{"id":2190,"date":"2016-05-24T20:42:53","date_gmt":"2016-05-24T18:42:53","guid":{"rendered":"http:\/\/partitura.org\/?page_id=2190"},"modified":"2018-12-29T10:49:57","modified_gmt":"2018-12-29T08:49:57","slug":"anonymus","status":"publish","type":"page","link":"https:\/\/partitura.org\/index.php\/anonymus\/","title":{"rendered":"Anonymus"},"content":{"rendered":"
\n
\n \"\"<\/a>

Choral preludes from Mus. Ms. 30439<\/a><\/h2>\n
\n

\n Posted on Sep 28th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n Manuscript Mus. Ms. 30439 owned by the Staatsbibliothek zu Berlin is an interesting manuscript. It contains five different fascicles, some reasonably\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n <\/div>\n
\n \"\"<\/a>

Andreas Nicolaus Vetter (?), Nun freut euch, lieben Christen g’mein, Emans 137<\/a><\/h2>\n
\n

\n Posted on Oct 11th, 2019 <\/span>\n <\/p>\n <\/div>\n

\n

\n It is a fact that people like to have a name of the creator to go with a piece of art. Pieces that cannot be attributed to a person, are somehow less\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymous, Ach Gott vom Himmel sieh darein<\/a><\/h2>\n
\n

\n Posted on Jun 19th, 2019 <\/span>\n <\/p>\n <\/div>\n

\n

\n These anonymous compositions contained in the manuscript with the designation \"KN 209\", owned bij the Ratsb\u00fccherei, L\u00fcneburg, are largely\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus (Johann Heinrich Buttstett?), Nun freut euch, lieben Christen gemein<\/a><\/h2>\n
\n

\n Posted on Dec 9th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n The Frankenberg manuscript, held by the Nederlands Muziekinstituut, is a rich source of choral preludes from both named and unnamed composers. This\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus (Johann Heinrich Buttstett?), Wie sch\u00f6n leuchtet der Morgenstern<\/a><\/h2>\n
\n

\n Posted on Dec 11th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n The Frankenberg manuscript does not attribute a composer to this chorale prelude. It is tempting to attribute this piece to Johann Heinrich\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus (Johann Michael Bach?), Ich ruf zu dir, Herr Jesu Christ (1)<\/a><\/h2>\n
\n

\n Posted on Aug 31st, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Five of the pieces in the Neumeister manuscript are without a named composer. Based on stylistical grounds and on references to other sources two of\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus (Johann Michael Bach?), Ich ruf zu dir, Herr Jesu Christ (2)<\/a><\/h2>\n
\n

\n Posted on Sep 1st, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Five of the pieces in the Neumeister manuscript are without a named composer. Based on stylistical grounds and on references to other sources two of\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus (Johann Pachelbel?), Christ lag in Todesbanden<\/a><\/h2>\n
\n

\n Posted on Feb 4th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Five of the pieces in the Neumeister manuscript are without a named composer. Based on stylistical grounds and on references to other sources two of\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus (Johann Pachelbel?), Was mein Gott will, das gescheh allzeit<\/a><\/h2>\n
\n

\n Posted on Sep 9th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Five of the pieces in the Neumeister manuscript are without a named composer. Based on stylistical grounds and on references to other sources two of\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus (Kirchhoff?), Ciaconna “Jesus Christus unser Heiland, der von uns”<\/a><\/h2>\n
\n

\n Posted on Jan 17th, 2020 <\/span>\n <\/p>\n <\/div>\n

\n

\n Manuscript Mus ms 40037, owned by the Staatsbibliothek Berlin, contains 5 chorale preludes to \"Jesus Christus, under Heiland, der von uns\". Three of\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus (Kirchhoff?), Ciaconna “Jesus Christus unser Heiland, der von uns” (2)<\/a><\/h2>\n
\n

