Johann Caspar Ferdinand Fischer: Vesperae, Op. 3

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

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Catalogue No: TOCC0364
EAN/UPC: 5060113443649
Release Date: 01.05.2016
Composer: Johan Christoph Pez, Johann Caspar Ferdinand Fischer
Artists: Andrew Madsen, Exsultemus, Newton Baroque, Shannon Canavin

Listen To This Recording:

  1. Blumen-Strauss: Preludium VIII
  2. Domine ad adjuvandum
  3. Beatus vir
  4. Ariadne Musica: Praeludium et Fuga IV
  5. Confitebor
  6. Ariadne Musica: Praeludium et Fuga XVIII
  7. Credidi
  8. Ariadne Musica: Praeludium et Fuga VIII
  9. Nisi Dominus
  10. Ariadne Musica: Praeludium et Fuga III
  11. Lauda Jerusalem
  12. Ariadne Musica: Praeludium et Fuga XVII
  13. Johann Christoph Pez
    Sonata in G minor:

  14. I Adagio
  15. II Allegro
  16. III Adagio
  17. IV Allegro
  18. V Adagio
  19. VI Gigue
  20. Johan C.F. Fischer

  21. Magnificat
  22. Johan Christoph Pez
    Duplex Genius sive Gallo-Italus Instrumentorum Concetnus (1696): Sonata Quinta:

  23. I Adagio
  24. II Allegro
  25. III Adagio
  26. IV Vivace
  27. Johan C.F. Fischer

  28. Lytaniae Lauretanae VII (1711): Salve Regina

1 review for Johann Caspar Ferdinand Fischer: Vesperae, Op. 3

  1. :

    ‘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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