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Fantasia (music)
The fantasia (; also (英語:''fantasy'', ''fancy'', ''fantazy'', ''phantasy''), (ドイツ語:Fantasie), ''Phantasie'', (フランス語:fantaisie)) is a musical composition with its roots in the art of improvisation. Because of this, like the impromptu, it seldom approximates the textbook rules of any strict musical form.
==History==
The term was first applied to music during the 16th century, at first to refer to the imaginative musical "idea" rather than to a particular compositional genre. Its earliest use as a title was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France. From the outset, the fantasia had the sense of "the play of imaginative invention", particularly in lute or vihuela composers such as Francesco Canova da Milano and Luis de Milán. Its form and style consequently ranges from the freely improvisatory to the strictly contrapuntal, and also encompasses more or less standard sectional forms .
===During the Renaissance===
According to the ''Oxford Dictionary of Music'', in the 16th century the instrumental fantasia was a strict imitation of the vocal motet . Henry Purcell's fantasias are the last Baroque representatives of the breed, although Walter Willson Cobbett, in the opening decades of the 20th century, attempted to resurrect something of this style via a competition, to which works like the Phantasie trios and quartets by William Hurlstone, Armstrong Gibbs, John Ireland, Herbert Howells and Frank Bridge owe their existence , as does Benjamin Britten's Phantasy in F minor for string quintet written in 1932, the same year in which he also composed a Phantasy Quartet for oboe and strings .
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