Fasch: Concertos, Orchestral Suite - TEC, Trevor Pinnock

Johann Friedrich Fasch
Concertos, Orchestral Suite
The English Concert, Trevor Pinnock
Archiv 449 210-2

In comparison with their contemporary, Telemann, German composers such as Fasch, Graupner, Heinichen and StOlzel enjoy a dimin ished profile among present-day concert-goers and music enthusiasts. None of them, admittedly, was anything like so prolific as the Hamburg Director Musices but they all had one thing in common - a fascination with woodwind instruments whose role in concertos and suites was imaginatively developed in their hands. Early on in life Fasch took Telemann as a model, on at least one occasion successfully passing off a piece of his own music as that of the elder composer.

Trevor Pinnock and The English Concert have assembled an engaging programme of four concertos and an orchestral suite which, taken together, demonstrate something of the variety and range of Fasch's style. Three of the works, a Concerto in D for trumpet and two oboes, another in C minor for bassoon with two oboes, and a third, in B fiat for chalumeau, have been previously recorded but the remaining pieces, to the best of my knowledge, are new to the catalogue. Fasch, more than Telemann or Graupner, for instance, forges a link between the late baroque and early classical styles. In movements such as the Allegro finale of the Chalumeau Concerto or that of the concluding D major Concerto on the disc, we are not far away from the galant minuets of the early Mannheim symphonists, while innovative ideas in the deployment of the wind instruments themselves often serve to underline a progressive vein in Fasch's music.

While Fasch is more up-to-date than Telemann in his concept of the three-movement Venetian concerto, his Ouverture-Suites more closely resemble those of the latter. But if the woodwind writing is sometimes more adventurous and forward-looking than that of Telemann it frequently lacks the melodic charm that lends distinction to so many of Telemann's beguiling vignettes. There is, for instance, a slight feeling of aimless meandering in the oboe writing of the first Aria of the G minor Suite. But, almost throughout the remainder of the work, Fasch maintains a sufficiently high level of interest to capture the attention of all but the most indolent of listeners. If in doubt, try the second Aria.

As well as consistently clean and lively ensembleplaying by The English Concert there are also strong solo contributions from oboists Paul Goodwin and Lorraine Wood, bassoonist Alberto Grazzi, chalumiste Colin Lawson and trumpeter Mark Bennett. Recommended.

NA, Gramophone Magazine 1997

Johann Friedrich Fasch: Concerti - Il Gardellino

Johann Friedrich Fasch
Concerti
Il Gardellino
Accent ACC 24182

The 250th anniversary of the death of Johann Friedrich Fasch (1688–1758) arrived last year. Fasch wasn’t ignored, but his anniversary appears to have been under-celebrated, as was Telemann’s when the tercentenary of his birth occurred in 1981. Fasch was another one of those composers who, like Graupner and Heinichen, has been overshadowed by composers like Telemann and Vivaldi.

Fasch undertook a long journey that involved several courts and cities, including a tenure in near ideal circumstances in Prague with Count Morzin, but it was only after the third time that a position in Zerbst landed in his lap (and following a letter to the composer from his father-in-law) that Fasch made the change. Fasch would spend the rest of his life there, although in his last years he faced constant financial difficulties as evidenced by surviving numerous petitions received by Fasch’s employer. Fasch’s reticence to make the change appears to have been well founded, as the workload in Zerbst was immense. He not only had to compose a large quantity of church music, but also provide music for special occasions and perform time-consuming and laborious administrative work. These responsibilities made the Zerbst post one of the most coveted in the region, and Fasch made an effort to keep it so by establishing and maintaining contact with Johann Christoph Graupner in Darmstadt (with whom Fasch studied for three months in 1714), Johann Georg Pisendel and Johann David Heinichen in Dresden, and Georg Philipp Telemann in Hamburg. In this way, Fasch was able to have his music performed outside of Zerbst and thereby establish a reputation in important music centers. But this turned out to be a quid pro quo, as it gave Fasch an opportunity to access and presumably perform music from other courts. This accounts for the fact that there are several sources for some of Fasch’s works, making it difficult to assess. But it appears that most of the vocal works are lost while most of the instrumental works survive.

