Guillet (~1575 † 1654), organist in Bruges, was one of the great members of the Flemish school of organ, where Titelouze came from, while modality was mooving to tonality. His Fantaisies follow one of the last classification of modes (Zarlino) which included twelve modes from the scales built on each note of the octave from C to A. Therefore Guillet provides twelve pieces, plus twelve others on the same modes transposed to a 5th.
The Fantasy was a kind of work used by many great masters : Costeley, Raquet, Du Caurroy, Le Jeune. But contrary to both these latter ones, Guillet wrote his works for the organ rather than for the “instruments”. Each fantasy has its own personality, using extremely various contrapuntical processes. At the same time, Guillet shows much consideration for the mode he deals with, and this gives a specific colour to each piece.
Guillet published his Fantaisies in separate parts, which have first to be put together in score. The main difficulty about performing it lies in the countless crossings of parts which make reading difficult and uncomfortable. For the first time this edition solves the problem by splitting the parts in order to avoid any nuisance, while their original settings remain always explicit.
Most of the pieces are planned for one manual, but some of them can take advantage of two, either in quartet (each hand on each manual), or by changing the manual depending of the plan of the work.
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