JCF Fischer - Uranie by Elisabeth Joyé ECL1402E

Discover our port-folio dedicated to harpsichord solo thanks to the Pack of 3 harpsichord CD and the the Pack of 4 harpsichord CD.

Product details :

Composer : Johan Caspar Ferdinand Fischer
Artists : Elisabeth Joyé, harpsichord and organ
Program : Musicaliches Parnassus ; Uranie, Meloponeme, Clio (exceprt), Euterpe (exceprt)  / Musicaliches Blumen-Büchlein : Praeludium 8 and chaconne, Praeludium 5, Aria and eight variations, Praeludium 10 and fuga / An den liebhaber der Edlen Music : Praeludium1, 6 Fugues  and Finale / Ariadne Musica : Praeludium et Fugue 1, 3, 13 and 15 / Ricercaras Super totidem Sacrorum

Press round-up :

"Elisabeth Joyé is a fine player and under her hands we get fully idiomatic interpretations of both harpsichord and organ works." Johan van Veen MusicWeb

"'(Elisabeth Joyé) manages the contrast between the stricter and more improvised forms very well and proves an excellent advocate for Fischer’s music." Noel O'Regan Early Music Review 

"Un disco prezioso per scopire un musicista dimenticato" Ferruccio Nuzzo Grey Panthers

"Nuestra sección de discografía de música clásica recomendable os presenta hoy un disco excepcional." Clasica2

Overview :

In the mid 18th century, Quantz traced the origins of the Germanic style back to the country’s composers’ talent for combining foreign musical styles. Fischer’s works for keyboard, combining as they do French-style galanteries and dances, Italian influenced toccatas and passacaglias and German contrapuntal science, are an excellent example of this “mixed style”.

We know little about the life of Johann Caspar Ferdinand Fischer (1656-1746) other than that he came from a family of craftsmen from Schönfeld in Bohemia and received his earliest musical training at the Piarist grammar school. In around 1689, he was appointed Kapellmeister of the court of Saxe-Lauenburg, in Schlackenwerth, entered the service of the Margrave of Baden in around 1690 and then, in 1715, he arrived at the latter’s royal residence of Rastatt, inspired by the Château of Versailles, where the glittering musical life led him to compose many religious and profane works. He was to remain Kapellmeister there until his death in 1746. In addition to the four collections of music for keyboard from which the pieces in this programme are taken, Fischer left behind a cycle of eight orchestral suites printed under the title Le Journal du Printemps in 1695, along with various pieces of religious music (masses, vespers, litanies, etc.). On the other hand, both his dramatic works (operas, court festivities, school dramas) and the majority of the religious works he composed for the Rastatt court are lost.

The programme for this recording offers a sample of the enormous variety of Fischer’s work for keyboard, drawing on the four collections published over the course of his career: Musicalischer Parnassus, Musicalisches Blumen-Büschlein, Ariadne Musica and Blumen Strauss.