Classical

Fasch - Concertos, Orchestral Suite (1996)

2012-11-18T17:34:47Z

Fasch - Concertos, Orchestral Suite (1996)


1.	Fasch, Johann Friedrich - -- Concerto a 8 in D-Dur - 1. Allegro (02:15)
Concerto a 8 in D major FWV L: D1
2.	Fasch, Johann Friedrich - 2. Largo (01:27)
3.	Fasch, Johann Friedrich - 3. Allegro (03:02)
4.	Fasch, Johann Friedrich - -- Concerto in c-moll - 1. Allegro (03:35)
Concerto in C minor FWV L: c2
5.	Fasch, Johann Friedrich - 2. Largo (03:18)
6.	Fasch, Johann Friedrich - 3. Allegro (02:23)
7.	Fasch, Johann Friedrich - -- Suite in g-moll - 1. ohne Satzbezeichnung (06:16)
Overture (Suite) in G minor FWV K: g2
8.	Fasch, Johann Friedrich - 2. Aria - Largo (03:58)
9.	Fasch, Johann Friedrich - 3. Jardiniers (01:50)
10.	Fasch, Johann Friedrich - 4. Aria - Largo (02:16)
11.	Fasch, Johann Friedrich - 5. Aria - Allegro (03:53)
12.	Fasch, Johann Friedrich - 6. Gavotte (02:26)
13.	Fasch, Johann Friedrich - 7. Menuet (02:38)
14.	Fasch, Johann Friedrich - -- Concerto in B-Dur - 1. Largo - 2. Un poco allegro (06:17)
Concerto in B flat major FWV L: B1
15.	Fasch, Johann Friedrich - 3. Largo (01:57)
16.	Fasch, Johann Friedrich - 4. Allegro (03:15)
17.	Fasch, Johann Friedrich - -- Concerto in D-Dur - 1. Allegro (03:10)
Concerto in D major FWV L:D14
18.	Fasch, Johann Friedrich - 2. Largo (02:29)
19.	Fasch, Johann Friedrich - 3. Allegro (03:00)

The English Concert
Trevor Pinnock – conductor

While still a law student at the University of Leipzig, Johann Friedrich Fasch (1688–1758) composed an orchestral suite and passed it off as one of Telemann’s at a concert by the Collegium Musicum. Fasch was taken by surprise when his fellow students expressed their enjoyment of the work and not one of them suspected anything, or if they did, nothing was ever said. If Fasch ever had any doubt about embarking on a musical career, this incident must have proven that he possessed the necessary talent by imitating the leading composer of the day and going unnoticed in doing so!

Fasch came from a family of churchmen and, following the death of his father, he began a series of moves that would finally place him in Leipzig as one of the first pupils of Johann Kuhnau, cantor at the renowned Thomasschule. After graduating from the University of Leipzig, Fasch hit the road, traveling throughout Germany, and studying with Christoph Graupner in Darmstadt. Eventually Graupner wound up in Prague where he became an employee of Count Wenzel Morzin, the dedicatee of Vivaldi’s op. 8 set of concertos, which included the well-known quartet of works known collectively as The Four Seasons . In 1722, Fasch was offered and accepted the post of Kapellmeister at the court of Zerbst. With the exceptions of a trip to Prague in 1725, an extended stay in Dresden, and several trips to Köthen, Fasch remained in Zerbst for the rest of his life.

It’s relatively easy for us to categorize the music of Bach, Handel, Telemann, and many of their lesser-known contemporaries, but pigeonholing Fasch’s music isn’t as easy. A 1743 inventory of the Zerbst library shows that Fasch had assembled the latest works of the best-known Italian masters—including Vivaldi and Albinoni—as well as music of Graun and Handel. This shows how interested Fasch was in keeping up with the latest stylistic trends. He was essentially a Baroque composer, indebted to the Italian style with the occasional side trip to the French orchestral suite, but Fasch also wasn’t beyond experimenting and employing ideas that elsewhere would morph into a more gallant or Classical idiom. Characteristic of Fasch’s music are the emancipation of wind instruments, an interest in syncopation, and a more chromatic syntax. Fasch also wrote in a texturally simpler style, replacing the complexity of independent lines with a melody and bass with accompanying figures.

