[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki10\/2018\/11\/28\/fantasy-composition-form-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/all2en\/wiki10\/2018\/11\/28\/fantasy-composition-form-wikipedia\/","headline":"Fantasy (composition form) – Wikipedia","name":"Fantasy (composition form) – Wikipedia","description":"One Fantasies or imagination , also Greek-Latin Fantasy (from Greek phantasy “Thoughts, inventory, imagination” [first] ) is a piece of","datePublished":"2018-11-28","dateModified":"2018-11-28","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki10\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/all2en\/wiki10\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":100,"height":100},"url":"https:\/\/wiki.edu.vn\/all2en\/wiki10\/2018\/11\/28\/fantasy-composition-form-wikipedia\/","wordCount":2636,"articleBody":"One Fantasies or imagination , also Greek-Latin Fantasy (from Greek phantasy “Thoughts, inventory, imagination” [first] ) is a piece of music that has no fixed shape, such as the classic sonata. This unbound form emphasizes the emotional and expressive expression of the musical idea. Despite its written fixation, this idea should give the impression of spontaneity, and in the broader sense one can also speak of a noticeable improvisation. [2] The name Fantasia appears in music in the 16th century and is still used continuously. A comprehensive uniform musical structure is not recognizable. The Fantasia has been an instrumental piece since the late 18th century, especially for the keyboard instruments that have been developed in the course of the 19th century regarding its possible expression. The limits to pieces similar to impromptu or a rate of variation are fluid. The term “Fantasia” appears for the first time in the 16th century as the title of a musicworks and refers to the imaginative use of musical material than on a musical genre and at the time corresponded to the purely polyphonous Ricercar, which developed into a fugue in the 17th century . In Germany it was primarily organ music, but also polyphonic [3] or at least imitating elements contained in the sentence [4] Loud music from Spain (see Tiento), France and Italy (see also Italian “Canzona”). As a name for such pieces of music, the imagination first dipped in the tablature of the Vihuelist Luis Mil\u00e1n [5] (such as the four -part works Quarto tone fantasy and Fantasy of Consonances and Redobles From 1536 [6] In the collection Teacher With 40 pieces with the title Fantasy in different keys), Francesco da Milano, [7] Melchior of Barberis (1549) [8] Alonso Mudarra und Miguel de Fuenllana ( Orphenica lyra , 1554) [9] as well as guitar tabulatures (by Gregor Brayssing, Quart The Queen Le Tabulats de Guuiterre. Paris 1553) [ten] on. [11] In England, wo etwa Anthony Holborne, [twelfth] But also the composer and luteist John Dowland The fantasy composed for the loud (see also John Dowland #werk), for example in Robert Dowland’s work Variety of Lute Lesson occupied by 1610 [13] occupied around 1573 to 1680 the shape of the fancy (fantasy) in chamber music was cultivated. This music developed from the instrumental lecture by motets, which was remotely spun with or without singing voice. The purely instrumental fancy (virginal compositions) can be found in collections such as Fitzwilliam Virginal Book, including William Byrd. Pierre Phal\u00e8se gave fantasies in France Gardener of the cythara (1570) of anonymous authors. [14] The development in Italy with the fantasies of Girolamo Frescobaldi and the compositions of the Dutch Jan Pieterszoon Sweelinck around 1610 found a first highlight. A well -known fantasia of the baroque age comes from Silvius Leopold Weiss. Choral fantasies were also particularly popular in the baroque, the best known representative of which is Johann Sebastian Bach. These choral fantasies also occurred in the form of a prelude, for example as a prelude to Bach’s Leipzig Chorales ( Fantasia Great: Come, Holy Spirit, Herrre God ) or in front of different joints, or as Toccata. Bach also referred to his inventions and symphonies in an earlier edition Fantasy (in the piano booklet for Wilhelm Friedemann Bach). His son Carl Philipp Emanuel Bach describes in his Try to play the clavier about the true way from 1762 that the fantasy and thus also the imagination to play a keyboard instrument: \u201cWe have stated above that a clavier list, especially through fantasies that do not have to consist of memorized passages or stoned thoughts, but have to come from a good musical soul speaking, who Hurtig, which is surprising from one affect to the other, can exercise in front of the rest of the sound artists alone \u201d. [15] With this unbound style and the