Johann Caspar Ferdinand Fischer: Vesperae, Op. 3
In his day Johann Caspar Ferdinand Fischer (1656–1746) was renowned as one of the major musicians in southern Germany, especially for his distinctly French keyboard music. His vocal music, by contrast, which has been far less thoroughly explored, looked to Italy for its models, as his captivating 1701 setting of the Vespers reveals. In keeping with the practice of the time, this first recording of Fischer’s Vespers includes music from elsewhere in his output, as well as two sonatas by the Munich-based Johann Christoph Pez (1664–1716).
Exsultemus
Shannon Canavin, director
Newton Baroque
Andrew Madsen, director, organ
Listen To This Recording:
- Blumen-Strauss: Preludium VIII
- Domine ad adjuvandum
- Beatus vir
- Ariadne Musica: Praeludium et Fuga IV
- Confitebor
- Ariadne Musica: Praeludium et Fuga XVIII
- Credidi
- Ariadne Musica: Praeludium et Fuga VIII
- Nisi Dominus
- Ariadne Musica: Praeludium et Fuga III
- Lauda Jerusalem
- Ariadne Musica: Praeludium et Fuga XVII
- I Adagio
- II Allegro
- III Adagio
- IV Allegro
- V Adagio
- VI Gigue
- Magnificat
- I Adagio
- II Allegro
- III Adagio
- IV Vivace
- Lytaniae Lauretanae VII (1711): Salve Regina
Johann Christoph Pez
Sonata in G minor:
Johan C.F. Fischer
Johan Christoph Pez
Duplex Genius sive Gallo-Italus Instrumentorum Concetnus (1696): Sonata Quinta:
Johan C.F. Fischer
Fanfare Magazine :
‘Of the 16 Vespers psalms, Shannon Canavin has chosen five, which are in turn separated, not by antiphons, but in the custom of the time by preludes from Fischer’s Ariadne musica neo-organoedum. Between the final prelude and the Magnificat, Newton Baroque provides a sonata by Pez instead of the hymnus, and another between the Magnificat and a concluding Salve Regina from Fischer’s Lytaniae Lauretanae VII (that for intimacy and charm is almost worthy of its subject). In fact, Fischer’s entire contribution here has a smoothly Italianate feel, songful with transparent, usually two- and three-part counterpoint. … Both Fischer and Pez furnish attractive music, and the performances of both Exsultemus and Newton Baroque are generally worthy of their material. In very good sound that never overwhelms the music with reverberance, this comes recommended.’
—Barry Brenesal, Fanfare Magazine, November/December 2016