Fasch’s output includes 87 orchestral suites scored for a variety of instruments, including just over six dozen concertos. These form the next most significant portion of Fasch’s instrumental output. With the exception of four concertos (none of which are included here), they follow the three-movement plan generally attributed to Vivaldi. But unlike his Dresden colleagues, Fasch turned away from the excessive virtuosity and flamboyance of Vivaldi and embraced the more restrained style of Telemann. The manuscripts of the concertos recorded here are housed in Darmstadt and Dresden, with those featuring multiple soloists reflecting the makeup and taste of the Dresden orchestra, which at the time, was one of the finest in Europe.

Fasch was no Bach, so there is nothing esthetically revelatory about the music offered on this recording, but there is much to appreciate in these conservatively paced, nicely colored, and admirable interpretations that are consistently fresh and intelligent. Though there isn’t a great deal of tonal variety, these recordings do offer an elemental beauty of tone, and afford much pleasure, even with the occasional repeated listening. The SACD format augments the sound, creating a wholly realistic aural environment.

Michael Carter, Fanfare

Fasch: Concerti & Sinfoniae - Main-Barockorchester Frankfurt

Johann Friedrich Fasch
Concerti & Sinfoniae
Main-Barockorchester Frankfurt
Aeolus AE-10017

While it would be premature to talk of a full-scale revival of the music of Johann Friedrich Fasch (1688–1758), recent years have witnessed a respectable interest in the composer. The attention is unquestionably justified, since while Fasch rarely sought profundity, his music is unfailingly well crafted, highly inventive, and effortlessly conforms to one of the most important tenets of 18th-century orchestral music to entertain.

Stylistically, Fasch’s orchestral works span the transition from the late Baroque to the pre-Classical style. This is clearly apparent in the three contrasted sinfonias on the present disc, in particular the B♭ Sinfonia, one of only three of Fasch’s 19 surviving pieces in this form to add a pair of oboes to the strings. In the infectiously bright opening Allegro, the advanced leanings of what sounds like a thoroughly mature work are in evidence in the periodic phrasing, and contrasts of dynamics and color (Fasch is fond of imitative exchanges between high and low strings, also in evidence in the first movement of the G-Minor Sinfonia). The succeeding Cantabile is a gem, a sinuously lovely and highly expressive movement in siciliano rhythm that also displays its modern credentials by using the oboes to bind the texture. The dramatic intensity of the first movement of the G-Minor Sinfonia depends on the contrast between the harsh triple chord heard at the outset (and used as a motto throughout the movement) and the quieter answering phrase. The glowingly lyrical Andante that follows is in the major, after which comes a contrapuntal movement that starts as a four-part fugue (significantly marked by Fasch in stile antico), and a finale notable for its major/minor ambiguity. The Sinfonia in A Minor is perhaps marginally less noteworthy than its fellows, the highpoint being the delicately pastoral Andantino scored for muted strings. Main-Barockorchester Frankfurt is one of the younger German period-instrument ensembles (it was founded in 1998), with this being its debut recording. On this evidence, it is a body that needs fear no comparison with better-known rivals; quicker movements are played with a bright-eyed élan and tonal finesse, while Fasch’s eloquently melodious slower movements are given just the right degree of expressive warmth.

