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Given the reverence in which Vivaldi was held in Morzin’s establishment, it seems certain that Fasch would have encountered many of Vivaldi’s concertos there, possibly including Le Quattro Stagioni which was already in the repertoire of Morzin’s orchestra before its publication and dedication (to Morzin) in 1725. It is therefore unsurprising that much of Fasch’s solo violin music bears a distinctively Vivaldian touch. This would have been particularly welcomed by Bach (who is known to have possessed instrumental music by Fasch) and Pisendel, who received regular instalments of music from Fasch for the Dresden court; Pisendel sent manuscripts by return in way of recompense. The present concerto is one of two surviving concertos that share a similar scoring; whilst we can’t be certain that this work was one of those sent to Dresden, a fragment of its sibling currently resides amongst the archives of the Dresden court orchestra.
Sadly, only around thirty per cent of Fasch’s output has survived, as is shown by an inventory of court musical sources compiled in 1743; Fasch is the composer who appears most frequently, followed by Vivaldi, and then by Telemann—Fasch’s idol—in third place.
from notes by Adrian Chandler © 2019
If you like your Baroque concertos fast and furious—and who doesn’t?—this is the one for you. If the music and some of the composers’ names are unfamiliar, then you have a treat in store. Unmissable.» More
|Hyperion sampler - November 2019 Vol. 2|