Rubric: “Fantasia in mode 6 in four voices”. A polythematic imitative fantasia. This work is a real gem. It stands out in the crowd as highly competent work, to the extent that it would be worth exploring to see if it is not derived from another composition by another composer. The work divides exactly into 2 sections each of 49 compases; each based on a single theme, but the theme of section II is indeed a transformation of theme 1. In this sense it is almost a monothematic work.

Section I is through composed, dividing into 2 sections at bar 14 (modern transcripiton bars), here designated as ‘Ia’ and ‘Ib’. Section Ia is strict imitation, expanding texture. Ib starts with S/A – T/B pairs then expands again, 20-24 are free coda. Ib has freer use of theme: rhythmic variants, and added passing notes.

Section II uses voice pairs throughout except preparation for final K in bars 46-49. Section II includes internal repetition: bars 35-42 = b.25-33; 46-49 = varied rep. of 41-44. There are also two masterly chromatic versions of theme 2 given in the Bass in bars 32and 41-42.

The tonal organisation is characteristic of the mode: section I begins in F and ends in C; by the end section II it returns to F. The clarity of this work is without peer in Pisador’s works. Because the internal logic of the music is so transparently clear work, it provides good examples of the enormity of printing errors – especially noticeable in the sectional repetition.