Fantasia 17 (Meyer no. 18)
The first of four pieces with the Alto part at same range as Soprano. Series begins again with
F Lydian. Begins simply, with numerous motives in diatonic harmonies and balanced
antecedent/consequent phrases and sections. Builds tension by rhythmic divisions, stretti,
and (esp. m.15-17 and 40-1) faster harmonic motion—a subtle blend of old ficta
and new chromaticism to raise the work out of the ordinary points-of-imitation conventions.
Thematic augmentations, diminutions, and recalls occur, esp. in codas with inverted pedals.
Augmented Bass motives 2b (m.43) and 2a (m.45) finally bear strong
relation to first motive 1. Throughout, masterful tight unification.
View the complete analysis here *.
Listen to examples† of the motives:
| Motives 1a,b,c,d: |  | mp3 | wav | Real Audio | wma |
| Motive 2a: |  | mp3 | wav | Real Audio | wma |
| Motive 2b: |  | mp3 | wav | Real Audio | wma |
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†Sound clips are from "Alfonso Ferrabosco II: Four-Part Fantasias". CD Recording, Viola da Gamba Society -- New England, 25th Anniversary Project, Sarah Mead, Producer (2002). Reproduced by permission.
†Sound clips are from "Alfonso Ferrabosco II: Four-Part Fantasias". CD Recording, Viola da Gamba Society -- New England, 25th Anniversary Project, Sarah Mead, Producer (2002). Reproduced by permission.