Born
in Bohemia in 1656 Fischer’s early musical educative experiences
seem to have been lost. He was at the Piarist College in Schlackenwerth
and clearly travelled. But our next substantive detail is that
by 1690 he was court conductor at Sachsen-Lauenburg. The complexities
of the marriages, regencies and instabilities of late seventeenth
century nobility are briefly alluded to in the notes but what
matters, as far as Fischer is concerned, is that the bulk of
his printed compositions date from the years 1690-1715.
Life
as the Kapellmeister of the Margrave of Baden entailed its usual
quota of ecclesiastical commissions but he also wrote numerous
works for harpsichord between 1696 and 1698. From the sound of
them they appear to be based variously on French models or generic
dance pieces called Blumen-Büschlein, or Musical Posies.
The
sacred works presented by Carus are all heard in their first
ever recordings. Concertus de Santa Cruce, provisionally
dated to c.1701, is an offertory piece but has a celebratory,
cantata-like feel. The soloists here, as elsewhere, are all drawn
from the choir and they make for a most well-balanced and adroit
ensemble, with a practised blend. By far the longest of the four
movements is the O beatissima, which opens with a long
tenor part. This is the heart of Fischer’s inspiration, as he
rolls out pliant and slowly moving expressive lines – modest
but highly effective.
Intended
for Sunday services and for Advent the Missa Sancti Dominici is
written for four solo singers (and ripieni) two violins and a
basso continuo. The forces may be small but there’s no diminution
in Fischer’s skill in handling what is essential conventional
material. It’s the Sanctus that sees the greatest reserves
of buoyancy and elation and the richest sound. He also wrote
eight Litanies of which the sixth -Lytaniae Lauretanae VI – Honori
Visitationis B.V. Mariae – was written for the Visitation
of Mary, held on 2 July. Brief though it is – it lasts seven
minutes – it’s distinguished by the celebratory use of trumpets,
long associated with the symbolism of the Heir to the Throne.
Another smaller scale work is the Antiphona III Regina coeli
laetare, probably written in 1711 and once more crafted with
skill and care.
Vesperae seu Palsmi Vespertini pro toto Anno is an especially
engaging affair very well laid out for the forces involved – choir,
soloists, strings and bass continuo. Of the six compact movements
the one that most
immediately impresses is the Laudate Dominum, which
reveals Fischer’s flair in layering of attacks and his discretion
in not making officious demands of his choral forces. They’re
not without certain difficulties but not ones that could rank
as unwelcome or unsympathetic.
The performers and
direction are equally attractive; small in scale but not neglectful
of pitch or tonal blend. The small accompanying group plays with
convincing musicality. On this showing Fischer was a resourceful
and attractive composer – no innovator but no stick-in-the-mud
Kapellmeister either.
Jonathan Woolf
Rastatter Hofkapelle/Jürgen Ochs 
