Carl Friedrich Christian Fasch (1736–1800) was a German composer and harpsichordist. Born in Zerbst, he was the son of the composer Johann Friedrich Fasch. He was initially taught by his father. In 1756 he began service at the court of Frederick the Great of Prussia, where he served as deputy to Court harpsichordist C.P.E. Bach, whose post he attained when Bach left the court for Hamburg in 1767. In 1791 he founded the Sing-Akademie in Berlin which quickly became an important centre of Berlin's musical life. In its concerts Fasch promoted the music of J.S. Bach and other masters of the Baroque period, as well as contemporary music. The Akademie was visited by Beethoven in 1796. Fasch also composed numerous works for the Sing-Akademie. His Mass for sixteen voices, a virtuosic mass accompanied solely by organ continuo, is a choral masterpiece of the late 18th century. Fasch died in Berlin in 1800. His grave is preserved in the Protestant Friedhof I der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. I of the congregations of Jerusalem's Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor. He was succeeded as head of the Akademie by Carl Friedrich Zelter. Life Education As a child he was delicate, and much indulged. He made rapid progress on the violin and clavier, and in the rudiments of harmony. After a short stay at Coethen, where he made his first attempts at composition in church-music, he was sent to Strelitz. Here he continued his studies under Hertel, in all branches of music, but especially in accompaniment, at that time a difficult art, as the accompanist had only the figured bass to guide him. In 1751 Linicke, the court clavierist, having declined to accompany Franz Benda, Fasch offered to supply his place at the harpsichord, and Benda’s praises incited him to still greater efforts. After his return to Zerbst, he was sent to complete his education at Klosterbergen near Magdeburg. Benda had not forgotten their meeting, and in 1756, when just twenty, Fasch was appointed on his recommendation accompanist to Frederick the Great. His coadjutor was no less a person than Emanuel Bach; they took it in turns to accompany the King’s flute-concertos, and as soon as Fasch had become accustomed to the royal amateur's impetuous style of execution, his accompaniments gave every satisfaction. Times of war The Seven Years' War put an end to Frederick’s flute-playing, and