The Lullian orchestral suite included here is typical of the genre with the obligatory overture being followed by a series of short dance-like movements including a gavotte, minuet, two arie, and a descriptive movement called Jardiniers . Three of the four concertos on this release are patterned after three-movement Venetian models, while the fourth—that for chalumeau, an ancestor of the clarinet—is based on the Corellian concerto da chiesa.

These spirited and genial performances are textbook from first note to last, wedding top-notch soloists to one of the finest period-instrument orchestras around with stunning results that were captured in a rich aural environment. The result is a set of performances that yields nothing to the competition.--- Michael Carter, arkivmusic.com

download: uploaded anonfiles yandex 4shared solidfiles mediafire mega filecloudio

back

Johann Fasch – Orchestral Music (2008)

2011-01-05T23:13:47Z

Johann Fasch – Orchestral Music (2008)

Ouverture grosso in D, FWV K: D 8 24:49
in D-Dur - en ré majeur 
1 I Ouverture 9:50
2 II Rigaudon 2:00                  play
3 III Siciliano 3:15
4 IV Menuet & Trio 2:23
5 V Aria en Pologneise 7:19

Concerto in B flat, FWV L: B 3 18:25
in B-Dur - en si bémol majeur 
6 I Un poco allegro 4:00
7 II Aria andante 8:43
8 III Bourée & Trio 3:03
9 IV Passepied & Trio 2:36           play

Concerto in D, FWV L: D 15 12:36
in D-Dur - en ré majeur 
10 I Allegro 4:58
11 II Andante 3:20
12 III [Allegro] 4:16
13 Andante in D, FWV L: D 15 (bis) 3:43

Gwyn Roberts • Richard Stone, artistic directors
Emlyn Ngai, concertmaster 
Tempesta di Mare (Orchestra)

These are all premiere recordings. This disc celebrates Fasch’s 250th anniversary. In January 2007 Tempesta di Mare premiered in modern times four large-scale orchestral works by Johann Friedrich Fasch, a contemporary of Bach and Telemann. Richard Stone of Tempesta di Mare describes the pieces as ‘fantastic, true discoveries… they have the breadth and complexity of J.S. Bach without the austerity, and have a much more evolved sense of orchestral colour that’s truly extraordinary’. The Philadelphia based period instrument band Tempesta di Mare eschews the driven, highly rhetorical style of some European ensembles, and instead prefers a more relaxed and elegant approach. It sustains Fasch’s longer movements well by listening to what the composer has to say rather than overlaying a strong interpretative varnish of its own.

Fasch is one of those "forgotten" Baroque composers that is now being rediscovered. His music is top-notch, absolutely masterful, extremely interesting, utilizing instrumental resources to their fullest capability. Fasch was a member of the Dresden school, and composed for what was probably the most virtuosic orchestra in Europe between 1710-1740. This recording brings all these musical superlatives to life: the playing, phrasing, dynamics, and excitement of Fasch's music -- I have listened to it many times over the past few weeks. One slight criticism: I would like the tempi to be a bit faster; Fasch writes truly exciting music, and a slightly faster pace would bring this out better. I have 14 CD's of music by Fasch (plus a few LP's) and this recording presents new, until now unrecorded music, not duplicating anything recorded before.

download: uploaded anonfiles yandex 4shared solidfiles mediafire mega filecloudio

back

Johann Fasch – Trumpet Concerto In D Major (1965)

2009-12-25T11:29:31Z

Johann Fasch – Trumpet Concerto In D Major (1965)


