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Stylus Phantasticus - Maxine Eilander (baroque harp); Pacific MusicWorks Orchestra; Stephen Stubbs (baroque guitar);...
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  1. Sonata detta la Desperata, for violin & continuo (Book 5)
  2. Toccata a modo di trombetta a 4
  3. Sonata Seconda detta "La Luciminia contenta", for violin & continuo, Op. 4/2
  4. Folìa, for ensemble (after the anonymous "L'ausençia, cançion sobre las folias")
  5. Sonata for violin & continuo ("La Castella"), Op. 3/4
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  1. Sonata detta la Desperata, for violin & continuo (Book 5)
  2. Toccata a modo di trombetta a 4
  3. Sonata Seconda detta "La Luciminia contenta", for violin & continuo, Op. 4/2
  4. Folìa, for ensemble (after the anonymous "L'ausençia, cançion sobre las folias")
  5. Sonata for violin & continuo ("La Castella"), Op. 3/4
  6. Sonata seconda a violino solo
  7. Sonata for violin & continuo No. 1 in A major (Sonatae Violino Solo No. 1), C. 138
  8. Serenata in Mascara, for strings: Ciaconna
  9. Sonata for violin & continuo No. 1 in D minor
  10. Sonate unarum fidium seu, sonatas (6) for violin & continuo
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The term stylus phantasticus , or fantastic style, was originated, like so much else, by the polymath Athanasius Kircher, who described it as "the most free and unrestrained method of composing, it is bound to nothing, neither to any words nor to a melodic subject." The style originated in Italy when composers of works for non-keyboard instruments began to emulate the improvisatory style of organ toccatas and the like. It was brought over the Alps to German lands by Johann Jakob Froberger. He is not represented on this ...

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Stylus Phantasticus 2021, Reference Recordings

UPC: 030911174224

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