Bobbi Fischer
5 Questions for the Composer
Bobbi Fischer’s compositions are an essential part of the Carus catalog of crossover music. His Te Deum, which infuses classical music with jazz elements and Latin American rhythms, will be released shortly. The Missa latina, borrowing from both the European and South American musical traditions, and his Magnificat, which is musically rooted in the Caribbean-Cuban region, are ever popular works. Bobbi Fischer is one of the most important arrangers for Carus – as can easily be seen from the many great settings he has written for different Carus choral collections.
What was your very first composition?
That’s quite a while ago. As a child, I played the piano practically non-stop – probably to the great annoyance of my family. So my first pieces were certainly for the piano.
Which other composers inspire you?
So many! The list is long. For the Te Deum, I naturally looked at versions by other composers: Anton Bruckner, for example, who starts in unison. I borrowed this idea and brought in some Afro-Cuban rhythms. Then I also found Gregorian settings. These ancient one-part melodies are heard against the “modern” background of the choir. Antônio Carlos Jobim, the creator of fantastic bossa novas, is also one of my favorites – especially when I think about harmony. You can maybe hear this in “Tu rex gloriae” – disguised, however, as an R&B ballad in 12/8 time. I could go on and on … But if I have to choose three composers to accompany me on a desert island, then: Johann Sebastian Bach, Antônio Carlos Jobim and Arvo Pärt.
Your most thrilling musical experience to date?
The world premieres of my first two oratorios, Missa latina and Magnificat, with the international C.H.O.I.R. Festival Choir.
Where do you like to compose?
Both Missa latina and Magnificat were largely composed at the Landesakademie Ochsenhausen, where I had the opportunity to stay for a few days several times. It helps me to go somewhere to compose in order to “immerse myself”. At home there is a lot of distraction from everyday life. Of course, I know that this is a great luxury that is not always available. The Te Deum was also composed from home.
What are you currently working on?
At the moment nothing for large ensembles. I’m currently working on stuff for my own ensembles and writing songs for Berta Epple and Ines Martinez or composing pieces for my jazz trio.
When not composing or making music, I like to …
read, swim or cycle. Otherwise: breathe in, breathe out ;-)
Te Deum
An exciting combination of classical choral music with elements of jazz and Latin American music. By Bobbi Fischer
Carus 27.188/00
Missa Latina & Magnificat
Recording of South American inspired compositions by Bobbi Fischer
Carus 83.483/00
Missa latina
The Missa latina is a complete setting of the Latin Mass for solo soprano, large mixed choir (SATB divisi as well as soloists from the choir) and a band consisting of violin, bandoneon (accordion), piano, double bass, drums and percussion. The word "latina" not only refers to the Latin text, but also to the musical style which makes use of Latin-American rhythms. Thus elements from Argentinian tangos stand side by side with Caribbean rhythms and Latin jazz with enough space provided for instrumental improvisations.
Magnificat
With this work composer Bobbi Fischer has created a musical bridge between Europe and South America as well as stylistic links to his Missa latina (Carus 28.007). The rhythm group (piano, bass, drums, and percussion) is identical; new instrumental colors from the "Latin world" are added with two obbligato violins and one reedplayer (alto saxophone/flute) – in the place of the bandoneon and violin used in the Missa latina.Te Deum
After Missa Latina and Magnificat, Te Deum is now the third major composition by musician and composer Karl Albrecht “Bobbi” Fischer published by Carus. Fischer’s musical roots lie in classical music, which he combines with jazz elements and Latin American rhythms.
All three styles appear in the Te Deum. In keeping with the proclamation “Te Deum laudamus” (We praise thee, O God), the work begins with the festive (Cuban) energy, propelled by timpani and trumpet. But the score also features elements of swing and rhythm & blues, frenetic choral outbursts of joy, as well as moments of mystic contemplation. Moreover, the instrumentalists are given ample opportunity for improvised solos.
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