Johann Friedrich Fasch: Concertos and Symphonies 1720 - 1758
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- Опубликовано: 16 май 2024
- Fasch is one of the most outstanding composers of Bach's time. In the twentieth century, there have been varying opinions regarding Fasch’s styles and contribution. Hugo Riemann (one the founders of modern musicology) regarded Fasch as one of the most important pioneers of the “mixed taste” that combines Italian, French and German style components in the musical development process evolving from Baroque to Galant period. His compositions are deeply rooted in the musical world of the Vivaldi's three movement style, rich in harmonies with masterful treatment of the wind instruments in the concertos and the orchestral suites of the late Dresden period.
After Vivaldi and Telemann, Fasch seems to have been the most frequently performed German composer at the Dresden court, as a fruitful collaboration developed between Zerbst and Dresden courts, that lasted until the time of the Seven Years' War.
1.Concerto in D minor for two flutes, two oboes, two bassoons, strings and b. c.
00:00:00 I Allegro, FWV L:d7
00:04:15 II Andante, FWV L:d7
00:07:59 III Allegro, FWV L:d7
2. Overture (Suite) in G minor for three oboes, bassoon, strings and b. c.,
first movement of 7, without tempo indication
00:12:44 Overture FWV K:g2 (1/7)
3. Concerto in C minor for two oboes, bassoon, strings and b. c.
00:22:29 I Allegro, FWV L:c2
00:26:26 II Largo, FWV L:c2
00:29:12 III Allegro, FWV L:c2
4. Concerto in D minor for oboe, violin, strings and b. c.
00:31:42 I Vivace, FWV L:d4
00:34:44 II Largo, FWV L:d4
00:37:12 III Allegro, FWV L:d4
5. Symphonia in A minor for strings and b. c.
00:40:33 I Allegro, FWV M:a1
00:43:41 II Andantino con sardinie piano, FWV M:a1
00:47:09 III Allegro, FWV M:a1
6. Concerto in G minor for oboe, strings and basso continuo
00:50:02 I Vivace, FWV L:g1
00:53:09 II Largo, FWV L:g1
00:55:58 III Allegro, FWV L:g1
7. Ouverture (Suite) in E minor for two oboes, bassoon, strings and b. c.
00:59:35 Ouverture FWV K:e1 (1/6)
Performed by:
il Gardellino: 1, 4, 6
Il Fondamento: 2
Zefiro Baroque: 3
Main-Barockorchester Frankfurt: 5
Cappella Coloniensis: 7
A particularly outstanding performance venue for Fasch's works was the Dresden court of the Elector Friedrich August I and his son F. August II. Fasch became the unofficial court composer for the Dresden court orchestra and in 1727, the Zerbst court enabled him to study in Dresden for several months, during which Fasch became better acquainted with the musicians of the Dresden court orchestra through Pisendel and the Heinichen. On the basis of the Dresden music making style and music aesthetic, Fasch developed his own personal compositional style that set him apart.
As a rule, Fasch sent self-made copies of the scores of his works to Dresden, from which the Dresden music copyists copied out the individual parts for performances by the court orchestra. This means that most of his surviving instrumental works worldwide have been preserved in the sheet music archive of the Dresden court orchestra and the music department of the Saxon State Library.
Together with the Zerbst concertmaster Carl Hoeckh, Fasch taught, among others, the composer and later Mecklenburg-Schwerin court music director Johann Wilhelm Hertel and his own son Carl Friedrich Christian Fasch, later a student of C. P. E. Bach. In the beginning of his professional career, Fasch held several brief positions: violinist in Bayreuth, organist in Greiz, and six months in the employ of one Count Morzin (Bohemian aristocrat from the Morzin family, from northeastern Italian region of Friuli, remembered today as the first person to employ the composer Joseph Haydn as his Kapellmeister, and the one who was Vivaldi's patron, and dedicatee of "The Four Seasons").
