{"id":11239,"date":"2025-04-13T18:53:13","date_gmt":"2025-04-13T16:53:13","guid":{"rendered":"https:\/\/partitura.org\/?p=11239"},"modified":"2025-04-13T18:53:13","modified_gmt":"2025-04-13T16:53:13","slug":"paul-siefert-fantansia-septimi-toni-ex-g","status":"publish","type":"post","link":"https:\/\/partitura.org\/index.php\/paul-siefert-fantansia-septimi-toni-ex-g\/","title":{"rendered":"Paul Siefert (?), Fantansia Septimi Toni ex G"},"content":{"rendered":"<p>Like most of the fantasias from manuscript Becker II.2.51 the Fantasia Septimi Toni ex G is structurally divided into three sections or episodes. Though the music flows uninterrupted, it is easy to recognize when a new section begins. Each section is build on it&#8217;s own theme or motif and in each section Siefert weaves a dense counterpoint, even though there are only three parts. There hardly is a bar where not one of the themes is heard. I particularly like the middle section, where the theme (in this section two and a halve bars long) tumbles over itself in the different voices creating a very nice effect. <\/p>\n<p>The recording was done with the sampleset, made by Sonus Paradis, of the Transept organ in the Laurenskerk, Rotterdam (http:\/\/www.sonusparadisi.cz\/en\/organs\/major-european-schools\/rotterdam-laurenskerk-transept-organ-a.html).<\/p>\n<div id=\"score\"> <strong>Score<\/strong><br \/>\n<img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-128\" src=\"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2015\/02\/pdf_icon.jpg?resize=32%2C32&#038;ssl=1\" alt=\"pdf_icon\" width=\"32\" height=\"32\" \/><a class=\"count\" href=\"https:\/\/partitura.org\/wp-content\/uploads\/2024\/04\/Anonymus-010-Fantasia-septimi-toni-ex-G.pdf\" data-kccpid=\"11239\">Siefert (?), Fantasia septimi toni ex G<\/a>\n<\/div>\n<p><strong>Performance<\/strong><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/ppe3cNplXns\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Views: 39<\/p>","protected":false},"excerpt":{"rendered":"<p>Like most of the fantasias from manuscript Becker II.2.51 the Fantasia Septimi Toni ex G is structurally divided into three sections or episodes. Though the music flows uninterrupted, it is easy to recognize when a new section begins. Each section is build on it&#8217;s own theme or motif and in each section Siefert weaves a dense counterpoint, even though there are only three parts. There hardly is a bar where not one of the themes is heard. I particularly like the middle section, where the theme (in this section two and a halve bars long) tumbles over itself in the different voices creating a very nice effect. The recording was done with the sampleset, made by Sonus Paradis, of the Transept organ in the Laurenskerk, Rotterdam (http:\/\/www.sonusparadisi.cz\/en\/organs\/major-european-schools\/rotterdam-laurenskerk-transept-organ-a.html). Score Siefert (?), Fantasia septimi toni ex G Performance Views: 39<\/p>\n","protected":false},"author":1,"featured_media":11242,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[340,7,341],"tags":[],"class_list":["post-11239","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-anonymus-becker-ii-2-51","category-scores","category-siefert-paul","genre-fantasia"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2024\/04\/Anon-Fantasia-10.jpg?fit=995%2C635&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5LnuZ-2Vh","_links":{"self":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/11239","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"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=11239"}],"version-history":[{"count":5,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/11239\/revisions"}],"predecessor-version":[{"id":11411,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/11239\/revisions\/11411"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media\/11242"}],"wp:attachment":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media?parent=11239"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/categories?post=11239"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/tags?post=11239"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}