18-407: Fantaisie may refer to: Fantasia (musical form) Fantaisie , Op. 79 for flute and piano (1898) by Gabriel Fauré Fantaisie , Op. 111 for piano and orchestra (1918) by Gabriel Fauré See also [ edit ] All pages with titles beginning with Fantaisie All pages with titles containing Fantaisie Topics referred to by
36-593: A Theme by Thomas Tallis and Fantasia on Greensleves , and Corigliano's Fantasia on an ostinato . Walter Willson Cobbett , in the opening decades of the 20th century, attempted to revive the fantasia style via a competition, to which works like the Phantasie trios and quartets by William Hurlstone , Armstrong Gibbs , John Ireland , Herbert Howells and Frank Bridge owe their existence, as does Benjamin Britten 's Phantasy in F minor for string quintet written in 1932,
54-646: A nuisance on it. He died in March 1628 and was buried at St Alfege Church on the 11th of that month, in his home village of Greenwich. In January 1612 Ferrabosco the younger married Ellen (died 1638) (daughter of Nicholas Lanier (c. 1523–1612) and his second wife Lucretia). they had three notable sons: Alfonso Ferrabosco (died 1652), Henry Ferrabosco (died c. 1658), and John Ferrabosco (baptised 1626, died 1682) all of whom were musicians. Two of his daughters are known to have married musicians: Elizabeth married George Bunckley, and Catherine married Edward Coleman. Coleman
72-414: Is different from Wikidata All article disambiguation pages All disambiguation pages Fantasia (musical form) A fantasia ( Italian: [fantaˈziːa] ; also English : fantasy , fancy , fantazy , phantasy , German : Fantasie , Phantasie , French : fantaisie ) is a musical composition with roots in improvisation . The fantasia, like the impromptu , seldom follows
90-704: Is the fantasia cromatica (a specific form called " chromatic fantasia "), which in many ways forms a link between the Renaissance and the Baroque . According to the Oxford Dictionary of Music , in the 16th century the instrumental fantasia was a strict imitation of the vocal motet . Polyphonic solo fantasias were widely composed for the Lute & early keyboards. Composers such as William Byrd & Orlando Gibbons wrote many surviving keyboard fantasias, while also expanding
108-496: The Baroque period with works ranging from J. S. Bach 's Chromatic Fantasia and Fugue , BWV 903, for harpsichord ; Great Fantasia and Fugue in G minor , BWV 542, for organ ; and Fantasia and Fugue in C minor, BWV 537 , for organ are examples. Georg Philipp Telemann published Twelve Fantasias for Solo Flute in 1733, and Twelve Fantasias for Solo Violin and Twelve Fantasias for Viola da Gamba solo in 1735. Examples from
126-651: The Classical period are Mozart 's Fantasia in D minor , K. 397 for fortepiano and his Fantasia in C minor , K. 475. Ludwig van Beethoven 's 13th and 14th (the famous "Moonlight") Piano Sonatas are both headed with "Sonata quasi una fantasia". Franz Schubert composed the Fantasie in C major nicknamed the Wanderer Fantasy for solo piano and the Fantasia in F minor for piano four hands. Three works by Chopin belong in
144-452: The genre with outstanding examples for recorders & viols . In addition to Byrd & Gibbons, composers John Coprario , Alfonso Ferrabosco , Thomas Lupo , John Ward , and William White continued to expand the genre for viol consort while examples by William Lawes , John Jenkins , William Cranford , Matthew Locke , and Henry Purcell are regarded as highly exceptional from the late 17th-century. The form expanded in scope during
162-736: The genre: The Fantaisie in F minor, Op. 49 , the Polonaise-Fantaisie in A ♭ major, Op. 61 , and the Fantaisie-Impromptu in C ♯ minor, Op. posth. 66. The fantasia occupies a central place in Schumann's oeuvre: The great Fantasie in C, Op. 17 , and the fantasy pieces Op. 12, 73 and 111. Later examples of fantasias include Anton Bruckner's Fantasia in G major WAB 118 and the Four Fantasias WAB 215, Busoni's Fantasia contrappuntistica , Vaughan Williams ' Fantasia on
180-523: The line between the Renaissance and Baroque eras. Ferrabosco was born at Greenwich , the illegitimate son of the Italian composer Alfonso Ferrabosco the elder . His mother might have been Susanna Symons, whom Alfonso the elder later married. Ferrabosco the younger was left under the guardianship of Gomer van Awsterwyke, a member of Queen Elizabeth I 's court . Although Alfonso the elder asked for Alfonso
198-433: The new declamatory Baroque style, and although he never went to Italy, he was well aware of contemporary Italian music. Ferrabosco the younger's reputation was built largely on his prowess as a viol player, and even more so his compositions for viol consort . These were highly idiomatic works, with many divisions, and virtuosic lines. He also wrote many In Nomines , which were great examples of that popular genre, without
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#1732852129093216-474: The pedantic bent many later In nomines possessed. Ferrabosco was also one of the first to write lyra viol music in tablature, along with Coprario , and wrote a book of Lessons for the lyra viol. Ferrabosco continually had difficulty with debts, and was involved in an unsuccessful scheme involving various rights on the River Thames , including dredging it for gravel, and imposing fines on people who caused
234-415: The same term [REDACTED] This disambiguation page lists articles associated with the title Fantaisie . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Fantaisie&oldid=1241275608 " Category : Disambiguation pages Hidden categories: Short description
252-445: The sense of "the play of imaginative invention", particularly in lute or vihuela composers such as Francesco Canova da Milano and Luis de Milán . Its form and style consequently ranges from the freely improvisatory to the strictly contrapuntal, and also encompasses more or less standard sectional forms. One of the most important composers in the development of the fantasia was Jan Pieterszoon Sweelinck . His greatest work in this style
270-461: The textbook rules of any strict musical form . The term was first applied to music during the 16th century, at first to refer to the imaginative musical " idea " rather than to a particular compositional genre. Its earliest use as a title was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France. From the outset, the fantasia had
288-401: The year in which he also composed a Phantasy Quartet for oboe and strings. According to the musicologist Donald Francis Tovey , "the term 'fantasia' would adequately cover all post-classical forms of concerto". Alfonso Ferrabosco the younger Alfonso Ferrabosco the younger (c. 1575 – March 1628) was an English composer and viol player of Italian descent. He straddles
306-701: The younger to be sent to him in Italy, where he had moved with his wife, the Queen insisted that he stay in England. Ferrabosco remained in Gomer van Awsterwyke's care until Awsterwyke's death in 1592. At this time he started a long career as a court musician. After the Union of the Crowns he became the private music tutor of Prince Henry and a groom of privy chamber, with a salary of £50. Ferrabosco
324-587: Was paid for "making the songs" for Anne of Denmark's masque, The Vision of the Twelve Goddesses , performed in January 1604. Ferrabosco collaborated with Ben Jonson on several projects, including The Masque of Blackness (1605), and wrote music for several other masques besides. His music was published by John Browne in 1609, including a number of settings of poems by John Donne and Thomas Campion , as well as lute and viol music. He frequently wrote in
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