This is the first of the six fantasias included in Froberger's Libro secondo of 1649. Froberger's fantasias are contrapuntal works much like the fantasies of Sweelink, Frescobaldi, or William Byrd. Each of the fantasias has a primary theme which pervades the entire work. This particular fantasia was Froberger's the most famous of all of his work in the genre, and was probably his most well known work during the century following his death. The work was often used as a model for counterpoint students. During a century when music over 20 years old was usually forgotten and neglected, this fantasia appeared as a model for composition in Fux's Gradus ad Parnassum published in 1725, over 75 years after the completion of the Libro secondo. The work is named after its theme which uses all the six notes of the hexachord (a system for music solmization in modal music) first ascending then descending, C D E F G A A G F E D C. The fantasia consists of seven sections each with the theme appearing in varying rhythms. Sometimes the theme is the subject of imitation as in the second section when the theme appears in stretto, other times the theme appears against imitative counterpoint in the other voices. The sixth section adds chromatic passing tones to the hexachord theme which only ascends. The seventh and last section balances the ascending hexachord theme of the sixth section with the theme descending. Chromatic passing tones are also added to the theme in this section. In this work Froberger demonstrates a great deal of versatility, while it is full of learned counterpoint at its best, Froberger still manages to play with elements of virtuosic bravura, and lively dance, in addition to the stoic serenity expected from classic counterpoint.

© Andrus Madsen, All Music Guide