Synopsis
The concept of stylus phantasticus (or 'fantastic style') as it was expressed in free keyboard music of the north German Baroque forms the focus of this book. Exploring both the theoretical background to the style and its application by composers and performers, Paul Collins surveys the development of Athanasius Kircher's original concept and its influence on music theorists such as Brossard, Janovka, Mattheson, and Walther. Turning specifically to fantasist composers of keyboard works, the book examines the keyboard toccatas of Merulo, Fresobaldi, Rossi and Froberger and their influence on north German organists Tunder, Weckmann, Reincken, Buxtehude, Bruhns, Lubeck, Bohm, and Leyding. The free keyboard music of this distinguished group highlights the intriguing relationship at this time between composition and performance, the concept of fantasy, and the understanding of originality and individuality in seventeenth-century culture.

First Sentence
Throughout the seventeenth and eighteenth centuries, musicians became increasingly conscious of the labyrinthine nature of musical style, a consciousness reflected in the ever-greater complexity of theorists' treatment of the concept during the period. Read the first page Browse Sample Pages
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover

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Baroque music (c 1600 to c 1750)
Keyboard instruments
Germany
17th century
History and criticism
Instruction & Study - Theory
Keyboard instrument music
Music
Musical Instruments - Piano
Philosophy and aesthetics
Style, Musical


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