slope to affect, he puts sensitivity in the foreground. His imagination in FIS-Moll H.300 WQ.67 with the subtitle “Carl Philipp Emanuel Bach’s sensations” begins, i.e. H. With a fixed clock division, but this in the meantime is eliminated, so that there is no clock line in the note of the notes over a longer passage. In 1802 Heinrich Christoph Koch defined fantasies as music works in his \u201cmusical lexicon\u201d, which is characterized by the composer’s expressiveness: \u201cFantasy. This is how one calls the game of the tone artist that is expressed and thrown out by tones and thrown, as it were, or such a sound piece from the cliffener, bey which the player neither in the form nor the main tone, neither in terms of the same time dimension, nor In the festival of a certain character, binds, but soon in precisely related melodic sentences in precisely coherent melodic sentences, soon only in the chords that were subsequently subsequently and on some art. But you also give the name of imagination of real exposed clays, in which the composer neither in a certain form nor to a very precisely connected order of the sequence of mandates and many more Binds, and that, because the ideal brought by genius, contain a very often more stable and fitting features, which is not losing the slightest of its first liveliness due to the further processing to a strictly ordered whole, than a more steady and fitting features than a shape and other necessary properties of one Completed whole worked sound piece. Dabey behaves like with the drawings in the painter, where, also by the execution and completed representation of the painting, it is not uncommon for some finer features of the ideal still exist in the drawing. \u201d [16] As Koch, Gustav Schilling distinguishes freely in his \u201cTextbook of General Music Science\u201d from 1840 or improvised by the bound, i.e. H. In writing: \u201cIf that momentary idea receives that current imagination, in a fine activity, a more lyrical swing, so we also call the resulting sound work. However, a so -called freelance must be distinguished from the bound or written imagination here. \u201d [17] Schilling gives the following information about the line -up: \u201cSuch bound (written) fantasies, just like the improvised free, are usually intended for one instrument, with or without accompaniment, and depending on their internal and external nature, also suitable for concert pieces; But you have probably already tried to compose such sound pieces for an entire orchestra, in polyphonic form, so far more fitting the symphonies in their place and could not be replaced by a few happy attempts. \u201d [18] In the time of the classic there are examples of fantasies at Mozart, Schubert, Schumann. Beethoven called the so -called moonlight sonata “Sonata Quasi una Fantasia” in 1801. She is dedicated to Julie Guicciardi, in which Beethoven was in love and from whom he dreamed of getting married. [19] Here the Fantasia title also refers to the expressiveness of feelings and a fantastic idea. This idea can be found more often in the time of romance. Another kind of imagination is becoming more important in the form of paraphrases, for example from Liszt or Thalberg in the 19th century. They served in times when music was not yet technically reproducible, but was often present in bourgeois families, to make music known from operas mainly from an opera beyond the opera stage. To the tradition that the poetic moment determines the shape at Fantasia, butches. Fr\u00e9d\u00e9ric Chopin with his fantasy impomptu op. 66 from 1834. At the beginning of the 20th century, Max Reger and Ferruccio Busoni dealt artistically in their fantasies. Apart from organ works, the composition title was Fantasies Subsequently, less often. Gregorio Howett, fantasy for lute Jan Pieterszoon Sweelinck, Fantasia Chromatica, SWWV 258 Johann Sebastian Bach, fantasies and joints, BWV 561\u2013563 Johann Sebastian Bach, chromatic imagination and Fugue D minor, BWV 903 (1717\u20131723) Georg Philipp Telemann, twelve fantasies for Viola da Gamba Solo, TWV 40: 26\u201337 (1735) Carl Philipp Emanuel Bach, Free Fantasy (1783) Carl Philipp Emanuel Bach, Free Fantasy (1785) Wolfgang Amadeus Mozart, Fantasy D minor, KV 397 Wolfgang Amadeus Mozart, piano fantasy C minor, KV 475 Ludwig van Beethoven, imagination for piano, choir and orchestra short choir fantasy c minor, op. 80 (1808) Sigismund Thalberg, Fantasy and variations on different reasons for the EURYANTHE opera of C. M. v. Weber, op. 1 Sigismund Thalberg, Fantasy and variations on an Scottish theme, op. 2 Sigismund Thalberg, Great fantasy and variations on Bellini’s normal opera patterns, op. 12 Sigismund Thalberg, Great fantasy and