Info from: Kenneth Naversen <70530.2643@compuserve.com>

Johann Friedrich Fasch (1688-1758)
SONATA IN B FLAT MAJOR FOR RECORDER, OBOE,
VIOLIN AND CONTINUO
Largo, Allegro, Grave, Allegro.

The liner notes, by Edward Tatnall Canby (ETC !) may be of
interest. Here are two paragraphs.

"Fasch, one of two composers of the name (his son Carl was at the
court of Frederick the Great) received his training in Leipzig at the
*Thomasschule* and attended the university there in the years
before Bach came to that city. In 1708 he founded the second of
two *Collegia musica,* concert performing organizations, the first
of which, founded in 1702 by Telemann, became Bach's in 1729.
Bach greatly admired Fasch's work (he copied out five of Fasch's
orchestral *ouvertures* or suites)--for, like Bach, Fasch was
somewhat of a conservative, a bit old-fashioned and a fine
contrapuntist. All of which may account for distinctly Bach-like
sound to this sonata.

Fasch was indeed an eloquent and imaginative composer. His
opening movement is a fine tapestry of long phrases for the three
high instruments set against scale passages and a step-like bass.
The following *allegro* is a lively fugue on a conspicuous theme
beginning with three repeated notes. (There are just two "tonal"
answers among its many appearances) The bass line at first merely
accompanies, but near the end it takes on a new theme for a fine
intensification. The third movement, in triple-time, suggests
Vivaldi (or more precisely a Northern Vivaldi-Bach) Its beginning
is briefly like the Crucifixus from Bach's B Minor Mass, and
several later passages for the high instruments unaccompanied
suggest moments in the Brandenburg Concerti. It is not surprising
--following that thought--that the final movement is almost an
immature Brandenburg, for the last two movements of the sonata
have developed decidedly concerto-like dimensions."


Nice piece, thanks for making it available.

-KN