\n Posted on Jan 21st, 2020 <\/span>\n <\/p>\n <\/div>\n

\n

\n Manuscript Mus ms 40037, owned by the Staatsbibliothek Berlin, contains 5 chorale preludes to \"Jesus Christus, under Heiland, der von uns\". Three of\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus (Zachow?), Heut triumphiret Gottes Sohn<\/a><\/h2>\n
\n

\n Posted on Oct 17th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n In Neumeister's manuscript the prelude to \"Heut triumphiret Gottes Sohn\" follows immediately after the prelude to \"Wie sch\u00f6n leuchtet der\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Aus tiefer Noth<\/a><\/h2>\n
\n

\n Posted on May 20th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n Like I wrote yesterday, Manuscript Mus Ms 30439 owned by the Staatsbibliothek in Berlin is, despite the bad shape it is in, an interesting manucript.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Christ unser Herr, zum Jordan kam<\/a><\/h2>\n
\n

\n Posted on Jun 25th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n The choral prelude on \"Christ unsr Herr zum Jordan kam\" is a manualiter piece. Again, as far as I can tell it is not published before. Relatively\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Da Jesu an dem Kreuze stund<\/a><\/h2>\n
\n

\n Posted on Jun 29th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n The choral prelude on \"Da Jesu an dem Kreuze stund\" is again of an unknwon composer. As with the other anonymus pieces from this manuscript, the\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Du Friedenfurst Herr Jesu Christ (variationen)<\/a><\/h2>\n
\n

\n Posted on Jun 16th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n The seventh piece of the second fascicle of manuscript Mus. Ms 30439 is a set of variations on \"Du Friedenfurst Herr Jesu Christ\". Again there is no\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Fuga Colorata<\/a><\/h2>\n
\n

\n Posted on Jun 22nd, 2019 <\/span>\n <\/p>\n <\/div>\n

\n

\n Almost three years a go I created a publication containing all organ works by Simon Lohet (Loxhay) (c. 1550 \u2013 1611), a Flemish composer, possibly\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Fuga Es dur<\/a><\/h2>\n
\n

\n Posted on Apr 25th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n I am always intruiged by pieces whose composer is unknown. This fugue in E flat major is one such piece. The manuscript I transcribed it from is\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Gott sei gelobet und gebenedeiet<\/a><\/h2>\n
\n

\n Posted on May 24th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n This is the second piece of manuscript Mus ms 30439 I do not know the composer of. Again, it is a beautifull choral prelude by someone who clearly\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Herr durch deinen heiligen Leichnam<\/a><\/h2>\n
\n

\n Posted on May 29th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n The fourth piece of the second fascicle of manuscript Mus. Ms 30439 has the incipit \"2. Verso Herr durch deinen heiligen Leichnam\". It is the second\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Ich ruf zu dir, Herr Jesu Christ<\/a><\/h2>\n
\n

\n Posted on Sep 2nd, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Update, 4 sep 2018: The piece turns out to be (probably) by Johann Ludwig Krebs. See the new publication. \r\nI keep this post, to redirect visitors to\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Jesus Christus, unser Heiland<\/a><\/h2>\n
\n

\n Posted on Jun 13th, 2019 <\/span>\n <\/p>\n <\/div>\n

\n

\n The manuscript with the designation \"KN 209\", owned bij the Ratsb\u00fccherei, L\u00fcneburg, is written in German organ tablature and is one of the most\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Komm heiliger Geist, Herre Gott<\/a><\/h2>\n
\n

\n Posted on Jul 5th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n The fourteenth piece from Mus Ms 30439 is again of an unknown composer. It is a beautiful choral prelude, perhaps the best one of the 16 pieces. I\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Mit Fried und Freud, ich fahr dahin<\/a><\/h2>\n
\n

\n Posted on Jun 17th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n The eighth piece of the second fascicle of manuscript Mus. Ms 30439 is a fantastic prelude on \"Mit Fried und Freud, ich fahr dahin\". The procedure is\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Nun bitten wir den heiligen Geist<\/a><\/h2>\n
\n