By 1722, Fasch had apparently established a solid reputation that extended beyond Saxony and he was one of several musicians invited to apply for the vacant Thomas-Kantorat in Leipzig, a position eventually awarded to the J. S. Bach. While Fasch was at Zerbst, his works were transcribed and performed by Telemann, Pisendel, C.P.E. Bach, and J.S. Bach. His son, Carl F. C. Fasch, also established a musical career serving as harpsichordist to Frederick the Great.
On the cover:
East wing of the Zerbst Castle, in the town of Zerbst, Saxony-Anhalt, where Fasch lived and worked as the court’s Kapellmeister for over 36 years from 1722 until his death in 1758. Zerbst Castle was a childhood home of Catherine the Great (born Princess Sophie of Anhalt-Zerbst). The 13-year-old Princess Sophie from 1742 to 1744, in Zerbst became acquainted with Fasch's music and received musical instructions from him. In 1945, during bombing raids on the cities of the State of Saxony, 30.000 civilians perished and Zerbst Castle with its State Archives and Fasch collections, also burned out completely. Since 1945 castle stays in this state.
Deutsch: • Johann Friedrich Fasch...
Русский: • Иоганн Фридрих Фаш: Ко...
Excellently written and excellently performed. Creation is a "collective" process in which numerous artisans participate, they all create - a "wave of genius" - and we later forget all those "others" and attribute everything to only "one" man.
JS Bach was not produced by God's talent, it was produced by the work and expertise of similar composers: J. Pahelbel, J. Kuhnau, J. Walther, J. Pisendel, S. L. Weiss, J. Fasch , J. Reincken, D. Buktehude, N. Bruhns, G. Bohm, N. Strungk, J. Froberger, J. von Kerl, J. Fischer, J. Fuchs, A. Corelli, G. Le Grenzi, G. Bassani, G. Torelli, A. Marcello, A. Albinoni, Vivaldi, B. Marcello, N. Porpora, P. Locatelli, F. Durante, G. Ristori, G. Pergolesi, A. Caldara , A. Raison, F. Dieupart, F. Couperin, L. Marchand, N. de Grigni, Persl, J. D. Zelenka, J. Matheson, Telemann, Kaiser,..., Handl.
Mozart was not produced by God's talent, it was produced by the work and expertise of similar composers: André Grétri, Paisiello, Johan Bah, Galupi, Misliveček, padre Martini, Bokerini, Vicente Martín y Soler, Thomas Arne, Jameli, Traetta, Anfossi, Pichini, Andrea Luchesi, Sarti, Gazzaniga, Stamic, Dusek, Benda, Koželuh, Anton Fils, Emanuel Bach, Ditersdorf, Salieri, Vanhal, Mihael Haydn, Josef Haydn, Saint-Georges, Schobert, Schuster, Pleyel, Gosek i &.
Oh my.....very erudite laundry-list of Masters......Thanks from Mexico City!
Not a plausible theory of creativity, although it is plausible that many other artists are largely forgottten when the world focuses on just a few of the major artists in a given era or discipline.
@@anotheryou218 said noone. Do u know whats a scenius SMI ?
It's an interesting theory, with which I only partiallly agree. The part I agree with is that there are "waves of genius" wherein more than one composer, inventor, designer, fine artist, whatever receive or tune into the same creative source. They each bring forth their own interpretation or version of the heretofore undiscovered principle of whichever discipline or art form they are practicing. So, you have as we have seen over and over, incidences of inventors working on the same problems independently and virtually simultaneously inventing light bulbs, telephones, airplanes, etc. Thanks for introducing me to this term, I had not heard of it. @@loredanamassini9484
Sublime musique Baroque...un oublié à tort !!!!❤
How wonderfull to listen to music composed in the "old" time played today and above all that it is performed authentically. Bravo!
A música de Fasch é belíssima. Não sei porque ele não é mais valorizado. Saudações do Brasil 🇧🇷.
Thank you for sharing!
Absolutely love Fasch. I believe JSB was an admirer... something I read.
A balm for the soul. Thank you ❤
Very enjoyable music, thank you for sharing ❤
Amo la música barroca ; Amo a Fasch , el maestro de Zerbst !❤
Utterly beautiful and enjoyable!❤
Piękna muzyka mało znanego kompozytora.
