J. F. FASCH: (1688 – 1758)
Largo & Allegro (Finale) from “Triosonata in F Dur for two oboes, two Bassoon & continuo
Baroque Ensemble SANS SOUCI
Giuseppe NALIN: baroque oboe & Leader
Stefano VEZZANI: baroque oboe
Paolo TOGNON: baroque bassoon
Claudio VERH: baroque bassoon
Marco VINCENZI: harpsichor

Live Recording – Padova “Sala Della Carità” 30.07.2010


  1. Holy Cow! In the slow mov’t the bassoons are playing dotted rhythm – lazy dotted rhythm, but dotted rhythm. The oboes are playing unashamed triple rhythm.

    That’s Baroque contrast taken to an extreme I’ve never heard before.

    Good playing, though :-)

  2. I never really studied Baroque rules, I’m sorry to say. A book I have says that ALL rhythms should be the same (triplet) even if it shows dotted 8th and 16th on one part and triplets on the other. I’ve always wondered if that’s true. Thoughts?

  3. Yes, I thought that everybody ought to be on the same page no matter what the final interpretation of dotted rhythm is.

    I’ve seen the same ‘rules’ but I don’t know whether they derive from earlier contemporary interpretations of performance practice as it revived in the 60’s and 70’s or whether they are ‘real’. Bruce Haynes has written a book on Baroque performance practice which I haven’t read.

    I’m talking with Steve Hammer – I’ll forward that link to him and ask for his thoughts…

  4. I always kind of liked the disjointed feeling of the “conflict”, but I suppose conflict wasn’t that common back then, eh?