Johann Friedrich Fasch

Biography

Born: April 15, 1688   Died: December 5, 1758; Zerbst  
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
Read more 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 Grünewald. 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. Read less
Baroque Trumpet Concertos / Friedrich, Budapest Strings
Release Date: 05/21/1996   Label: Capriccio Records  
Catalog: 10529   Number of Discs: 1
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Fasch: Overtures & Concerti / Linde, Friedrich, De Rudder, Parkanyi, Lencses, Cappella Coloniensis
Release Date: 06/28/2011   Label: Capriccio Records  
Catalog: 5073   Number of Discs: 1
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There are 99 Johann Friedrich Fasch recordings available.

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Works

Johann Friedrich Fasch


MOST POPULAR WORKS
I. Allegro
II. Andante
III. Allegro
I. Allegro
II. Largo
III. Allegro
Concerto for Trumpet, 2 Oboes, Strings and Continuo in D Major: I. Allegro
II. Largo
III. Allegro (moderato)
Gloria: Et in terra pax
Gloria: Laudamus te
Gloria: Gratias
Gloria: Domine Deus
Gloria: Quoniam
Gloria: Cum Sancto Spiritu
I. Ouverture
II. Air
III. Bourree
IV. Menuet I-II
V. Air
VI. Passepied I-II
I. Ouverture
II. Air I
III. Bourree
IV. Air II
V. Menuett I - Menuett II
VI. Air III
VII. Passepied I - Passepied II
I. Ouverture
II. Air I
III. Gavotte
IV. Air II
V. Jardiniers
VI. Menuet I - alternativement - Menuet II
I. Andante
II. Allegro
III. Largo
IV. Allegro
I. Andante
II. Un poco allegro
III. Largo
IV. Allegro
I. Andante
II. Allegro
III. Largo
IV. Allegro
I. Largo
II. Allegro
III. Largo
IV. Allegro
V. Allegro
I. Largo
II. Allegro
III. Largo
IV. Allegro
WORKS
I. Un poco allegro
II. Aria andante
III. Bouree and Trio
IV. Passepied and Trio
I. Un poco allegro
II. Andante
III. Allegro
I. Allegro
II. Andante
III. Allegro
I. Allegro
II. Largo e staccato
III. Allegro
I. [Allegro]
II. Andante
III. Un poco allegro
I. Allegro
II. Largo
III. Allegro
I. Allegro
II. Largo
III. Allegro
Concerto for Trumpet, 2 Oboes, Strings and Continuo in D Major: I. Allegro
II. Largo
III. Allegro (moderato)
I. Allegro
II. Andante
III. Allegro
I. Allegro
II. Largo
III. Allegro
I. Allegro
II. Largo
III. Allegro
I. [Allegro]
II. Andante
III. Allegro
I. [Allegro]
II. Air: Andante
III. Air: Un poco Allegro
Gloria: Et in terra pax
Gloria: Laudamus te
Gloria: Gratias
Gloria: Domine Deus
Gloria: Quoniam
Gloria: Cum Sancto Spiritu
I. Overture
II. Air
III. Gavotte
IV. Aria: Largo
V. Fuga
VI. Menuet
VII. Rejouissance
VIII. Menuet
I. Overture
II. Aria: Andante
III. Jardiniers
IV. Aria: Andante
V. Bouree
VI. Menuet I - Menuet II - Menuet I
I. Overture
II. Aria: Largo
III. Jardiniers
IV. Aria: Largo
V. Aria: Allegro
VI. Gavotte
VII. Menuet
I. Overture
II. Un poco vivace
III. Allegro
I. Overture
II. Air: Andante
III. Allegro
I. Ouverture
II. Air
III. Bouree
IV. Aria
V. Hornpipe
VI. Menuet
I. Ouverture
II. Air
III. Bourree
IV. Menuet I-II
V. Air
VI. Passepied I-II
I. Ouverture
II. Air I
III. Bourree
IV. Air II
V. Menuett I - Menuett II
VI. Air III
VII. Passepied I - Passepied II
I. Ouverture
II. Andante
III. Allegro
I. Ouverture
II. Rigaudon