Tomuś, skarbie mój kochany jestem tego samego zdania
PS. jakś tu trefiył?
@@user-ul2we8vn5d słucham tylko muzyki klasycznej i w ten sposób tutaj trafiłem. Polecam wszystkie utwory w wykonaniu Hilary Hahn, to jedna z najlepszych współczesnych skrzypaczek i piękna kobieta.
maravilloso
Anch'io,quando ero attivo a Roma avevo nel repertorio di musica da camera per quartetto due sue composizioni. Ma ora ho constatato che aveva composto anche per orchestra barocca.
Великооепно! Браво!!!
Thank you! 💮
Excellenza !
Superb Treasure
❤
Es un CD de algún sello o es una compilación hecha por usted a partir de varios CDs?
This is just my selection of the compositions from 5 CDs from various performers as mentioned in the description section.
Eva Damonte
Alas, I'am not a connaisseuse but I enjoyed the concert.
Very nice....but it's "connoisseuse," right? Cheers from Mexico City!
👏🕊️❤
🇲🇽
Fancy having this beautiful music interrupted by the crass Dutch advertising industry!!!
Fasch is awesome
Vivaldi > Fasch > Bach > Teleman, Handel; Stamitz < Haydn>. É bem interessante esse percurso do barroco ao pré-clássico.
Na minha humilde opinião, a mais bela fase da música; não querendo desmerecer ninguém. Abraço.
@@luizfernandolessa1889 é nesse percurso que as formas e processos composicionais são organizados até eclodir no período clássico e na profundidade sinfônica com Beethoven.
@@marcosPRATA918 Sim, intercalando com a sabedoria e propósito de Haydn e a força criativa de Mozart; um sucesso de período. Pena que muitos gênios desse período não sejam valorizados: Fasch, Telemann, Buxtehude e outros.
@@luizfernandolessa1889We value them ❤😊
Rings a bell with zelenka. Yet less sincopas and more cohesion.
The music is very good, although not top drawer-certainly worth hearing. Thank you for posting this!The performances are lovely, except for the hideously out-of tune woodwind trills. When will the “early-music movement” grow up and substitute more modern woodwinds for their “authentic” counterparts?
Thanks for the listening and your valuable comments! Curiously enough, in which particular Fasch composition you have noticed "out-of tune woodwind trills" ? Best regards from RD-A415.
Some of us like the authenticity and we enjoy hideously out of tune trills 😆 I hope you have a reason for being so snotty in your way of looking at things and especially in how you've chosen to comment. Everyone isn't you.
Perhaps something is wrong with your thinking that you would express yourself this way - I'm laughing so hard at your comment lol 😂
In trying to show how others are gauche, lacking or whatever, you certainly have come across as extremely gauche in your snobbery. But as I said perhaps there's a reason for it.
But what do I know? I'm just one of those ignorant, half-tone deaf, peasant-level, "movement" members and plebes, who loves and thrives on the authenticity of this wonderful music 😂
And I am very grateful for this content provider placing it here for my profound enjoyment!😊
And by the way, there are many in early music appreciation and performance, as well as those who research, who do you use modern woodwinds.
They even go to the trouble to make sure the resonance and tone retains some 'authenticity' in the modern instruments.
Perhaps they could hire you as an expert and esteemed advisor 😂
@@iahelcathartesaura3887You are way out of line, especially seeing that my own performing career has encompassed performances on modern, old, and intermediate flutes and recorders; and I have published books and articles on performance. All this is a matter of public record. And so I will not answer you as you deserve. It would do no good, anyway. God save us from zealots! And from fools!
@@RecordareDomineA415 4:02; 5:03 (especially), to name just two examples of out-of-tune trills. We ought to distinguish between those attributes of historic instruments that reflect the aesthetic desiderata of the music, and those that represent cultural lag, in which the woodwind technology of the day was not up to the requirements placed upon it by the music itself. Is this really so hard to understand? THINK! And listen.