In the 1930s he invented a new polytonal technical he termed "biplanal."[1] His compositions showed a wide variety of techniques and styles,[1] often showing a mixture of French and German influences.[5]
His works were received "entirely enthusiastic" critic reviews, which described him as "modernistic, but not cacophony." His compositions received less attention following World War II (causing him to turn to conducting and work as an organist, radio, and recording artist), but received renewed serious study in universities beginning in the 1980s.[5] His works were favorable reviewed by notable critics such as the Chicago Tribune's "fearsome" Claudia Cassidy.[9]
Fischer's papers can be found in the archive collections of The Newberry in Chicago.
Personal life
Fischer was married with two children at the time of his death.[3] He frequently volunteered his professional skills as a conductor, composer, and organist to local charities.[9] For example, he composed one of his works "Orchestral Adventures of a Little Tune" for the CSO's 1974–75 Petites Promenades Concert Series for Young People,[12][13][9] conducted by Henry Mazer.[14]
Selected publications
Roberts, Stella and Fischer, Irwin (1967), "Handbook of Modal Counterpoint". Free Press; 1st edition, 160 pages. ISBN0029265606.[11]