All three of the sinfonias appear to be new to the catalog, as are two of the concertos. The odd man out is the concerto for chalumeau, which has received two previous recordings, one by the English Concert, the other on an Accademia Daniel disc that was the subject of a feature review in Fanfare 23:6. The rustic liquidity of this precursor of the clarinet seems to have particularly appealed to Fasch, who included it in a number of his works. He certainly wrote idiomatically for the instrument, exploiting its ability to “sing” a cantabile aria in the opening Largo of the B♭ Concerto, a movement of Handelian breadth, in addition to playing flexible passagework in allegros. This beguiling work well deserves its relative popularity, and is splendidly played here by Christian Leitherer. In outer movements, Fasch’s concertos conform to the basic principles of Venetian ritornello form, but their material is invariably more closely integrated. The opening Allegro of the D-Minor Violin and Oboe Concerto is a particularly striking example, the distinctive material of both ritornello and the solo episodes constantly developed as the movement progresses. The writing here, as in the central Largo—another of Fasch’s memorably melodic cantabiles—is notable for eschewing showy work for the soloists in favor of concertante-writing. The Violin Concerto in A is a more overtly solo work, including some fairly demanding decorative passagework, but again features a long-breathed Largo with Lombardic rhythms (another Fasch favorite) that is well negotiated by Martin Jopp, the odd moment of slightly sour intonation excepted.

The attractions of this irresistible disc are further enhanced by superb sound. It is rare for a first recording to achieve such distinction, and I greatly look forward to hearing the Hertel disc subsequently recorded by Main-Barockorchester Frankfurt.

Brian Robins, Fanfare

Fasch: Ouvertures - Il Fondamento, Paul Dombrecht

Johann Friedrich Fasch
Ouvertures in G Minor, D Minor and G Major
Il Fondamento, Paul Dombrecht
Fuga Libera FUG502

Both CPO and Berlin Classics have given serious attention to the music of Johann Fasch (1688-1758), and you can read reviews of several of these recordings by typing Q1627, Q1270, Q5998, and Q8034 in Search Reviews. Rather than rehash the importance of Fasch's artistic influences and personal friendship with the older Telemann, or his masterful use of French and Italian stylistic devices in his orchestral suites - also called Overtures - all of which is discussed in the previous reviews, I'll just say that for listeners who enjoy Baroque orchestral music, these three works will prove very satisfying if not particularly revelatory. Most interesting are the timbres elicited by the prominent scoring for oboes (two or three) and bassoon, and the varied manner by which Fasch plays one group - winds or strings - against the other. Especially notable are movements such as the first Aria Largo in the G minor suite, where each component of the orchestra - even the bassoon - gets significant moments in the spotlight.

The melodic writing can be quite lovely in the slow movements and infectiously vivacious in the quicker ones, and it's all affectingly and effectively written to keep us happily interested. Textures in the French-style opening movements can be on the heavy side - and Il Fondamento, aided by the somewhat hard-edged sound environment, seems to particularly relish a strong-handed approach to the dotted rhythms while emphasizing the reedy timbre of the winds. I had a pleasant time listening to this - and it's worth mentioning that it was made more so by the well-written, informative liner notes.

David Vernier, ClassicsToday.com

Heinichen, Graupner, Fasch, Graun: Overtures - C. Coloniensis

Heinichen, Graupner, Fasch, Graun
Overtures
Cappella Coloniensis, Hans-Martin Linde
Phoenix Edition 173

These recordings have been in and out of the catalog since they were first recorded back in the late 1980s. They display all the virtues of other Cappella Coloniensis CDs of a similar vintage: moderate tempo choices, technically adroit playing, good blend between sections, and plenty of energy. On the negative side, they suffer from the same problems: an oversized acoustic and distant miking, which results in less bite to accents and phrases, as well as a moderate loss of instrumental color (though to be fair, this isn’t the case with the three Graupner chalumeau soloists, placed in a sonic spotlight). The pleasure derived from these performances is consequently compromised, though not entirely lost.

