Froberger's Fantasia No 1 on Ut Re Mi Fa Sol La also made prominent use of the Klais organ's most Baroque-sounding stops, occasionally sounding like a charming musical box.
In Buxtehude's Chorale Fantasia, Bux WV 210, a wonderfully inventive set of variations on Nun freut euch, lieben Christen g'mein, Lohmann's registration seemed to transport us back tonally to 17th century Lubeck, effectively exploring quiet nasal reeds and echo effects.
A wide variety of musical writers and critics considered the aesthetics of the cultivated landscape and the free fantasia to be analogous.
These parallels between a good fantasia and a well laid out English garden (garden art and the aesthetic of the picturesque being largely English in derivation) are striking and repeatedly noted by writers of the time.
Sudden connections between disparate elements are hallmarks of both kinds of inspiration and are likewise common to both improvisation and the fantasia genre (which is after all a kind of stylized improvisation).
As a Jacobean and Caroline expansion of the polyphonic fantasia for a consort of viols, the fantasy-suite was enlarged by John Coprario to include an almaine and a galliard, "either of which might be referred to simply as 'aire'" (Field, "Formality and Rhetoric," 2 00).
Only on two brief occasions do the editors offer any discussion of the musical style of all this music: in his introduction to the fantasia-suites for three viols, Dornenburg compares Hingeston's trios "favorably in number, style, and musical quality" to the Fantasia of Three Parts by his teacher Gibbons; and in both introductions to his editions, Charteris finds the style suggesting that the suites for two treble viols or violins were composed during the Commonwealth period, probably written for Oliver Cromwell and performed by violinists Mell and Hudson together with organist Hingeston and one of Cromwell's bass viol players.
Holman notes that Hingeston "probably came to write fantasia suites in Commonwealth London through his contacts with Mell and other former court musicians.
The six-part works are all free fantasias, while the five-part consorts include two fantasias, a virtuosic In Nomine, and eight variations on "Go from My Window.
Ashbee's edition of Jenkins's consorts includes twenty-seven fantasias and a pavan for treble, two basses, and organ, and twenty-one fantasias for two trebles and bass.
Musically, the fantasias for two basses and treble bear a strong resemblance to the fantasia-suites for violin, bass viol, and organ composed by John Coprario or by Jenkins himself, although without subsidiary dance movements.
The style of many of his four- and five-part fantasias suggest an origin in either motets or organ voluntaries.
Thirty-five of the works are fantasias in a rather conservative vein.
The Arte contains over five hundred music examples, some being complete compositions that have entered the modern organ repertory in editions by Pierre Froidebise (CEuvres transcrites de l'Arte de taner fantasia, Orgue et liturgie, 49 [Paris: Editions musicales de la Schola Cantorum, 1961]), Jose and Lupe de Azpiazu (Veinticinco fantasias des Arte de taner fantasia [por] Tomas de Santa Maria [Madrid: Union musical espanola, 1965]) and Filipe Pedrell (Hispaniae schola musica sacra [Barcelona, 1897; New York: Johnson Reprint; 1971]).
The Arte de taner fantasia is available in facsimile editions published by Gregg (Farnborough, 1972), Minkoff (Geneva, 1973), and El Arte Tripharia (Madrid, ca.