01	Quartett B-dur fur Blockflote, Oboe, Violine und Bc - Largo						02:23
	02	Quartett B-dur fur Blockflote, Oboe, Violine und Bc - Allegro						01:50
	03	Quartett B-dur fur Blockflote, Oboe, Violine und Bc - Grave						02:52
	04	Quartett B-dur fur Blockflote, Oboe, Violine und Bc - Allegro						02:12
	05	Trio e-moll fur zwei Oboen und Bc - Adagio						02:19
	06	Trio e-moll fur zwei Oboen und Bc - Allegro						03:04
	07	Trio e-moll fur zwei Oboen und Bc - Affettuoso						02:12
	08	Trio e-moll fur zwei Oboen und Bc - Giga: Allegro						03:17
	09	Quartett G-dur fur Traversflote, zwei Blockfloten und Bc - Andante						01:41
	10	Quartett G-dur fur Traversflote, zwei Blockfloten und Bc - Allegro						01:44
	11	Quartett G-dur fur Traversflote, zwei Blockfloten und Bc - Affettuoso						01:45
	12	Quartett G-dur fur Traversflote, zwei Blockfloten und Bc - Allegro						01:52
	13	Quartett g-moll fur zwei Oboen, Fagott und Bc - Largo						02:17
	14	Quartett g-moll fur zwei Oboen, Fagott und Bc - Allegro						02:36
	15	Quartett g-moll fur zwei Oboen, Fagott und Bc - Largo						01:55
	16	Quartett g-moll fur zwei Oboen, Fagott und Bc - Allegro						02:46
	17	Trio D-dur fur Traversflote, Violine und Bc - Adagio						01:41
	18	Trio D-dur fur Traversflote, Violine und Bc - Allegro						02:07
	19	Trio D-dur fur Traversflote, Violine und Bc - Largo						01:58
	20	Trio D-dur fur Traversflote, Violine und Bc - Allegro						01:40
	21	Quartett d-moll fur zwei Oboen, Fagott und Bc - (Largo)						02:05
	22	Quartett d-moll fur zwei Oboen, Fagott und Bc - Allegro						02:04
	23	Quartett d-moll fur zwei Oboen, Fagott und Bc - Largo						02:01
	24	Quartett d-moll fur zwei Oboen, Fagott und Bc - Allegro						01:42

Johann Friedrich Fasch (1688 - 1758)

Иоганн Фридрих Фаш (Fasch), род. 15 апр. 1688 близ Веймара, ум. 5 дек. 1758; 1701 пансионер школы св. Фомы в Лейпциге (под управл. Кунау). Фаш учредил в Лейпциге об-во Collegium musicum, которое достигло большего процветания и по всей вероятности дало начало позднейшим Большим концертам, написал для него французские увертюры в подражание Телеману; написал также 3 оперы для Наумбурга (1710-11) и для двора в Цейце. 1712 Фаш отправился к Граупнеру и Груневальду в Дармштадт, чтобы пройти основательный курс композиции; на пути туда и обратно он останавливался на продолжительное время при различных дворах (Гера, Цейц и др.; а 1721 он сделался капельмейстером графа Морцини в Лукавече (Чехия), - того самого, который позднее пригласил к себе И. Гайдна. 1722 он сделался придв. капельмейстером в Цербсте. Фаш один из наиболее выдающихся композиторов времен Баха; к сожалению большинство его произведений пропало. Сохранились 12 французских увертюр (оркестровых сюит), соната-трио в форме канона, а также несколькко месс, кантаты и мотеты. И. С. Бах высоко ценил Фаша; в школе св. Фомы в Лейпциге сохранились голоса пяти оркестр. сюит Фаша, переписанных собственноручно Бахом; в рукописях, оставшихся после Ф. Э. Баха также был найден годовой обиход церковных кантат Фаша.
Интересный факт, что сын Иоганна Фридриха Фаша - Карл Фридрих Христиан был также известный в свое время композитор (род. 1736 в Цербсте, ум. 1800 в Берлине), но большинство своих произведений он сам сжег незадолго до смерти.

JOHANN FRIEDRICH FASCH
(1688- 1758) Johann Friedrich Fasch was born in Buttelstedt near Weimar. He joined the Court Chapel of the Duke of Weissenfels as a choir boy.

Here, his teacher was Johann Philipp Krieger, a musician of wide culture well versed in the Venetian, Bolognese, Neapolitan, Florentine and Roman schools, acquainted with the musicians of old Bohemia and a pupil of Pasquini. His influence on young Fasch was of considerable importance.

No less decisive was that of Johann Kuhnau at the Thomas-Schule in Leipzig where we find him in 1701. Some years later he founded at the University of that city a Collegium Musicum, the birth of which caused a grave conflict between the young composer and his old master. He then traveled a little throughout Germany and Central Europe eager to widen his knowledge, and composing all the while.

In 1722 he became Kapellmeister at the court of Zerbst. It was in that same year, so tradition has it, that he refused to compete against Johann Sebastian Bach for the post of Cantor at St. Thomas' of Leipzig. Bach likewise held him in great esteem, as witnessed by copies of five Suites by Fasch found among Bach's manuscripts.

The works of Fasch, in manuscript, are dispersed among numerous libraries throughout Europe. He is credited with at least one Passion, 14 Masses, 2 Credo, 4 Psalms, some 100 Church Cantatas, 4 Serenades, 4 Operas, plus a quantity of concertos, overtures, sonatas and symphonies.

Though Fasch belongs time-wise firmly in the baroque period, his lifespan closely paralleling that of the great baroque master JS Bach, one may wonder on listening to a cross-section of his works which member of the Bach family his music most resembles, that of father Johann Sebastian, of baroque-inclined son Wilhelm Friedemann, or the forward-looking Carl Philipp Emanuel.