As for the music, these Baroque overture-suites run the gamut from two movements to seven, providing an unsystematic and personal mix of overture, dance movements, and airs. One of the gems is the Graupner, unusual for its harmonic waywardness, chalumeau section, and rhythmically accurate Polonaise. Is it the composer’s answer to Telemann’s so-called “Polish” concertos, exaggerating eccentric effects supposedly heard from rural folk musicians? If so, it certainly hits the mark. The more conventional Heinichen combines inventiveness, memorable turns, and excellent craft. The Zerbst Kapellmeister, Fasch, is typically more conservative than either, but his overture-suite is lively, imaginative, and sparkling in its rhythmic élan—most notably in a lengthy, flowing Minuet, and a beguiling Passapied. Only the Graun lowers the ceiling of inspiration. It is technically competent, but pedestrian. The fugal portion of the first of its two movements is a fine piece of workmanship, however—not unexpected from a man to whom J. S. Bach entrusted the musical education of his eldest son.

The liner notes are very brief and devoid of nearly all pertinent information, but bizarre enough to wish they were longer. We are told that among other matters, Heinichen’s law degree “may account for the sometimes acerbic, willful edge to his melodies.” Something to consider for young modern composers, who might want to avoid ambulance chasing if they wish someday to write like Puccini.

I hope someone will commit the Graupner and Heinichen to disc again in the near future, and in more forward sound. For now, though, if you want to hear either piece, this is the only version available, and certainly worth hearing.

Barry Brenesal, Fanfare

Fasch: Overture, Sinfonias & Concerti - Cappella Coloniensis

Johann Friedrich Fasch
Overture, Sinfonias & Concerti
Cappella Coloniensis, Günther Wich, Hanns-Martin Schneidt
Phoenix Editon 191

It's a fairly well known fact that Bach had a keen interest in music of his musical ancestors as well as his contemporaries. His library contained music of other German composers as well as music from France and Italy. Among the composers whose music found a home on Bach's shelves were Antonio Vivaldi, Christoph Graupner, and Johann Friedrich Fasch (1688-1758). Whether or not Bach ever performed this music with his Collegium Musicum at Zimmermann's Coffee House in Leipzig is unknown, but Bach thought enough of the music of these and other composers to seek it out and collect it.

In the case of Fasch, Bach's interest was well founded. Fasch had been a student of Johann Kuhnau, Bach's predecessor at Leipzig's Thomasschule, and had founded an ensemble that rivaled Kuhnau's. Fasch also had encountered the music of Vivaldi, which had a telling effect upon an entire generation of composers. He had no formal training in composition, but by the second decade of the 18th century, Fasch's reputation was so widespread that he was being commissioned to compose operas for Duke Moritz Wilhelm of Saxe-Zeitz. A period of travel followed and Fasch settled in Zerbst in 1722. The same year Fasch was twice invited to apply for the post of Thomaskantor in Leipzig, the position being vacated by the death of his teacher, Kuhnau, but Fasch withdrew from the competition and the position eventually went to Bach. Fasch was to remain in Zerbst for the rest of his life.

In the 19th century, Fasch was overshadowed by Bach and it was only in the early years of the 20th century that German musicologist Hugo Reimann, after studying several of Fasch's overtures, described him as one of the most important transitional composers between the Baroque and Classical periods. The transitional nature of Fasch's work, that is to say, the synthesis of Baroque and Classical styles with a gradual increase in emphasis on the more "modern" elements, is the most striking aspect of his music. The orchestral suites, or overtures, are based on the traditional form of the French overture, followed by a series of dance movements. The fugues in the overtures are frequently interrupted by homophonic episodes for wind instruments; sometimes they are entirely replaced by free symphonic movements. The airs, allegros, or andantes interspersed between the dances are of an equally striking "modern" nature, being derived from the lyrical or rhythmical alternation of wind and string groups. In the symphonies, there is evidence of what would become Classical form, and in the concertos, of which 64 survive, one can detect the shift from Baroque to the early Classical style quite clearly. As for Fasch's concertos, most follow the three-movement form forged by Vivaldi.

The material on this Phoenix Edition CD was recorded and broadcast by WDR Köln between 1970 and 1987, but I'm unable to determine whether this is a reissue. That aside, the performances, though entirely musical and competent, are somewhat dated in sound and style, lacking the energy and excitement that we now associate with the period-instrument movement. The soloists are certainly up to the challenges offered them and perform admirably.

