819, l.; Variations on Marlboro, vn, perf. 1819, l.; Divertimento (alla marcia), 11 wind insts, timp, perf. 1821, l.; Solos pastorale, cl/fl, perf. 1821, l.; The Ornithological Combat of Kings, septett concertante, l. (also arr. vn, pf, l.) |
A.P. Heinrich: Scrapbook (MS, US-Wc)
F.A. Mussik: Skizzen aus dem Leben des sich in Amerika befindenden deutschen Tondichters Anton Philipp Heinrich, nach authentischen Quellen bearbeitet (Prague, 1843)
Anthony Philip Heinrich (‘Vater Heinrich’): zur Lebensgeschichte des Veteran Kompositeurs, unsers aus der neuen Welt heimgekehrten Landsmannes (Prague, 1857)
W.T. Upton: Anthony Philip Heinrich: a Nineteenth-Century Composer in America (New York, 1939/R)
I. Lowens: ‘The Triumph of Anthony Philip Heinrich’, Music and Musicians in Early America (New York, 1964)
F.N. Bruce: The Piano Pieces of Anthony Philip Heinrich Contained in ‘The Dawning of Music in Kentucky’ and ‘The Western Minstrel’ (diss., U. of Illinois, 1971)
D. Barron: The Early Vocal Works of Anthony Philip Heinrich (diss., U. of Illinois, 1972)
W.R. Maust: The Symphonies of Anthony Philip Heinrich Based on American Themes (diss., Indiana U., 1973)
L.H. Filbeck: The Choral Works of Anthony Philip Heinrich (diss., U. of Illinois, 1975)
W.R. Maust: ‘The American Indian in the Orchestral Music of Anthony Philip Heinrich’, Music East and West: Essays in Honor of Walter Kaufmann, ed. T. Noblitt (New York, 1981), 309–25
B. Chmaj: ‘Father Heinrich as Kindred Spirit: or, How the Log-House Composer of Kentucky Became the Beethoven of America’, American Studies, xxiv/2 (1983), 35–57
J.B. Clark: The Dawning of American Keyboard Music (Westport, CT, 1988)
V.B. Lawrence: Strong on Music: i (New York, 1988), ii (Chicago, 1995)
J.B. Clark: ‘A Bohemian Predecessor to Dvořák in the Wilds of America: Anthony Philip Heinrich’, Dvořák in America, ed. J.C. Tibbetts (Portland, OR, 1993)