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
Johann Christoph Pez Sonata in G minor: https://d3i77y9w5vf4up.cloudfront.net/TOCC0364/13.mp3
Johan C.F. Fischer https://d3i77y9w5vf4up.cloudfront.net/TOCC0364/19.mp3
Johan Christoph Pez Duplex Genius sive Gallo-Italus Instrumentorum Concetnus (1696): Sonata Quinta: https://d3i77y9w5vf4up.cloudfront.net/TOCC0364/20.mp3
Johan C.F. Fischer https://d3i77y9w5vf4up.cloudfront.net/TOCC0364/24.mp3
Catalogue No: TOCC0364EAN/UPC: 5060113443649Release Date: 01.05.2016Composer: Johan Christoph Pez, Johann Caspar Ferdinand Fischer Artists: Andrew Madsen, Exsultemus, Newton Baroque, Shannon Canavin
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Barry Brenesal :
‘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.’ —Fanfare, November/December 2016
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