III. Siciliano
IV. Menuet and Trio
V. Aria en Pologniese
I. Ouverture
II. Air I
III. Gavotte
IV. Air II
V. Jardiniers
VI. Menuet I - alternativement - Menuet II
I. Overture
II. Air
III. Gavotte
IV. Aria: Largo
V. Fuga
VI. Menuet
VII. Rejouissance
VIII. Menuet
I. Ouverture
II. Air moderato
III. Bouree I-II
IV. Air
V. Gavotte I-II
VI. Menuet I-II
I. Overture
II. Aria: Andante
III. Jardiniers
IV. Aria: Andante
V. Bouree
VI. Menuet I - Menuet II - Menuet I
I. Overture
II. Aria: Largo
III. Jardiniers
IV. Aria: Largo
V. Aria: Allegro
VI. Gavotte
VII. Menuet
Part I: Chorale: Mich vom Stricke meiner Sunder (Chorus)
Part I: Recitative: Als Jesus nun zu Tische sasse (Evangelist, Jesus)
Part I: Aria: Der Gott, dem alle Himmelskreise (Daughter of Zion)
Part I: Recitative: Und bald hernach nahm er den Kelch (Evangelist, Jesus)
Part I: Aria: Gott selbst, der Brunnquell alles Guten (Daughter of Zion)
Part I: Chorale: Ach, wie hungert mein Gemute (Chorus)
Part I: Recitative: Drauf sagten sie dem Hochsten Dank (Evangelist, Jesus)
Part I: Aria: Mein Vater, schau, wie ich mich quale (Jesus)
Part I: Recitative: Mich qualt der Sunder schwere Last (Jesus)
Part I: Aria: Sunder, schaut mit Furcht und Zagen (Tenor)
Part I: Recitative: Die Pein vermehrte sich (Evangelist)
Part I: Aria: Brich, mein Herz, zerfliess in Tranen (Tenor)
Part I: Chorale: Herr, lass dein bitter Leiden (Chorus)
Part II: Chorale: Ein Lammlein geht und tragt die Schuld (Chorus)
Part II: Recitative: Und Jesus ward zum Palast Caiphas' (Evangelist)
Part II: Chorale: Falsche Zeugnis, Hohn und Spott (Chorus)
Part II: Recitative: Die Nacht war kaum vorbei (Evangelist)
Part II: Recitative: Hat dies mein Heiland leiden mussen? (Daughter of Zion)
Part II: Aria: Meine Laster sind die Stricke (Daughter of Zion)
Part II: Recitative: Wie nun Pilatus Jesum fragt (Evangelist)
Part II: Aria: Verwegene Rotte, was fangest du an? (Tenor)
Part II: Recitative: Wie man ihm genug Verspottung (Evangelist)
Part II: Aria: Hier erstarrt mein Herz und Blut (Daughter of Zion)
Part II: Recitative: Sobald er nun gekreuzigt war (Evangelist)
Part II: Chorale: O Menschenkind, nur deine Sund' (Chorus)
Part II: Recitative: Und um die neunte Stunde (Evangelist)
Part II: Chorale: Jesu gab man bittre Gall (Chorus)
Part II: Recitative: Hierauf rief Jesus laut mit ganzer Macht (Evangelist)
Part II: Aria: Ihr Augen weinet Blut (Tenor)
Part II: Chorale: Ich danke dir von Herzen (Chorus)
I. Largo
II. Allegro
III. Largo
IV. Allegro
I. Andante
II. Allegro
III. Largo
IV. Allegro
I. Largo
II. Allegro
III. Largo
IV. Allegro
I. Largo
II. Allegro
III. Largo
IV. Allegro
I. Largo
II. Allegro
III. Largo
IV. Allegro
I. Sinfonia
II. Andante, un poco piano
III. Presto
I. Allegro
II. Andante
III. Allabreve
IV. Presto
I. Allegro un poco
II. [Andante]
III. [Alla breve]
IV. Allegro
I. Andante
II. Allegro
III. Largo
IV. Allegro
I. Andante
II. Un poco allegro
III. Largo
IV. Allegro
I. Andante
II. Allegro
III. Largo
IV. Allegro
I. Largo
II. Allegro
III. Largo
IV. Allegro
V. Allegro
I. Largo
II. Allegro
III. Largo
IV. Allegro
I. Largo
II. Allegro
III. Largo
IV. Allegro
I. Largo
II. Allegro un poco
III. Largo
IV. Allegro


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