These are not the best recordings of Fasch that I have heard, but for the uninitiated, they will serve as an adequate introduction to his music.

Editorial Review, Amazon.com

Johann Friedrich Fasch: Trios & Sonatas - Epoca Barocca

Johann Friedrich Fasch
Trios & Sonatas
Epoca Barocca
CPO 777 204-2

Nach ihren erfolgreichen Einspielungen der Werke von Heinichen und Schaffrath, widmet sich das Ensemble Epoca Barocca jetzt Johann Friedrich Fasch, dessen "Musique de chambre"-Qualität die Musiker in vorliegender Aufnahme hinreichend zur Geltung bringen.
1735 durfte sich die Hofkapelle in Darmstadt über einen Neuzugang freuen: den virtuosen Fagottist Christian Klotsch. In seinem Gepäck brachte er Abschriften von Sonaten mit, die aus der Feder des Zerbster Kapellmeisters Johann Friedrich Fasch stammten. Einige dieser Werke wurden für diese CD eingespielt. An allen Höfen schätzte man die Triosonaten und Quartette des Zerbster Hofkapellmeisters wie die kaum eines anderen Komponisten der Zeit. Die letztlich entscheidenden Anregungen in Faschs Leipziger Schuljahren verdankte er einem rührigen Studenten an der dortigen Universität: Georg Philipp Telemann. Die Nähe zur Kammermusik Telemanns, wie sie die Werke dieser Einspielung allenthalben zu erkennen geben, erklärt sich nach Faschs eigenem Bekenntnis daraus, dass er sich in Leipzig und auch später noch Telemanns Werke zum Vorbild nahm. Fasch schrieb seine bewunderte Kammermusik für die unterschiedlichsten instrumentalen Kombinationenen. Neben die traditionellen Instrumente höfischer Virtuosen des Barock, Geige und Gambe, traten damals auch Oboe und Fagott, zwei Instrumente, die ihren Siegeszug durch Europa gerade erst angetreten hatten. Gerade sie spielen in Faschs Trios und Quadros eine herausragende Rolle. Der Musiktheoretiker Johann Adolph Scheibe betitelte Faschs Quartette mit Oboen und Fagotten als ideales Muster der Gattung. Epoca Barocca zeigt erneut eine barocke Klangwelt mit vielfältigen Klangfarben, die Fasch in vielen Schattierungen einzusetzen wusste.

Jpc.de

Fasch: Concertos - Azzolini, Skuplik, La Stravaganza Köln

Johann Friedrich Fasch
Concertos
Azzolini, Skuplik, La Stravaganza Köln
CPO 777 015-2

In 1701 the 13-year-old Johann Friedrich Fasch and 20-year-old Georg Philippe Telemann arrived in Leipzig. Fasch's aim was to make a name for himself as a musician and Telemann intended to study law. Within a year, however, Telemann's roommate happened upon one of his amateur compositions and brought it to the attention of the mayor, who thought so highly of it that...well, you know the rest of the story. Fasch also did quite well for himself in Leipzig as one of Telemann's earliest and most outspoken disciples (even delighting in his occasional success in passing off one of his own compositions as Telemann's). Fasch continued to follow his mentor's lead and eventually formed a second Collegium Musicum in 1708 (Telemann established the first in 1702) that included such notable composer/musicians as Johann Heinichen, Gottfried Stölzel, and Johann Pisendel.

While Telemann's influence is more or less evident throughout this program, the opening 32-minute Overture in G major arguably is the most poignant if not egregiously shameless example of Fasch's debt to his mentor. Everything you'd expect from Telemann in one of his preferred forms (he wrote hundreds) is here, from the pomp and pageantry of the first-movement "Ouverture" to the skillful yet clearly allusive French-style pretensions that characterize all of the following movements.

