Uploaded May 2009 | Updated September 2026, 3 weeks ago
JOHANN FRIEDRICH FASCH (1688 - 1758)
Orchestral suite for two oboes, bassoon, strings, and basso continuo in D minor FWV K:d4
6. Menuet I
7. Réjouissance
8. Menuet II
Performed by Il Fondamento
Directed by Paul Dombrecht
*Johann Friedrich Fasch was a German composer.
Fasch was born in Buttelstedt; was a choirboy in Weissenfels and studied under Johann Kuhnau at the Thomasschule zu Leipzig and later founded a Collegium Musicum in the city. He then traveled throughout Germany, becoming a violinist in the orchestra in Bayreuth in 1714, and also holding court posts in Greiz and Lukavec. In 1722 he was appointed Kapellmeister at Zerbst, a post he held until his death.
His works include cantatas, concertos, symphonies, and chamber music. None of his pieces were printed in his lifetime, and a large number of his vocal works, including four operas, have been lost. However, he was held in high regard by his contemporaries (Johann Sebastian Bach made manuscript copies of a number of his pieces), and he is today considered an important link between the Baroque and Classical periods.
Fasch died in Zerbst at the age of 70. He was the father of Carl Friedrich Christian Fasch, also a musician.
JOHANN FRIEDRICH FASCH (1688 - 1758)
Orchestral suite for two oboes, bassoon, strings, and basso continuo in D minor FWV K:d4
6. Menuet I
7. Réjouissance
8. Menuet II
Performed by Il Fondamento
Directed by Paul Dombrecht
*Johann Friedrich Fasch was a German composer.
Fasch was born in Buttelstedt; was a choirboy in Weissenfels and studied under Johann Kuhnau at the Thomasschule zu Leipzig and later founded a Collegium Musicum in the city. He then traveled throughout Germany, becoming a violinist in the orchestra in Bayreuth in 1714, and also holding court posts in Greiz and Lukavec. In 1722 he was appointed Kapellmeister at Zerbst, a post he held until his death.
His works include cantatas, concertos, symphonies, and chamber music. None of his pieces were printed in his lifetime, and a large number of his vocal works, including four operas, have been lost. However, he was held in high regard by his contemporaries (Johann Sebastian Bach made manuscript copies of a number of his pieces), and he is today considered an important link between the Baroque and Classical periods.
Fasch died in Zerbst at the age of 70. He was the father of Carl Friedrich Christian Fasch, also a musician.


![Galuppi - Nisi Dominus in C Minor - Mov 1-3/7
BALDASSARRE GALUPPI (1706-1785)
Nisi Dominus for choir, soloists, strings, and basso continuo
1. Coro: Nisi Dominus [coro]
2. Duetto e Coro: Vanum est vobis [soprano II, contralto, coro]
3. Duetto: Cum dederit [soprano I & II]
Performed by the Kornerscher Sing-Verein Dresden and the Dresdner Instrumental-Concert
Featuring Roberta Invernizzi, soprano I
Lucia Cirillo, soprano II
Sara Mingardo, contralto
Paul Agnew, tenor I
Sergio Foresti, bass I
Directed by Peter Kopp
*Baldassare Galuppi was an Italian composer from Venice, noted for his operas, and particularly opera buffa.
He was born on the island of Burano in the Venetian Lagoon, and as a result, he became known as Il Buranello. His first attempt at opera, La fede nellincostanza ossia gli amici rivali (1722), was a spectacular failure, having been hissed off the stage. He subsequently studied music with Antonio Lotti, and after a brief period in Florence working as a harpsichordist, returned to Venice for another attempt at opera. This time, his opera seria Dorinda (1729) was a success and launched his theatrical career.
In 1740, he was appointed music director of the Ospedale dei Mendicanti, and he worked at St. Marks in Venice from 1748, being appointed maestro di cappella (considered Venices top musical post) there in 1762. He lived and worked for most of his life in Venice, though from 1741 to 1743 he worked in London, and from 1765 to 1768 he worked for Catherine the Great in St. Petersburg.
