ABSTRACT
This chapter focuses on the fantastic elements in pedaliter praeludia, other acknowledged 'fantastic' genres like the toccata, capriccio, and sonata, also exploited by north German composers, and are commented upon. J. Jacob Froberger, student of Girolamo Frescobaldi and friend of Matthias Weckmann, was, of course, not the only 'diligent fantasy maker' to emanate from seventeenth-century south Germany. The south German composer's skills as a contrapuntist greatly impressed Kircher, and recent research suggests that Froberger indeed studied canonic techniques with the Jesuit in Rome. Familiarity with Froberger's toccatas and the 'Frobergian' manner of performing was, of course, not confined to Germany and Italy. The works most often associated with the stylus phantasticus are, undoubtedly, the sonatas and the free and chorale-based keyboard compositions written by representatives of the north German organ school between c1650 and 1740, the year of Lubeck's death. The pedaliter praeludia of Bohm and Leyding evidence waning north German interest in multisectional structures.
