The stylus fantasticus (or stylus phantasticus ) is a style of early baroque music , especially for the instrumental music.
10-802: Kneller is a surname. Notable people with the surname include: Andreas Kneller (1649–1724), German composer Arthur Kneller (1894–1969), English cricketer Clive Kneller , actor in Enlightenment Sir Godfrey Kneller (1646–1723), German-born English portrait painter, brother of Andreas John Kneller (1916-2009), English-American professor and fifth President of Brooklyn College Scott Kneller (born 1989), Australian freestyle skier See also [ edit ] Kneller Hall , stately home in Twickenham, named after Sir Godfrey [REDACTED] Surname list This page lists people with
20-583: A musician, and often acted as an examiner of organs and organists. He was part of the group that examined the candidates for organist at the Jacobikirche, Hamburg, in 1720, which included J.S. Bach (though he did not appear for an audition, he was still chosen for the post but had to decline). His surviving compositions consist of a few works for organ, typical of the North German baroque toccata form: free passages alternating with fugal sections; this style
30-683: A true baroque polymath, Athanasius Kircher describes the stylus fantasticus in his book, Musurgia Universalis : The style is related to improvisation but is characterised by the use of short contrasting episodes and a free form, just like a classical fantasia . Johann Mattheson , who was a German composer and theorist in the 17th century, presented his idea about the definition that Athanasius Kircher in his book, "Das beschutzte Orchestre" (1717), cited in Paul Collin's writing: Later in Mattheson's Der vollkommene Capellmeister (1739), he stated that
40-802: Is believed to be the only known work by a different composer by the name of Anton Kniller. Stylus phantasticus The root of this music is organ toccatas and fantasias , particularly derived from those of Claudio Merulo (1533–1604), organist at St Mark's Basilica in Venice . A later practitioner in Rome was Girolamo Frescobaldi , and his German student Froberger took the style north with him. There were constant flows of Italian musicians north to Bavaria and Saxony, of German musicians south to Italy (such as Hans Leo Hassler and Heinrich Schütz ), and of musicians who had careers in both Austria and Italy (such as Sances and Turini). The author, scientist and inventor,
50-670: Is different from Wikidata All set index articles Andreas Kneller Andreas Kneller (variants: Kniller, Knöller, Knüller ) (23 April 1649 – 24 August 1724) was a German composer and organist of the North German school . Born in Lübeck , he was the younger brother of portrait painter Sir Godfrey Kneller . Nothing certain is known about his musical education, though he may have learnt from Franz Tunder (1614–1667), organist of St. Mary's Church, Lübeck , or his own uncle Matthias Weckmann (ca. 1616–1674), organist of St. Jacob's Church, Hamburg . In 1667, he became organist of
60-565: The Marktkirche in Hanover , succeeding Melchior Schildt (1592–1667). In 1685, he moved to Hamburg, where he became organist of the Petrikirche. It was there that he made the acquaintance of Johann Adam Reincken ; he went on to marry his daughter Margaretha Maria in 1686. Kneller's son-in-law Johann Jacob Hencke became his assistant in 1717, and succeeded in him in 1723. Kneller was well respected as
70-411: The surname Kneller . If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name (s) to the link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Kneller&oldid=1143621366 " Category : Surnames Hidden categories: Articles with short description Short description
80-431: The score, but imitate the singer more. Mattheson also use stylus fantasticus to describe free sections of Dietrich Buxtehude's preludes: "Now swift, now hesitating, now in one voice, now in many voices, now for a while behind the beat, without measure of sound, but not without the intent to please, to overtake and to astonish." In Austria, the style was practised by the famous formidable virtuoso Heinrich Ignaz Biber and
90-430: The stylus fantasticus is more of a performance style than a composition approach. He believes that playing this style should be like singing and playing at the same time, more improvised rather than just playing the notes on the score. As Frescobaldi mentioned in his book " Toccate e partite d’intavolatura di cimbalo " (Toccatas and Partits Scored for Harpsichord, Book 1, 1616), players should not play strictly according to
100-652: Was described as 'a free way of composition, not subject to any constraints' by Athanasius Kircher (1601-1680), and is thus a sort of stylus phantasticus . These are preludes and fugues in D minor, G major and F minor, originally written in tablature , at the church of Mylau , Saxony . They are published in an edition by K. Beckmann, Wiesbaden, 1987. He also wrote a partita with eight variations on Nun komm der Heiden Heiland (Come now, saviour of heathens) (2 var. published in K. Straube: Choralvorspiele alter Meister, Leipzig, 1907). Three other fragments of preludes also survive. An organ Te Deum attributed to 'A. Kniller'
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