Go straight to the mass and you’ll immediately get to the best music on this intriguing, often compelling program. Interestingly, the standard dictionary/encyclopedia sources barely mention (if at all) that Bohemian-born composer Johann Caspar Ferdinand Fischer (1656-1746) wrote church music–he’s known today only for his instrumental works. However, the highly-treasured archives of Prague’s Knights of the Cross (“the sole monastic order of Bohemian origin”) apparently contain many such works, and several, written for the order’s principal feasts–ably performed by a quartet of soloists, Boni Pueri (Czech Boys’ Choir), and the period-instrument ensemble Musica Florea–are featured on this CD. Fischer was a highly accomplished composer who commanded a thorough mastery of vocal and orchestral styles, whether Italian, French, or German. Yes, his writing isn’t especially unique or innovative, but when you hear the bold rhythms–dispensed in firmly drawn dramatic strokes–as well as the catchy melodies and explosive contrapuntal sections, you have to appreciate Fischer as one of the more polished and confident composers of his era.
In the mass he affords the often cumbersome (and boring) Credo plenty of interest with alternating roles for the soloists and chorus, and he’s particularly adept at creating exciting interactive sequences among chorus, soloists, and orchestra. The Bach-like bass aria at the beginning of the Benedictus (its delicately ornamented melodic figure accented by light continuo and a sweetly singing violin), is taken over by another exciting soloist/chorus dialogue at the Osanna. A solemn, rich-textured Agnus Dei concludes with a surprising, dancing, up-tempo Dona nobis pacem. The Gloria is an exciting piece of work, highlighted by strongly punctuated declamations by the chorus and soprano soloist at the beginning and concluding with a furious fugal choral section.
The other pieces on the disc are competently composed and well-performed examples of Fischer’s liturgical style, but they don’t have the dramatic impact or intrinsic musical interest displayed by the mass. Also, the varied quality of the solo singing–an often piercing soprano, a decidedly un-mellow countertenor, and a bass who can’t reach all the lowest notes–makes listening an on-again, off-again pleasure. As for the sound, it’s certainly full-bodied and detailed but it’s hampered by weird balances that feature blastingly up-close solo voices and instruments and orchestral sections that come and go in the mix. If you keep the volume relatively low, you’ll have a better time than if you like to play things on the loud side. Sonic aberrations aside, this is definitely worth a listen by anyone who enjoys European baroque church music–primarily for the experience of world-premiere performances of music by an unfairly neglected contemporary of Bach.
