For Maundy Thursday (is there any part of the world where it is still Thursday?) let’s have another version of the Brockes-Passion, composed by another Bach-contemporary and former Sängerknabe of the famous Thomasschule of Leipzig, Johann Friedrich Fasch. Although they have not met at Leipzig (having been at the same age, Fasch just finished his study years ten years before Bach arrived to begin his teaching career at a position that was originally intended for Fasch); their sons, Carl Philipp Emanuel Bach and Karl Friedrich Christian Fasch were friends and even roommates when both employed at the Potsdam court of Friedrich the Great. Their job was to play continuo for the king, a flute player and amateur composer himself, whose teacher was Johann Joachim Quantz, the author of the the bible of all traverso players of all times (myself included), Versuch einer Anweisung die Flöte traversiere zu spielen, which is an endless source of information on the performance practice of the first half of the 18th century.
Back to Papa Fasch – although he composed numerous cantatas and some other vocal works, this is his only oratorio. The opening movement is a nice choral in a polyphonic setting, the violins doubled with oboes, which is a great plus in my eyes. The voice of the Baroque oboe is one of the (very few) things that make life bearable.
Two years ago I posted Pater dimitte illis from the oratorio Agonia di Cristo (Le Ultime Sette Parole) by Niccolò Jommelli with some stunning obligato bassoon part. Last year’s music for Maundy Thursday was Jesus in Gethsemane by Francesco Antonio Rosetti, which unfortunately seems to have disappeared off
the face of the Earth YouTube since then. That’s what happens to good music in our days. I am so sad.