\n Posted on Jul 1st, 2019 <\/span>\n <\/p>\n <\/div>\n

\n

\n This is the third of the unedited anonymus choral preludes from manuscript KN 209, owned owned by the Ratsb\u00fccherei in L\u00fcneburg I have the privilige\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, O Herre Gott, begnade mich<\/a><\/h2>\n
\n

\n Posted on Jul 10th, 2019 <\/span>\n <\/p>\n <\/div>\n

\n

\n This is the fourth of the unedited anonymus choral preludes from manuscript KN 209, owned owned by the Ratsb\u00fccherei in L\u00fcneburg I have the\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Wie sch\u00f6n leuchtet der Morgenstern<\/a><\/h2>\n
\n

\n Posted on Dec 1st, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n The manuscripts of Johann Gottfried Walther are a valuable source for compositions of his contemporaries. His transcriptions are very precise and on\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Wie soll ich dich empfangen<\/a><\/h2>\n
\n

\n Posted on Dec 13th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Another piece Walther left without composer in his manuscripts. Walther writes \"Hautbois\" where the choral melody enters. Writing music for the\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Wo Gott zum Haus nicht gibt sein G\u00fcnst<\/a><\/h2>\n
\n

\n Posted on Jun 15th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n The sixth piece of the second fascicle of manuscript Mus. Ms 30439 is again of unknown origin. But in form it is very similar to \"Herr, durch deinen\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Anonymus, Wo soll ich fliehen hin<\/a><\/h2>\n
\n

\n Posted on Mar 23rd, 2025 <\/span>\n <\/p>\n <\/div>\n

\n

\n Somehow anonymus pieces are less popular than pieces we know the composer of. And where the compositions with known composers get published, the\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Georg Wilhelm Saxer, Fuge, F Dur<\/a><\/h2>\n
\n

\n Posted on Apr 2nd, 2019 <\/span>\n <\/p>\n <\/div>\n

\n

\n Besides the works attributed to a composer, the Leipziger manuscript with signature Becker II.2.51 preserves two preludes and fugues and two fugues\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Georg Wilhelm Saxer, Praeludium und Fuge, B Dur<\/a><\/h2>\n
\n

\n Posted on Mar 26th, 2019 <\/span>\n <\/p>\n <\/div>\n

\n

\n Besides the works attributed to a composer, the Leipziger manuscript with signature Becker II.2.51 preserves two preludes and fugues and two fugues\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

H.M.T., Ich ruf zu dir, Herr Jesu Christ<\/a><\/h2>\n
\n

\n Posted on Aug 20th, 2019 <\/span>\n <\/p>\n <\/div>\n

\n

\n This is the fifth of the unedited anonymus choral preludes from manuscript KN 209, owned owned by the Ratsb\u00fccherei in L\u00fcneburg I have the privilige\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Johann Adam Hiller (?), 6 Trio’s: nr 1<\/a><\/h2>\n
\n

\n Posted on Jul 13th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n The Sibelius academy hosts a vast collection of manuscripts, some of which are available online. One of these manuscripts contains organ music by an\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Johann Adam Hiller (?), 6 Trio’s: nr 2<\/a><\/h2>\n
\n

\n Posted on Jul 13th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n For an explanation for the ascription to Johann Adam Hiller, read here.\r\n\r\nThe recording was done on the sample set of the M\u00fcller-organ in the Sint\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Johann Adam Hiller (?), 6 Trio’s: nr 3<\/a><\/h2>\n
\n

\n Posted on Jul 14th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n For an explanation for the ascription to Johann Adam Hiller, read here.\r\n\r\nThe recording was done on the sample set of the M\u00fcller-organ in the Sint\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Johann Adam Hiller (?), 6 Trio’s: nr 4<\/a><\/h2>\n
\n

\n Posted on Jul 14th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n For an explanation for the ascription to Johann Adam Hiller, read here.\r\n\r\nThe recording was done on the sample set of the M\u00fcller-organ in the Sint\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Johann Adam Hiller (?), 6 Trio’s: nr 5<\/a><\/h2>\n
\n