1. Allegro
2. Largo
3. Allegro moderato

Maurice Andre – trumpet
Deutsche Bachsoloist
Helmut Winschermann – conductor

Inspired more by the works of Corelli than Vivaldi, this concerto tends to play the brass, woodwind, and string instruments against each other for sheer color rather than to mark a movement's structure (as was the case in Vivaldi's solo-ripieno format). The work is in the standard "trumpet" key of D major (Baroque trumpets were severely limited harmonically), but, atypically, the trumpet does participate in the Largo (Baroque trumpets were poorly suited for long, lyrical lines and usually sat out slow movements). The first movement, Allegro, begins with a bold trumpet statement, but the instrument often recedes into the background or remains entirely silent during string-dominated phrases. Fasch's melodies tend to be jagged, heraldic, and extremely busy, more through merely repeating notes than through creating wide-ranging themes. The oboes come forward during one episode, but remain neatly tucked into the ensemble for most of this short movement. The Largo has a ceremonial air, its little paired-note cells creating a processional effect, with the trumpet rising to its highest register in the final measures. The Allegro (moderato) finale begins in pomp and splendor as a stately minuet, but Fasch soon falls back onto his favored repeated note formula, which opens the movement up for faster concertato passagework. The minuet returns to bring the movement to a close. ---James Reel, Rovi

download: uploaded anonfiles gett yandex 4shared solidfiles mediafire mega filecloudio

back

Johann Friedrich Fasch - Passio Jesu Christi (2008)

2011-04-05T09:09:38Z

Johann Friedrich Fasch - Passio Jesu Christi (2008)


1. Overture (Suite) in D minor, FWV K:d5: I. Ouverture	Mary Terey-Smith	4:00
2. Overture (Suite) in D minor, FWV K:d5: II. Aria	Mary Terey-Smith	3:02	
3. Overture (Suite) in D minor, FWV K:d5: III. Bourree	Mary Terey-Smith	1:49
4. Overture (Suite) in D minor, FWV K:d5: IV. Menuet	Mary Terey-Smith	3:26	        play
5. Overture (Suite) in D minor, FWV K:d5: V. Aria: Largo	Mary Terey-Smith	5:35
6. Overture (Suite) in D minor, FWV K:d5: VI. Aria: Un poco allegro	Mary Terey-Smith	5:44
7. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part I: Chorale: Mich vom Stricke 
   meiner Sunder (Chorus)	Maria Zadori	3:26
8. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part I: Recitative: Als Jesus nun zu 
    Tische sasse (Evangelist, Jesus)	Maria Zadori	0:55	
9. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part I: Aria: Der Gott, dem alle 
   Himmelskreise (Daughter of Zion)	Maria Zadori	1:17
10. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part I: Recitative: Und bald hernach 
    nahm er den Kelch (Evangelist, Jesus)	Maria Zadori	1:11
11. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part I: Aria: Gott selbst, der Brunnquell 
    alles Guten (Daughter of Zion)	Maria Zadori	1:18	
12. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part I: Chorale: Ach, wie hungert 
    mein Gemute (Chorus)	Maria Zadori	1:22
13. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part I: Recitative: Drauf sagten sie 
    dem Hochsten Dank (Evangelist, Jesus)	Maria Zadori	0:47
14. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part I: Aria: Mein Vater, schau, wie ich 
   mich quale (Jesus)	Maria Zadori	4:08
15. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part I: Recitative: Mich qualt der Sunder 
    schwere Last (Jesus)	Maria Zadori	1:04		play
16. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part I: Aria: Sunder, schaut mit Furcht 
    und Zagen (Tenor)	Maria Zadori	2:03	
17. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part I: Recitative: Die Pein 
   vermehrte sich (Evangelist)	Maria Zadori	1:14
18. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part I: Aria: Brich, mein Herz, zerfliess 
   in Tranen (Tenor)	Maria Zadori	3:44
19. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part I: Chorale: Herr, lass dein 
   bitter Leiden (Chorus)	Maria Zadori	1:14
20. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Chorale: Ein Lammlein geht und 
   tragt die Schuld (Chorus)	Maria Zadori	1:30
21. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Recitative: Und Jesus ward zum 
   Palast Caiphas' (Evangelist)	Maria Zadori	0:50
22. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Chorale: Falsche Zeugnis, 
  Hohn und Spott (Chorus)	Maria Zadori	0:56		play
23. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Recitative: Die Nacht war 
  kaum vorbei (Evangelist)	Maria Zadori	0:36	
24. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Recitative: Hat dies mein Heiland 
  leiden mussen? (Daughter of Zion)	Maria Zadori	0:43
25. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Aria: Meine Laster sind 
  die Stricke (Daughter of Zion)	Maria Zadori	3:04	
26. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Recitative: Wie nun Pilatus 
   Jesum fragt (Evangelist)	Maria Zadori	1:07	
27. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Aria: Verwegene Rotte, was fangest
   du an? (Tenor)	Maria Zadori	1:02
28. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Recitative: Wie man ihm genug 
   Verspottung (Evangelist)	Maria Zadori	0:53	
29. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Aria: Hier erstarrt mein Herz 
   und Blut (Daughter of Zion)	Maria Zadori	2:04
30. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Recitative: Sobald er nun 
  gekreuzigt war (Evangelist)	Maria Zadori	0:39
31. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Chorale: O Menschenkind, nur 
   deine Sund' (Chorus)	Maria Zadori	0:39
32. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Recitative: Und um die 
   neunte Stunde (Evangelist)	Maria Zadori	0:52	
33. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Chorale: Jesu gab man 
   bittre Gall (Chorus)	Maria Zadori	1:00	play
34. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Recitative: Hierauf rief Jesus 
  laut mit ganzer Macht (Evangelist)	Maria Zadori	0:43	
35. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Aria: Ihr Augen weinet Blut (Tenor)
   Maria Zadori	4:19	
36. Passio Jesu Christi, FWV F:1, "Brockes-Passion": Part II: Chorale: Ich danke dir von Herzen (Chorus)
   Maria Zadori	2:52