The shorter, less-derivative Concertos that comprise the bulk of the program are much more interesting. For example, like Telemann, Fasch also frequently employed the bassoon in either solo or continuo roles, such as in the two Concertos in C and A major included here. In both, soloist Sergio Azzolini performs splendidly, with a pleasingly smooth, rich tone. Also offered is a stunning concerto in A major originally scored for bassoon, though Fasch later scrawled out the word "Fagotto" (bassoon) and substituted "Violino oblig." on the title page. Here Vivaldi's influence overwhelms Telemann's, with violin soloist Veronika Skuplik expertly negotiating the lively, boisterous displays in the outer movements and delivering an equally expressive yet more subtle, passionate rendering of the inordinately slow central adagio.

CPO's sound is excellent--well detailed with a convincingly life-like integration of the soloists with the ensemble. Christoph Lehmann and Azzolini's concise notes are informative and entertaining. Incidentally, after Leipzig Fasch's fame continued to grow, as did his originality--many observers believe that the harmonic and rhythmic vocabulary of his later orchestral works anticipated elements of Classicism that Haydn and Mozart would bring to fruition. However, the more conservative works offered on this program are often quite beautiful, and all enthusiasts of this period of Bach, Telemann, and their contemporaries will find much to enjoy here.

John Greene, ClassicsToday.com

Fasch: Cantatas - Accademia Daniel, Shalev Ad-El

Johann Friedrich Fasch
Cantatas
Klaus Mertens, Deborah York, Accademia Daniel, Ad-El
CPO 999 674-2

The Overture in D minor is one of Fasch's many overture-suites, yet not one of his more outstanding ones. The melodies are pretty much run-of-the-mill for the period (and all in the same key), and they aren't helped by their constricted arrangement for chalumeau, two oboes, bassoon, and strings. This feeling of confinement carries over into the vocal works as well, despite Klaus Mertens solid yet tender-voiced singing in Jauchzet dem Herrn and Laetatus sum (where he is ably partnered by Deborah York's beautiful soprano). Things liven up a bit in the Concerto in B-flat minor, joyfully realized by the Accademia Daniel under Shalev Ad-El's leadership, so that the final cantata Sanftes Brausen seems less wearisome after the break. Maybe I was expecting more after that excellent disc of Fasch Overture-suites on Berlin Classics a few months back, but this one's for serious Baroque fanciers only.

Victor Carr, Classics Today.com

Fasch: Ouvertüren - Concerto per due corni da caccia

Johann Friedrich Fasch
Ouvertüren - Concerto per due corni da caccia
Virtuosi Saxoniae, Ludwig Güttler
Berlin Classics 0021522BC

Johann Friedrich Fasch (1688-1758) was highly regarded by his contemporaries (J.S. Bach owned copies of his compositions), and although he was largely forgotten after his death his reputation began to recover during the early 20th century. Fasch is seen as an innovator whose move from fugal writing to thematic development foreshadowed the achievements of Haydn and Mozart. His Overture Suites, following in the style of Telemann, consist of an overture followed by the customary set of dances. However, Fasch invests his works with considerably more melodic richness and far superior orchestral coloring and variety. The irresistible sound of three flutes makes the D minor suite a delicious experience indeed, as do the beautiful melodies appointed by catchy rhythms. The B major suite is in a brighter mood, and the larger orchestra creates a slightly fuller sound picture. Here, as in the D minor suite, the changing orchestral palette keeps the dances continually captivating. A special treat is the tuneful and lively Concerto in D for two Corni da Caccia. Ludwig Güttler and Kurt Sandau play the unusual instrument, which sounds like a cross between a trumpet and French horn, with consummate skill and audible delight. The same can be said for Virtuosi Saxoniae which, under Güttler's direction, makes Fasch sound like he should be a household name. Berlin Classics' sound is demonstration class. This is baroque for everybody.

Victor Carr, ClassicsToday.com