\n Posted on Jul 16th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n For an explanation of the ascription to Johann Adam Hiller, read here.\r\n\r\nThe recording was done on the sample set of the M\u00fcller-organ in the Sint\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Johann Adam Hiller (?), 6 Trio’s: nr 6<\/a><\/h2>\n
\n

\n Posted on Jul 16th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n For an explanation for the ascription to Johann Adam Hiller, read here.\r\n\r\nThe recording was done on the sample set of the M\u00fcller-organ in the Sint\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Johann Adam Hiller (?), Sei Lob und Ehr dem h\u00f6chsten Gut<\/a><\/h2>\n
\n

\n Posted on Jul 16th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n There remain two pieces to be published from the manuscript that contains the 6 Organ Trios. Initially I thought the remaining pieces were chorale\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Johann Adam Hiller (?), Without title (Trio 7)<\/a><\/h2>\n
\n

\n Posted on Jul 16th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n There remain two pieces to be published from the manuscript that contains the 6 Organ Trios. Initially I thought the remaining pieces were chorale\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Johann Gottfried M\u00fcthel, Herzlich tut mich verlangen<\/a><\/h2>\n
\n

\n Posted on Mar 31st, 2025 <\/span>\n <\/p>\n <\/div>\n

\n

\n [update, april 5th, 2025]\r\nIt has come to my attention, that in other publications this composition is attributed to Johann Gottfried M\u00fcthel. This\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Paul Siefert (?), Fantasia Noni Toni ex A La Mi Re<\/a><\/h2>\n
\n

\n Posted on May 9th, 2025 <\/span>\n <\/p>\n <\/div>\n

\n

\n The Fantasia noni Toni Ex A La Mi Re is the last of the 13 anonymous fantasia from manuscript Becker II.2.51. It took me a bit longer to finish this\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Paul Siefert (?), Fantasia Octavi Toni ex G<\/a><\/h2>\n
\n

\n Posted on Apr 22nd, 2025 <\/span>\n <\/p>\n <\/div>\n

\n

\n The fantasia octavi Toni ex G is the eleventh fantasia from manuscript Becker II.2.51, owned by the Stadtbibliothek Leipzig. It features three\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Paul Siefert (?), Fantasia Octavi Toni ex G (2)<\/a><\/h2>\n
\n

\n Posted on May 3rd, 2025 <\/span>\n <\/p>\n <\/div>\n

\n

\n The second Fantasia octavi Toni ex G from manuscript Backer II.2.51 is structurally similar to it's predecessor in the manusript. Both feature three\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Wilhelm Karges (?), Fantasia in D<\/a><\/h2>\n
\n

\n Posted on Jan 1st, 2020 <\/span>\n <\/p>\n <\/div>\n

\n

\n [update, 21-03-2021] I finally deduced what the meaning is of this sign:\r\n\r\n\r\n\r\nIt signifies a repeat. That means that in this particular piece there\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Wilhelm Karges, Fantasia in A (2)<\/a><\/h2>\n
\n

\n Posted on Jan 19th, 2020 <\/span>\n <\/p>\n <\/div>\n

\n

\n The next composition in manuscript Am.B. 340 (after the Fantasia in G, published last week) is again an anonymous composition and I do not know on\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Wilhelm Karges, Fantasia in D<\/a><\/h2>\n
\n

\n Posted on Mar 6th, 2020 <\/span>\n <\/p>\n <\/div>\n

\n

\n The Fantasia in D, written on folio 25 of manuscript Am.B 340 is again an anonymous work. It is again an Echo Fantasia and has many similarities with\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n<\/div>\n\n

Views: 127<\/p>","protected":false},"excerpt":{"rendered":"

Views: 127<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2190","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P5LnuZ-zk","_links":{"self":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/pages\/2190","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/comments?post=2190"}],"version-history":[{"count":1,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/pages\/2190\/revisions"}],"predecessor-version":[{"id":7065,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/pages\/2190\/revisions\/7065"}],"wp:attachment":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media?parent=2190"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}