| Stylistically, Fasch’s orchestral works span the transition from the late Baroque to the pre-Classical style. This is clearly apparent in the three contrasted sinfonias on the present disc, in particular the B♭ Sinfonia, one of only three of Fasch’s 19 surviving pieces in this form to add a pair of oboes to the strings. In the infectiously bright opening Allegro, the advanced leanings of what sounds like a thoroughly mature work are in evidence in the periodic phrasing, and contrasts of dynamics and color (Fasch is fond of imitative exchanges between high and low strings, also in evidence in the first movement of the G-Minor Sinfonia). The succeeding Cantabile is a gem, a sinuously lovely and highly expressive movement in siciliano rhythm that also displays its modern credentials by using the oboes to bind the texture. The dramatic intensity of the first movement of the G-Minor Sinfonia depends on the contrast between the harsh triple chord heard at the outset (and used as a motto throughout the movement) and the quieter answering phrase. The glowingly lyrical Andante that follows is in the major, after which comes a contrapuntal movement that starts as a four-part fugue (significantly marked by Fasch in stile antico), and a finale notable for its major/minor ambiguity. The Sinfonia in A Minor is perhaps marginally less noteworthy than its fellows, the highpoint being the delicately pastoral Andantino scored for muted strings. Main-Barockorchester Frankfurt is one of the younger German period-instrument ensembles (it was founded in 1998), with this being its debut recording. On this evidence, it is a body that needs fear no comparison with better-known rivals; quicker movements are played with a bright-eyed élan and tonal finesse, while Fasch’s eloquently melodious slower movements are given just the right degree of expressive warmth. The attractions of this irresistible disc are further enhanced by superb sound.--Brian Robins |
Great contribution but could you please reload part5 that is missing?
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