That's a nice few. Of Sor's, my favorite is probably Op.7 (it's almost
certainly on the Boije site someplace, but I don't have time to dig it up
at the moment). However, I thought Omer wanted to avoid 19th-c. works. (I
don't have the original request any longer.)
Eugene
At 09:49 PM 7/15/2008, Christopher Stetson wrote:
A few, at least:
http://www.muslib.se/ebibliotek/boije/pdf/Boije%20502.pdf
http://www.muslib.se/ebibliotek/boije/pdf/Boije%201051.pdf
http://www.muslib.se/ebibliotek/boije/pdf/Boije%20284.pdf
http://www.muslib.se/ebibliotek/boije/pdf/Boije%20284.pdf
http://www.muslib.se/ebibliotek/boije/pdf/Boije%20284.pdf
http://www2.kb.dk/elib/noder/rischel/RiBS0149.pdf
Best.
Chris.
>>> "Eugene C. Braig IV" <[EMAIL PROTECTED]> 7/15/2008 3:53 PM >>>
At 08:24 AM 7/13/2008, Christopher Stetson wrote:
>Well, I would think the first question would be what your (or your
>instructor's) definition of "fantasy" is. The term seems to have
fallen
>out of favor early in the 17th c.
I see your point that many rhapsodic bits could be considered as
"fantasy"
in spite of title, and that the term was perhaps not so commonly used
later
as it was in the era when purely instrumental music first began moving
away
from dance forms, but I'm not so certain I would contend that the term
fell
out of favor in the early 17th c; "fantasy", "fantasia", "phantasie",
"phantasiestücke", etc. found occasional use throughout. Consider the
occasional lute works by Weiss or Kellner; the fortepiano works of
C.P.E.
Bach, Mozart, or Schumann; the guitar works by Sor, Coste, Legnani,
etc. They're there.
Best,
Eugene
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