The interesting fact is that the repertoire of Fasch, perhaps more than that of any other baroque composer, marks the transition from baroque to roccoco or early classical. He was an initiator, marking and developing the breakdown of the mold of the fugal style in favor of a form of thematic development from which romantic writing was to emerge.

He died in Zerbst, leaving the legacy of an extremely engaging musician.

http://www.baroquemusic.org


Johann Friedrich Fasch

Birth Apr 15, 1688
Death Dec 5, 1758 in Zerbst

Biography by Joseph Stevenson

Although he was just three years younger than J.S. Bach, Johann Friedrich Fasch was a leader in making the transition from late Baroque to early Classical in Germany.

Fasch's family was traditionally associated with the Lutheran church, either as theologians or as Kantors. He was a boy soprano in the towns of Suhl and Weissenfels. The composer J.P. Kuhnau heard him sing and convinced him to attend the Thomasschule in Leipzig from the age of 13. He became friends with another student, the 20-year-old Georg Philipp Telemann (1681 - 1767). While Fasch was attending the university (like Telemann, he was a law student) he founded a collegium musicum, as Telemann had, taking care that it would remain a permanent organization after he left. It survived until 1756, and counted J.S. Bach as one of its leaders during its lifetime. It took a position in Leipzig's musical life nearly as important as that of the Thomasschule itself.

As director of the collegium musicum he had occasion to study a wide variety of music. The local ruler of his hometown, the Duke of Saxe-Zeitz, hired him to write a pair of operas (which are lost) for festivals held in 1711 and 1712. Fasch now began to travel widely for purposes of rounding out his education. He arrived in Darmstadt in 1713 and studied composition with Graupner and Gru"newald. He took a series of jobs: violinist in the court orchestra of Bayreuth (1714), municipal secretary of Gera (1715 - 1719), organist and municipal secretary in Greiz (1719 - 1721), and Kapellmeister to Count Morzin in the Bohemian town of Lukavec. He organized an orchestra there that Vivaldi had occasion to hear and proclaim excellent. He took up the post of Kapellmeister at the court of Zerbst, 40 miles north of Leipzig, in 1721, and remained there for the rest of his life.

His work, besides organizing musical activities in the church and the court, was primarily writing cantatas for the church and festive music for the count. His fame and his music spread throughout Germany. This was partly because of the network of correspondence he enjoyed with other composers, such as Telemann, J.G. Pisendel, his own son Carl Friedrich Christian Fasch, and C.P.E. Bach. Fasch wrote 12 complete cantata cycles, 16 or more masses, four operas, over 90 overtures, and large quantities of symphonies, concertos, and sonatas. None of Fasch's music was published during his lifetime, and a large percentage of the sacred music is lost, but most of the instrumental music survives.

In 1900 music historian Hugo Reimann recognized that Fasch had transformed the three-movement form of the Italian Baroque concerto by boldly inserting contrasting musical material, often assigning the new theme to winds, laying the stage for the Classical form of dual thematic material. In addition, he used the wind section of the orchestra, not as soloists in a separate "concertante" group, but as components of the orchestra that might help mark a formal contrast by a shift in tone color or texture of the music. He also had a tendency to replace fugal episodes with freer developmental sections. In all this he markedly anticipated the Classical forms that before his death would begin to flourish in the music of Mozart and others.



Camerata Koln

Michael Schneider / recorder

Sabine Bauer / recorder

Karl Kaiser / transverse flute

Hans-Peter Westermann / oboe

Piet Dhont / Oboe

Michael McCraw / bassoon

Annette Sichelschmidt / violin

Rainer Zipperling / violoncello

Harald Hoeren / harpsichord

CAMERATA KO"LN
The Camerata Ko"ln ensemble performs baroque and classical chamber music, with works with woodwinds forming its special focus.

Since ist founding in 1979 the ensemble has appeared in concert not only in almost all the European countries and at important festivals for early music such as those in Innsbruck, Bruges, Herne, Glasgow, and Malmo" but also has undertaken guest tours, mostly in coorporation with the Goethe Institute and often in countries outside Europe, including Israel, Northern and Southern American countries, India, Turkey, Egypt, Lebanon, and Jordan.

The idea behind the ensemble?s founding was to have early chamber music performed by musicans with a virtuoso command of historical instruments and with proper attention to all relevant stylistic criteria as well as with the greatest possible spontaneity, pleasure, and artistic independence. Over the years the general public and the music press have continued to point to this idea as the distinguishing and outstanding feature of the Camerata Ko"ln.

The repertoire of the Camerata Ko"ln includes chamber compositions such as sonatas, trios, quartets, and quintets with and without basso continuo as well as virtuoso concertos for winds with single, full-toned strings (or, e.g., Bach?s Brandenburg Concertos in the original instrumentation). During recent years it has it has expanded ist offerings, above all in the direction of early classicism and classicism (with the corresponding instruments).

The Camerata Ko"ln is known for ist programs characterized by an individual design and focusing on a particular theme for festivals, commemorative years, and the like. Ist concerts in the large hall of the Milan Scala with all six Brandenburg Concertos and in the Concertgebouw in Amsterdam - both followed by rave reviews - formed the highlights of ist 1996 performance schedule.

During the same year the ensemble?s first complete recording of Telemann?s Essercizii musici (4 CDs) for harmonia mundi (BMG) brought it special attention from the international press in the recording sector.

All members of the Camerata Ko"ln are professors and instructors at German music academies (Frankfurt, Freiburg, Cologne), with most of them teaching in the historical interpretation department at the Academy of Music in Frankfurt am Main. The regularly present joint workshops and interpretation courses (e.g., Jerusalem Music Centre, 1997).