Zoltan Megyesi, Peter Cser, Maria Zadori
Capella Savaria Baroque Orchestra
Mary Terey-Smith - conductor

It has been a difficult task for musicologists to get a grip on Johann Friedrich Fasch. Although based in Zerbst for most of his long life -- he was born three years after Handel and died one year before -- Fasch's voluminous work is scattered throughout the archives of Europe and dedicated diligence has been required to make sense of its scope. To most listeners who are aware of Fasch at all, he is merely the composer whose trumpet concerto filled out the Erato disc featuring Jean-François Paillard's popular recording of Pachelbel's "Canon in D." Fasch is a far more interesting composer than just that would imply. A one-time student of Johann Kuhnau also strongly influenced by Georg Philipp Telemann, Fasch often thought outside the Baroque box and had a uniquely individual style that emphasized variety. In reference to his sacred vocal music, a genre in which Fasch produced hundreds of works, one usually reads "most of it is lost." One that is not is his "Brockes-Passion, Passio Jesu Christi FWV F:1," wjoc is the featured work on Naxos' Fasch: Passio Jesu Christi. This Hungarian recording features a fine rank of vocal soloists, including the redoubtable Maria Zádori, the Schola Cantorum Budapestiensis, and "Capella Savaria" under the direction of Mary Térey-Smith.

The "Overture (Suite) in D minor" that opens the disc is one of 87 that survive by Fasch, and one aspect of it that is immediately apparent is how little it sounds like Telemann -- it is cool, restrained, easygoing, and decidedly pre-classical in its approach. What is more surprising is that it is thought to date from the late 1720s and may have been commissioned for the court in Dresden -- a little ahead of the advent of classical style even in Italy. Fasch's penchant for being ahead of the curve is likewise demonstrated by his setting of the passion text by Barthold Heinrich Brockes, which dates from 1717-18; it had only been set the first time by Reinhard Keiser in 1712. The better-known settings of this text -- by Handel, Telemann, and its partial use by Johann Sebastian Bach in his "St. John Passion" -- all came later. It survives in two manuscripts, one in Chicago and the other in Leipzig, and both were probably copied after Fasch had died; Mary Térey-Smith elected to edit the Leipzig version for this performance.

Like Fasch's Overture, this "Passion" is unadorned, never fussy, relatively free of contrapuntal business, and quite straightforward in its presentation; the chorales are especially lovely. The soloists are fine, particularly Maria Zádori, whose voice lightens up the restrained atmosphere of the performance every time it is heard. One qualm though; Térey-Smith's direction is so cautious that the music only seldom sparkles, and several times the passion gets dangerously close to being boring, though it never quite arrives there. With 2008 being the Semiquincentennial of Fasch's death, expect more to come, although in sum, Naxos' Fasch: Passio Jesu Christi is a generally pleasing example of Fasch's vocal music. ~ Uncle Dave Lewis , Rovi All Music Guide.

