One of the most grown-up review sites around
One of the most grown-up review sites around

Search MusicWeb Here


International mailing

  Founder: Len Mullenger

Some items
to consider


tenor and baritone

A very fine achievement

Complete ballet

Orchestral Music

music that will please greatly

Captivating scores

Symphonies - Philippe Jordan
A pleasure to see and hear

vital imagination

A harum-scarum springboard

Always expect the unexpected

REVIEW Plain text for smartphones & printers

Gerard Hoffnung CDs

Advertising on

Donate and get a free CD

New Releases

Naxos Classical


Musicweb sells the following labels
Acte Préalable
(THE Polish label)
Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sheva £2 off
Sheva Contemporary
Sterling 10% off
Toccata Classics

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger

Support us financially by purchasing this disc from
Johann Friedrich FASCH (1688-1758)
Suite in F major [24:41]
Suite in D major [22:01]
Suite in A minor [26:05]
Capella Savaria/Pál Németh
rec. Salezianer Theater, Szombathely, Hungary, January 1999
DYNAMIC DM8029 [72:50]

The orchestral suites of Johann Friedrich Fasch follow the Baroque pattern. This is the one familiar from similar works by Telemann, with whom the annotator invokes comparisons, and by Bach, whose suites listeners are more likely to know. The opening movement is a "French overture": a slow, weighty introduction followed by a fugal Allegro, closing with a reminiscence of the slow introductory material. There follows a series of shorter movements based on dance forms, rounding things off with a menuet.
Aficionados of the Baroque will already be familiar with menuets, bourées (as they are spelled here) and gavottes. Some of the composer's other titles, however, may bear explanation. Each of the three suites, for example, includes a plaisanterie, which the annotator defines as "an amusing piece". These are pleasant enough, but none of them struck me as particularly amusing. The one in the F major suite galumphs along cheerfully enough. That in the D major suite goes with the familiar "Baroque bustle" in marked eighth-notes. The incisive one in the A minor suite is actually rather serious. The D major suite also includes a "jardiniers", the boisterous mood of which doesn't particularly suggest gardens, nature, or even a salad. Here, alas, our annotator goes silent.
Fasch's "Air"s are appealing, but don't expect anything similar to the famous Air in Bach's Third Suite. That in the F major suite moves with a fetching galant stride, while that in the D major suite could as easily have been called a menuet. Only two movements in the longer, ten-movement A minor suite - one called "Aria," the other "Air" - even hint at a sustained breadth comparable to Bach's.
A quirk of Fasch's otherwise standard orchestration is his use, and non-use, of the bassoon. In the F major suite, I hear no bassoons at all - not even doubling the low strings, as musicologists are wont to prescribe. This seems odd in a piece that includes oboes and horns. The bassoons' presence is felt, however, in the D major suite, where they add colour and lend prominence to the bass lines. They also serve a full-fledged obbligato role, à la Bach's first Brandenburg Concerto, in the severe Menuets that conclude the A minor suite.
These sprightly performances are excellent, and if you like Baroque orchestral music, you will want them. A comparatively small string body and forwardly balanced winds means that the trenchant double-reeds dominate the ensemble sonority. Fortunately, they're well-tuned and adept. Save in the second Gavotte of the A minor suite, where the players have trouble maintaining the established momentum, Pál Németh keeps things moving smartly.
To older record collectors, Fasch existed as a footnote of sorts. His Trumpet Concerto was "on the back of" Pachelbel's Canon, in Jean-François Paillard's popular recording. The present programme, along with two companion discs in Dynamic's "Delizie Musicali" series, should earn him justified discographic recognition in his own right.
Stephen Francis Vasta
Stephen Francis Vasta is a New York-based conductor, coach, and journalist.