Telemann, G.P.: Concerto in D Major, Twv 53:D5 / Vivaldi, A.

Includes work(s) by Johann Friedrich Fasch. Ensemble: Epoca Barocca.

Delve into the captivating compositions of Johann Friedrich Fasch with Accentus Music's latest CD release, "Fasch: Sonatas," interpreted by Austrian baroque ensemble Barucco. Fasch, renowned as a composer even before assuming the prestigious role of court Kapellmeister in Anhalt-Zerbst in 1722, left an indelible mark on the musical landscape of the Baroque era.

This meticulously curated collection offers a glimpse into Fasch's diverse repertoire, showcasing his skillful fusion of form and melody. It presents the intricate structures as well as the melodic richness of his sonatas, each piece encapsulating Fasch's innovative approach to composition.

Listeners will be enthralled by the intricate interplay of instruments, as exemplified in works like the Sonata in B-flat, where recorder, oboe, violin, and continuo engage in a spirited dialogue. Meanwhile, the Sonata in F presents a delightful blend of two oboes and two bassoons, reflecting Fasch's mastery of chamber music instrumentation.

Performed with precision and passion by Barucco, this recording offers a faithful interpretation of Johann Friedrich Fasch's compositions, allowing audiences to experience the music as it was intended. "Fasch: Sonatas" is a testament to the composer's enduring legacy and a valuable addition to any classical music aficionado's collection.

A recording of Österreichischer Rundfunk (Radio Österreich 1).

The young Johann Friedrich Fasch quickly numbered among Telemann’s admirers and even later in Zerbst, where he found his permanent lifetime post as the chapel master at the Anhalt-Zerbst court, he always remained true to his model Telemann. Nevertheless, in Zerbst, above all owing to artistic networking with the Dresden court orchestra and its concertmaster Johann Georg Pisendel (both musicians had previously become acquainted in Leipzig), Fasch developed into a composer delighting very much in innovation above all in the field of instrumental music. This fact is impressively demonstrated by his compositional contributions to the genres of the overture suite, concerto, symphony, and sonata, and after occupation with Fasch had begun again it was also this progressiveness that enthused music scholars – (above all Hugo Riemann already in 1900) and has continued to fascinate musicians and musicologists through to the present. For instance, Fasch also hit upon the highly original idea of combining the French overture and the Italian sinfonia form. Until now these compositions have been subsumed under the overture suites; in truth, however, they represent a new work type for which the term »overture symphony« suggests itself. His music most beautifully brings to life the musical ideals of the late baroque period, is always carefully elaborated, and offers choice entertainment. Appropriately, this year’s [2015] Fasch Prize awarded since 1993 for special service in the popularization or investigation of Fasch’s life and work was bestowed on Ludger Rémy, the conductor and harpsichordist on our current Fasch CD. Congratulations! - cpo

Classical Music

The music of Baroque composer Johann Friedrich Fasch is more often heard on classical radio than in the concert hall, yet his works are engaging, with strong melodic interest. This album features two of his overture-suites and appealing concertos for a variety of wind instruments.

Johann Friedrich Fasch was court bandmaster at the Saxon-Anhalt court in Zerbst, where there was a great interest in high-quality wind music, which is the only way to explain the large number of outstanding wind concerts given by Fasch. The great heyday of the Zerbst court ended soon after Fasch's death, the princely family died out and the castle fell into a deep sleep until it was almost completely destroyed during the Second World War. The fact that Fasch's music is still preserved today is due to the fact that the composer cultivated a lively exchange of works with famous colleagues such as Telemann, Pisendel and Graupner in Hamburg, Dresden and Darmstadt in order to enrich local musical life. Il Gardellino has unearthed some of Fasch's wonderful wind concertos in two CD productions, which are now available together as a double CD. Their colourfulness is unusual, as several wind instruments are always combined with each other – flute, oboe, trumpet, bassoon, sometimes with multiple instrumentation, also in combination with viola or violin – up to group concerts with up to seven solo instruments. A huge palette of tonal colours, interpreted by proven specialists in the early music scene – there's never a dull moment.

FASCH Ouverture in d, FWV K:d5. Passio Jesu Christi, FWV F:1 1 • Mary Térey-Smith, cond; Mária Zádori (sop); 1 Zoltán Megyesi (ten); 1 Péter Cser (bs); 1 Schola Cantorum Budapestiensis; 1 Capella Savaria Baroque O • NAXOS 8.570326 (71:24)


Since the turn of the 20th century, when musicologist Hugo Riemann drew attention to the long-neglected work of Johann Friedrich Fasch (1688–1758), the critical estimate of this Weimar-born composer has steadily grown. His prolific and original œuvre illustrates the stylistic evolution from the high Baroque to the classicism of Haydn and Mozart. More than 60 extant concertos attest to Fasch’s imaginative and resourceful instrumentation, especially remarkable in his writing for winds. Having languished so long in the shadow of Bach, Fasch now can be counted among Bach’s more interesting German contemporaries.


This fascinating new Naxos release pairs an orchestral suite or Ouverture with what may be the first recording of Fasch’s Passion setting ( Mich von Stricke meiner Sünden ) to a text by Brockes. They are presented in compelling and heartfelt performances by Hungarian ensembles and soloists under the direction of the conductor and musicologist Mary Térey-Smith. The sound of the Capella Savaria (an original-instruments ensemble established in 1981 in Szombathely, western Hungary) is unusually rich. Their stylish performance of the Ouverture, FWV K:d5 compares favorably with the justly praised recording by Paul Dombrecht and Il Fondamento (Fuga Libera 502).


Fasch’s Passio Jesu Christi survives in two divergent manuscript copies, one held at the Leipzig Städtische Bibliothek and the other at the University of Chicago. Both were consulted by Térey-Smith to prepare the performing edition recorded here. Less rigorously polyphonic than Bach’s Passions, the power of Fasch’s setting is achieved with smaller gestures and lighter textures. The beautifully blended and translucent sound of the Schola Cantorum Budapestiensis is gracefully supported throughout by Capella Savaria. The tessitura of the Daughter of Sion role lies a bit high for soprano Mária Zádori, whose upper register develops a piercing edge in some instances. On the other hand, the young tenor Zoltán Megyesi acquits himself brilliantly as the Evangelist. His agility in the challenging, quasi-Handelian “Verwegene Rotte, was fängest du an?” is exhilarating, while the tender simplicity he brings to “Brich, mein Herz, zerfliess in Tränen” (accompanied by pizzicato strings and continuo with traverso obbligato) is stunning. Térey-Smith’s fine ear for detail is everywhere evident, though never limiting the fluent pace and momentum of these beautiful scores.


This recording was made in Szombathely in October 2006. Balances are acute and the presence rich. Nigel Springthorpe provided the informative notes. Recommended.


FANFARE: Patrick Rucker

The orchestral suite is a genre that was mostly popular during the first half of the 18th century. Johan Friedrich Fasch is noted as being one of the more prolific German composers of orchestral suites. The overtures of the orchestral suites recorded here have all the traditional elements of the French overture. With it's light-hearted and lively developments, Fasch's music is both entertaining and brilliant.