{"id":5250,"date":"2018-03-06T21:49:48","date_gmt":"2018-03-06T19:49:48","guid":{"rendered":"http:\/\/partitura.org\/?p=5250"},"modified":"2021-02-27T18:34:38","modified_gmt":"2021-02-27T16:34:38","slug":"wilhelm-karges-jan-pieterszoon-sweelinck-fantasia-2","status":"publish","type":"post","link":"https:\/\/partitura.org\/index.php\/wilhelm-karges-jan-pieterszoon-sweelinck-fantasia-2\/","title":{"rendered":"Wilhelm Karges, Jan Pieterszoon Sweelinck, Fantasia (2)"},"content":{"rendered":"<p>The original source of this piece in manuscript Am B 340 is a manualiter Toccata in D Dorian by Johann Pieterszoon Sweelinck.  This Toccata is actually the source for two different pieces. The first piece was published <a href=\"https:\/\/partitura.org\/index.php\/wilhelm-karges-jan-pieterszoon-sweelinck-fantasia\/\">a week ago<\/a>. This second pieces is based on two different fragments from the same Toccata. They are in the reverse order from Sweelinck&#8217;s original. I have no idea why this was done, but fact is that if you don&#8217;t know the original, the arangement of musical material sounds logical and natural. As said already in other posts, Manuscript Am.B. 340, as a source of works by Scheidemann or Sweelick or others, has been called &#8220;utterly unreliable&#8221;. Nevertheless, I very much like these &#8220;utterly unreliable&#8221; pieces. <\/p>\n<p>The recording was done on the sample set of the Bader-organ in the Walburgiskerk in Zutphen by <a href=\"http:\/\/www.sonusparadisi.cz\/en\/organs\/top-selection\/zutphen-virtual-organ-model.html\">Sonus Paradisi<\/a> for Hauptwerk.<\/p>\n<p><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\/2018\/03\/Karges-JP-p0008-Fantasia.pdf\"data-kccpid=\"5250\">Karges, Sweelinck, Fantasia<\/a><\/p>\n<p><strong>Performance<\/strong><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/IFyk6383c2w\"  width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Views: 10<\/p>","protected":false},"excerpt":{"rendered":"<p>The original source of this piece in manuscript Am B 340 is a manualiter Toccata in D Dorian by Johann Pieterszoon Sweelinck. This Toccata is actually the source for two different pieces. The first piece was published a week ago. This second pieces is based on two different fragments from the same Toccata. They are in the reverse order from Sweelinck&#8217;s original. I have no idea why this was done, but fact is that if you don&#8217;t know the original, the arangement of musical material sounds logical and natural. As said already in other posts, Manuscript Am.B. 340, as a source of works by Scheidemann or Sweelick or others, has been called &#8220;utterly unreliable&#8221;. Nevertheless, I very much like these &#8220;utterly unreliable&#8221; pieces. The recording was done on the sample set of the Bader-organ in the Walburgiskerk in Zutphen by Sonus Paradisi for Hauptwerk. Score Karges, Sweelinck, Fantasia Performance Views: 10<\/p>\n","protected":false},"author":1,"featured_media":5253,"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":[82,7,296],"tags":[],"class_list":["post-5250","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-karges-wilhelm","category-scores","category-sweelinck-jan-pieterszoon","genre-fantasia"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2018\/03\/Karges-JP-p0008-Fantasia-preview.jpg?fit=1009%2C648&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5LnuZ-1mG","_links":{"self":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/5250","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=5250"}],"version-history":[{"count":2,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/5250\/revisions"}],"predecessor-version":[{"id":9397,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/5250\/revisions\/9397"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media\/5253"}],"wp:attachment":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media?parent=5250"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/categories?post=5250"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/tags?post=5250"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}