download: uploaded anonfiles yandex 4shared solidfiles mediafire mega filecloudio

back

Johann Friedrich Fasch - Trios & Sonatas (2007)

2009-10-22T14:31:09Z

Johann Friedrich Fasch - Trios & Sonatas (2007)

QUADRO IN D MINOR FOR OBOE, VIOLIN, BASSOON & B.C
1. Poco allegro
2. Largo
3. Allegro

TRIO IN E MINOR FOR OBOE, VIOLIN & B.C
4. Adagio
5. Allegro
6. Affettuoso
7. Allegro

SONATA IN C MAJOR FOR BASSOON & B.C
8. Largo
9. Allegro
10. Andante
11. Allegro assai

QUADRO IN B FLAT MAJOR FOR RECORDER, OBOE, VIOLIN & B.C
12. Largo
13. Allegro
14. Grave
15. Allegro

TRIO IN G MINOR FOR OBOE, VIOLIN & B.C
16. Andante
17. Allegro
18. Poco allegro

QUADRO IN F MAJOR FOR VIOLIN, OBOE, BASSOON & B.C
19. Largo
20. Allegro
21. Largo
22. Allegro

CANON IN F MAJOR FOR RECORDER, BASSOON & B.C
23. Andante
24. Allegro
25. Allegro

Epoca Barocca:
Alessandro Piqué (oboe)
Margarete Adorf (violin)
 Sergio Azzolini (bassoon)
Christoph Lehmann (organ, harpsichord).

Johann Friedrich Fasch was seven years younger than Georg Philipp Telemann was and outlived him by one year; Fasch, Telemann, and Johann Sebastian Bach all traveled in similar circles. In 1720, for example, both Fasch and Bach were gainfully employed in the courts of the Anhalt princes, Bach in Cöthen and Fasch in Zerbst. However, Telemann provided the model for the sonatas heard on CPO's Johann Friedrich Fasch: Trios & Sonatas, featuring Epocca Barocca, a period-instrument ensemble based in Bergisch Gladbach, Germany.

Fasch did not publish any music during his lifetime, and sources for performances of Fasch have to be drawn from either original manuscripts or the few modern editions that have been prepared from his music. This is partly why this collection of Fasch's chamber music comes as a bit of a surprise as the core of his instrumental output is made up of orchestral music -- he has 87 "overture" suites, 64 concerti, and 19 symphonies. Fasch's surviving chamber output is modest by comparison -- 18 trio sonatas and 12 sonatas in four parts; the seven works here account for slightly more than one-fifth of Fasch's entire chamber music legacy. Most of the music was probably composed in the mid-1730s for a Collegium musicum that Fasch had founded in Zerbst in the 1710s, which went head to head for a time with similar ensembles led by Bach and Telemann. Of the seven pieces included, the Sonata in C for bassoon is the most interesting. Fasch manages to keep the bassoon out of its usual barking or percolating role and writes for it in the same flowing manner as one would for the flute -- the first-movement Largo is particularly lovely, and Epoca Barocca wisely includes a lute in the continuo to provide contrast with the low-throated solo instrument. The D minor Quadri for oboe, violin and bassoon is missing its alleged violin part; here Epoca Barocca has reconstituted it through having the violin answer to the bassoon part, a logical solution that works so well if one wasn't aware that this had been done, it wouldn't be noticeable at all.

However, this is also the Achilles' heel of CPO's Johann Friedrich Fasch: Trios & Sonatas; there isn't much that sets the music apart from its era, nor from the chamber music of Fasch's contemporaries. While occasional unusual harmonic twists are present here and there, these are heard nowhere near to the degree that they turn up in Fasch's orchestral music. Clearly, Fasch intended his chamber music as a kind of light entertainment and did not approach it with the same ambitiousness that marks his overtures. Nevertheless, not all who listen to Baroque chamber music need for a given work to stand out from the pack; with some listeners the more homogeneous it is the better. The expert performance by Epoca Barocca speaks for itself, and it should be congratulated for rescuing music of such great obscurity and making it accessible for listeners around the world to evaluate and enjoy. ---Uncle Dave Lewis, Rovi

download: uploaded anonfiles yandex 4shared solidfiles mediafire mega filecloudio

back