It is the Fantasia que contrahaze la harpa en la manera de Ludovicv [Fantasia that imitata the harp in the style of Ludovico] that has secured the vihuelist Alonso Mudarra a place among those renaissance musicians whose music is frequently performed today. First published in his “Tres Libros de Musica en Cifras para Vihuela” (Seville: ]uan de Leon, 1546), both the novelty of sormd and the ingenuity of conception have guaranteed Mudarra’s fantasia a lasting attraction among vihuelists, lutenists and guitarists.
Many guitar transcriptions have been published and, apart from individuality of fingering, most agree with the modifications to the original tablature that appear in Emilio Pujol’s standard critical edition of Mudarra’s Tres Libros . A facsimile of the original edition is also currently available. The purpose of this article is to demonstrate the uniqueness of the Fantasia a que contrahaze la harpa among fantasias for the vihuela. it is the earliest known set of variations on the Folia, written by Mudarra to emulate a renowned harpist of a previous generation
Mudarra’s Harp Fantasy: History and Analysis. Australian Guitar Journal 1 (1989)
By John Griffiths