Fisher, John Abraham: Symphony No. 4 in B flat major (AE284)

Fisher, John Abraham (1744-1806)

The present edition of Fisher's six published symphonies is based upon their only surviving source the set of separate parts published by Longman, Lukey & Co., in London, in July 1772. The title page of each set of parts reads as follows: Six / Simphonys / in Eight Parts, / For Violins, Hoboys, Horns, / Tenor and Bass / most humbly Dedicated to his Grace the / Duke of Montagu; / By / A. Fisher. It is possible that the publisher requested six such works to make appropriate companion pieces for his publication of six symphonies each by Schwindle, [J.C.] Bach and Esser. Few sets of these parts appear to have survived, with complete sets found only in the libraries of the Royal College of Music in London, and Princeton University in New Jersey. The present edition was made from those in the Royal College of Music, whose assistance in providing the microfilm of the parts usedfor this edition is gratefully acknowledged. Considerable care appears to have gone into the engraving of the original parts with the result that they are clear and easily read. There is, of course, the usual rash of minor printing errors typical of published music of the period; these include incorrect pitches, rhythmic inconsistencies and misplaced dynamic markings. Throughout, the parts make use of the standard Italian designations for dynamic levels. The treatment of the appoggiature is occasionally inconsistent in the parts; their values are indicated in the present edition. The basson part is editorial, except in the places where a bassoon solo is indicated or these instruments play parts separate from the general. Similarly, there is no mention of double basses in the published parts, although Fisher is known to have written for them in other works. The bass line is figured and, in addition to figured bass indications, the following terms are found: 'chords","Tasto","8o', and 'octaves'. Nowhere does Fisher indicate his meaning for these terms, nor when they are to be cancelled. The use of the word 'chords' can be found in other printed music of the period, such as in Arne's Six Cantatas for a Voice and Instruments [1755]. Arne's indications, however, are clarified by the use of the term 'no chords' to negate the usual function of the keyboard player. Fisher's use of '8o' and 'octaves' would appear to indicate that they were synonymous. The fact that the part is not figured at every instance where these terms appear invites the interpretation that Fisher wanted a unison/octave treatment of the keyboard part, and that the reappearance of basso continuo figuring was the cancellation of this direction. Paul Rice