variations on two patterns of the opera Don Juan de Mozart, op. 14 Sigismund Thalberg, Great fantasy on the Barber of Seville, Rossini Opera, op. 63 Franz Schubert, hiking fantasy D 760 (1822) Fr\u00e9d\u00e9ric Chopin, Fantaisie-Improptu (1834) Robert Schumann, Fantasie C major (1839) Franz Liszt, imagination on topics from Mozart’s Figaro and Don Giovanni, p. 697 (1842) Franz Liszt, imagination about Hungarian folk melodies, p. 123 (1852) Max Reger, choral fantasy about “A permanent castle is our god”, op. 27 (1898) Max Reger, Fantasy and Fugue C minor, op. 29 (1898) Max Reger, three choral fantasies (Max Reger), op. 52 (1900) Ferruccio Busoni, Indian fantasy BV 264, op.44 Ferruccio Busoni, Fantasia Nach Johann Sebastian Bach, BV 253 (1909) Ferruccio Busoni, counterpoint fantasy, BV 256 (1910) Louis Vierne, 24 Pi\u00e8es of Fantisie (1926\/27) Michael Radulescu, choral fantasy about “Since Jesus at the Cross Stund” (1976) Michael Radulescu, “O man, superior your sin” (1978) Naji Hakim, “Fantaisie Celtique” for piano and orchestra (1985) Faz\u0131l Say, 3 Fantasist\u00fccke, Op. 2 (1993) Faz\u0131l Say, jazz fantasy about Mozart’s Rondo Alla Turca, op. 5a (1993, revised 2003) Sergio Antonio del Rio, dreams – a fantasy (1998) [20] Ludger St\u00fchlmeyer, “Super Flumina Babylonis [on the water to Babel]”. Fantasy in four parts for organ after a watercolor by Paul Klee (2019) Ludger St\u00fchlmeyer, “Ten choral fantasies about the Christmas festival circle” for soprano, violin and organ (2020) [21] \u2191  Translation, Latin dictionary caesar.de  \u2191  Fantasies. In: The Brockhaus music. 2nd Edition. Mannheim 2001, p. 210.  \u2191  Frances Mattingly and Reginald Smith Brindle: Foreword to Antonio Casteliono: Intabolatura de leuto de various authors. (1536). Transcription in Modern Notation of Reginald Smith Brindle. SUVINI ZERBONI Editions, Mailand (1974) 1978, S. XIII.  \u2191  Konrad Ragossnig: Handbook of the guitar and sounds. Schott, Mainz 1978, ISBN 3-7957-2329-9, p. 108.  \u2191  Istv\u00e1n Szab\u00f3 (Hrsg.): Luis Mil\u00e1 (about 1500 – Ca. 1561): Complete Solo Works for Guitar. All solo works for guitar: El Maestro (1536). 2 volumes. K\u00f6nemann Music, Budapest 2000 (= K. Volume 156\u2013157), ISBN 963-9155-07-1 and ISBN 963-9155-08-X, Volume 1, pp. 3\u201360, and Volume 2, pp. 6\u201351 and 70\u201395.  \u2191  Emilio Pujol (Hrsg.): Hispanae Citharae Ars Viva. A collection of selected guitar music from old tabs, edited by Emilio Pujol. (Spanish, French, English and German) Schott, Mainz 1956 (= Guitar archive. Band 176), S. 4\u20137.  \u2191  Reginald Smith Brindle (ed.): Antonio Castelioni, Intabolatura de leuto de various authors. (Casteliono, Maicand 1536) The water of the Eat, Maialand 1978 (= Zerboni Zerboni. Band 7922), passim ( Fantasy of the divine Francesco from Milan And more fantasies.  \u2191  Melchior (e) of Barberis: Tabulation di lute. 1549. See Adalbert Quadt (ed.): Guitar music of the 16th – 18th Century. 4 volumes. Published according to tab. Deutscher Verlag f\u00fcr Musik, Leipzig 1970\u20131984, Volume 1, p. 1 ( 2 fantasy ) and 57 f.  \u2191  Frederick Noad: The Renaissance Guitar. (= The Frederick Noad Guitar Anthology. Part 1) Ariel Publications, New York 1974; Reprint: Amsco Publications, New York \/ London \/ Sydney, UK ISBN 0-7119-0958-X, US ISBN 0-8256-950-9, p. 74 f. And 108 f.  \u2191  Fantasy . In: Heinz Teuchert (ed.): Master of the Renaissance . G. Ricordi & Co. B\u00fchnen- und Musikverlag, Munich 1971 (= Memories. Sy. 2201, ISBN 978-3-931788-33-9, S. 16; = My first guitar pieces. Heft 3)  \u2191  Konrad Ragossnig: Handbook of the guitar and sounds. 1978, S.\u00a0108.  \u2191  Keiji Makuta: 51 selections for Lute in renaissance era. Arranged for Guitar. Zen-On, Tokyo 1969, ISBN 4-11-238540-4, S.\u00a072 ( Fantasy ).  \u2191  Frederick Noad: The Renaissance Guitar. 1974, S.\u00a0111\u2013113.  \u2191  Adalbert Quadt (ed.): Guitar music of the 16th – 18th Century. 4 volumes. Published according to tab. Deutscher Verlag for Music, Leipzig 1970\u20131984, Volume 1, p. 4.  \u2191  Carl Philipp Emanuel Bach, try to play the clavier about the true way, Leipzig 1787, p. 92.  \u2191  Heinrich Christoph Koch, Art. “Fantasy”, in: Ders. “Musical Lexicon”, Frankfurt am Main 1802, column 554\u2013555.  \u2191  Gustav Schilling, article “Fantasie”, the same, textbook of general musicology, Karlsruhe 1840, page 550\u2013551.  \u2191  Gustav Schilling, article “Fantasie”, the same, textbook of general musicology, Karlsruhe 1840, p. 552.  \u2191  Website of the Beethoven House Bonn  \u2191  Fabian Norman Verlag website  \u2191  Published by Ries & Erler, Berlin 2020, ISMN 979-0-50254-149-1.  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