- Performer: Megyesi; Cser; Zadori; Schola Cantorum Budapestiensis; Capella Savaria
- Composer: Fasch Johann Friedrich
- Audio CD (Jan 29 2008)
- SPARS Code: DDD
- Number of Discs: 1
- Label: Ncl
- ASIN: B000ZJVI5M
- Amazon Bestsellers Rank: #191,252 in Music (See Top 100 in Music)
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Product Details |
Track Listings
| 1. Ouverture | |||
| 2. Aria | |||
| 3. Bourree | |||
| 4. Menuet | |||
| 5. Aria: Largo | |||
| 6. Aria: Un Poco Allegro | |||
| 7. Chorus | |||
| 8. Evangelist, Jesus | |||
| 9. Daughter Of Zion | |||
| 10. Evangelist, Jesus | |||
| 11. Daughter Of Zion | |||
| 12. Chorus | |||
| 13. Evangelist, Jesus | |||
| 14. Jesus | |||
| 15. Jesus | |||
| 16. Tenor | |||
| 17. Evangelist, Jesus | |||
| 18. Aria | |||
| 19. Chorale | |||
| 20. Chorale | |||
See all 36 tracks on this disc
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
5.0 out of 5 stars (3 customer reviews)
5 of 5 people found the following review helpful
5.0 out of 5 stars
Quite a Fine Discovery!, Mar 1 2009
By Customer Formerly Known as Giordano Bruno - Published on Amazon.com
Amazon Verified Purchase(What's this?)
This review is from: Passio Jesu Christi (Audio CD)
Not exactly a discovery of the composer... I knew of Johann Friedrich Fasch (1688-1754) as one of the bumper crop of German composer born in the 1680s, the generation of JS Bach and Telemann. Fasch was the guy who was 'offered' the cantorship at the Thomaskirche in Leipzig in prefernce to Bach, but who turned it down and spent the bulk of his career at the court in Zerbst. Zerbst? Well, it was a good job, with freedom to compose and without the onerous duty of teaching Latin. Bach, by the way, had to hire a substitute to teach those Latin classes in Leipzig.Fasch's "Passio Jesu Christi" uses the 'libretto' called the Brockes Passion, which was also set by Handel and Telemann. Stylistically, Fasch's Passio lies almost exactly halfway between the Passion settings of Heinrich Schütz and that of Handel. The Brockes text is more operatically dramatic than the straight-from-scripture text used by Schütz. The most prominent singer of arias is the "daughter of Zion." The recitativos are quite flamboyant, and the instrumental contributions quite florid. One can imagine that the city authorities of Leipzig didn't find Fasch's music notably inferior to Bach's. Listen without prejudice and you'll understand why.
The discovery I mentioned is the quality of this performance by Schola Cantorum of Budapest, with an orchestra and a cast of soloists almost exclusively Hungarian. I've tended to shun 'early music' recordings from the old Communist countries of central/eastern Europe, not for political reasons but because in the 'bad old days' both performances and acoustic technology were dodgy. Good news, world! This is a first-rate performance in every way, instrumental and vocal. Soprano Maria Zadori has a big, lush voice that will please the most adamant critic of HIP sopranos with smallish voices, yet she sings with full mastery of 'historically informed practice.' Tenor Zoltan Megyesi (Evangelist) and bass Peter Cser (Jesus) are as resonant and as flexible as the best of the current Italian and German oratorio stars. I will NOT hesitate to order further recordings from these people, you may rest assured.
2 of 2 people found the following review helpful
5.0 out of 5 stars
Wonderful recording and performance, April 9 2011
By Hank - Published on Amazon.com
This review is from: Passio Jesu Christi (Audio CD)
I just want to echo the other reviewer in asserting that this disc is truly a delightful surprise in the quality of both the performance and the recording.
5.0 out of 5 stars
Record of the Year, Feb 18 2012
By Ronald Haak - Published on Amazon.com
This review is from: Passio Jesu Christi (Audio CD)
Building upon period consciousness and spirit, this ensemble provides the added and rare ingredient of true self-effacement. This is most evident in the BrockesPassion, where soloists and ensemble blend together in humble dedication to this great religious mystery. This is an unforgettable experience, bathed in simplicity and naturalness. The overture is equally artless and memorable, with soloists exercising tasteful restraint. This is a most welcome antidote to the pushy dazzle and stagey posturings we are often offered. Yes, for me, Record of the Year!
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