His first opera buffa was LArcadia in Brenta (1749). This was also his first collaboration with librettist Carlo Goldoni, with whom he produced a number of operas. These works were very popular, with Il filosofo di campagna (1754) a particular success. Goldonis libretto Il mondo della luna, first set by Galuppi, was later used by a number of other composers, including Joseph Haydn and Giovanni Paisiello. Subsequent operas include Lamante di tutte (1760) and I tre amanti ridicoli (1761), written on libretti by the composers son Antonio Galuppi, who wrote under the name A. Liteo.
In his later years, his operatic output decreased somewhat. Among his nonoperatic works are a large number of pieces for harpsichord and several oratorios. By the time of his death, in Venice, Galuppi was one of the best-known and most respected figures in the Venetian musical establishment. A requiem mass was held in his memory at St Marks.
At least two sacred choral works by Antonio Vivaldi have been attributed to Galuppi, a Beatus Vir and a Nisi Dominus.; musicologist Janice Stockigt believes that a Dixit Dominus might be another such work.
Robert Brownings poem A Toccata of Galuppis refers to Galuppi and his work, although no such Toccata exists.
The English pianist Peter Seivewright is currently recording all of Galuppis 90 keyboard sonatas in what will be a projected ten-CD set for The Divine Art record label; he is also publishing them. Galuppi - Nisi Dominus in C Minor - Mov 1-3/7](https://i.ytimg.com/vi/ffRe1V7LH_o/mqdefault.jpg)




![Avison - Concerto Grosso in G Major Op. 4 No. 6
CHARLES AVISON (1709 - 1770)
Concerto Grosso for two violins, cello, strings and basso continuo in G major Op. 4 No. 6
1. Adagio - Tempo giusto
2. Fuga da capella - Allegro moderato - Adagio
3. Fuga del teatro - Allegro spiritoso
4. Largo
5. Affetuoso
6. Aria pastorale - Andante
Performed by the Avison Ensemble
Directed by Pavlo Beznosiuk
*Charles Avison was an English composer during the Baroque and Classical periods. He was a church organist at St John The Baptist Church[1] in Newcastle and at St. Nicholass Church (later Cathedral). He is best remembered for his 12 Concerti Grossi after Scarlatti and his Essay on Musical Expression, the first music criticism published in English.
Little is known of Avisons early life. The son of Richard and Anne Avison, both musicians, he was baptised on 16 February 1709, at St. Johns Church in Newcastle. (According to the New Grove dictionary, he was also born in this city.) It is likely that he had early contact with Ralph Jenison, a patron of the arts, and later a member of Parliament.
As a young man, he traveled to London to study under Geminiani. However, his ties to his hometown remained strong, and on 13 October 1735, he was accepted the position of church organist at St. Johns Church in Newcastle. Shortly after, he also became organist at nearby St. Nicholass. Despite numerous offers of more prestigious positions later in life, he never again left Newcastle.
On 15 January 1737, Avison married Catherine Reynolds. They had three surviving children: Jane (1744-1773), Edward (1747-1776), and Charles (1751-1795). Edward and Charles both later served as organists at St. Nicholass, and Charles published a book of hymns.
In July 1738, Avison was appointed music director of the Newcastle Musical Society. He also collaborated with John Garths subscription concerts in Durham, and was active in local theatres.
The foundation of Avisons contemporary fame was his Essay on Musical Expression, published in 1752. It was the first work on musical criticism published in English.
Avison was one of the subjects in Robert Brownings Parleyings with Certain People of Importance in their Day: Hear Avison! He tenders evidence/That music in his day as much absorbed/Heart and soul then as Wagners music now.
Avison died on 10 May 1770, after being caught out in an unusual blizzard that hit from May 2-4. He is buried at St. Andrews in Newcastle.
Avison continued the Italian style tradition, which Geminiani had made so popular in London. In his Concerti Grossi, in particular, he carried on Geminianis technique of modeling orchestral concertos after sonatas by older composers. His Essay on Musical Expression criticized Handel, who was much admired in England at the time. Avison - Concerto Grosso in G Major Op. 4 No. 6](https://i.ytimg.com/vi/gKKkLV34KZU/mqdefault.jpg)


