Johann Caspar Ferdinand Fischer

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, baptised = ( cs, }), Royal Bohemia, Austria
, death_date =
, death_place = Rastatt, Margravial Baden
, occupations = organist, composer,
, flourished =
, era = Baroque
, known_for = bringing many French elements through Jean-Baptiste Lully (his instructor) into music
, list_of_works =
, spouse =
, partner =
, children =
, parents =
, notable_family =

Johann Caspar Ferdinand Fischer (some authorities use the spelling Johann Kaspar Ferdinand Fischer) (1656 August 27, 1746) was a German Baroque composer. Johann Nikolaus Forkel ranked Fischer as one of the best composers for keyboard of his day; however, partly due to the rarity of surviving copies of his music, his music is rarely heard today.

Life

Fischer seems to have been of Bohemian origin, possibly born at Schönfeld, but details about his life are sketchy. Fischer was baptized and spent his youth in Schlackenwerth, north-west Bohemia.

The first record of his existence is found in the mid-1690s: by 1695 he was Kapellmeister to Ludwig Wilhelm of Baden, and he may have remained with the court until his death in Rastatt.

Works

Much of Fischer's music shows the influence of the French Baroque style, exemplified by Jean Baptiste Lully, and he was responsible for bringing the French influence to German music. Fischer's harpsichord suites updated the standard Froberger model ( Allemande - Courante - Sarabande - Gigue); he was also one of the first composers to apply the principles of the orchestral suite to the harpsichord, replacing the standard French ouverture with an unmeasured prelude. Both Bach and Handel knew Fischer's work and sometimes borrowed from it.

Many compositions by Fischer were published during his lifetime. These published pieces include:
* ''Le journal du printemps'' (1695), a collection of eight orchestral suites (''ouvertures'') for strings (the first and last with two trumpets ad libitum, that is, optional.) Each suite begins with an introductory ouverture and ends with a chaconne or a passacaglia. ''Le Journal du printemps'', Georg Muffat's ''Florilegium'' and Benedikt Anton Aufschnaiter's ''Concors Discordia'' (all published the same year) were the first collections of orchestral suites published in Germany.
* ''Pièces de Clavessin'' (1696), several harpsichord suites. The suites explore different styles and genres: for instance, the 5th one consists of an aria and nine variations, and the 8th only includes a prelude and a chaconne. This collection was later expanded by Fischer and the new version was published in 1698 under the title ''Musicalisches Blumen-Büchlein''.
* ''Vesperae seu Psalmi vespertini'' (1701), a collection of sacred music.
* ''Ariadne musica'' (also known as ''Ariadne musica Neo-organoedum'', 1702). This is a collection of pipe organ pieces (most written for manuals only or have optional pedal) in two parts:
** The first part contains twenty preludes and fugues in nineteen different keys and one in the Phrygian mode based on E. It is considered a significant precursor to Johann Sebastian Bach's ''The Well-Tempered Clavier''. Bach held Fischer's work in high regard.
** The second part contains five ricercars based on chorale melodies.
* ''Lytaniae Lauretanae VII'' (1711), a collection of sacred music.
* ''Blumen-Strauss'' (before 1736), a collection of organ pieces.
* ''Musikalischer Parnassus'' (''Musical Parnassus'', c. 1738), nine dance suites for harpsichord, each named after one of the Muses. The suites represent a fusion of German and French styles, updating the old Froberger model by inserting many additional movements, making use of the latest dance forms of the time and using new ideas such as double minuets and double rigaudons. As a result, some of the suites include as many as nine parts and are quite long. The longest movement of all in the ''Musikalischer Parnassus'' and the longest movement by Fischer still extant is the Passacaglia from the ''Uranie'' suite, which some experts believe may recount the tragedy of Orpheus and Eurydice. This movement is probably Fischer's best-known piece, and has been recorded by William Christie, Trevor Pinnock, and by other harpsichordists.

Evidence exists of numerous lost works, among them an opera in Italian style, miscellaneous chamber works, court music and keyboard pieces.

References

Sources

* by Johann Nikolaus Forkel, translated by Charles Sanford Terry. New York: Harcourt, Brace and Howe. 1920 (e-version: 2011).
* Walter, Rudolf. ''Johann Caspar Ferdinand Fischer, Hofkapellmeister der Markgrafen von Baden (Quellen und Studien zur Musikgeschichte von der Antike bis in die Gegenwart)'', Frankfurt am Main: Peter Lang (1990)

External links

; About the composer and his music

Johann Caspar Ferdinand Fischer im Verlag Dohr
Extensive biography and miscellaneous details about keyboard compositions

Review of "L'Œuvre pour orgue (Intégrale)" at abeillemusique.com
Includes a large essay about Fischer's life and organ works

; Scores
*

Free scores
at the Mutopia Project

{{DEFAULTSORT:Fischer, Johann Caspar Ferdinand
1656 births
1746 deaths
18th-century German composers
18th-century classical composers
18th-century keyboardists
18th-century Bohemian musicians
18th-century German male musicians
Composers for pipe organ
German Baroque composers
German classical composers
German male classical composers
German classical organists
German male organists
German Bohemian people
Czech classical organists
Organists and composers in the South German tradition
People from the Kingdom of Bohemia
People from Krásno (Sokolov District)
Male classical organists