The Tablature of Adam Ileborg (1448): An Imperfection of the Notation or the Birth of the Stylus Phantasticus?
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Abstract
One of the earliest sources of the art of the organ – the Tablature of Adam Ileborg from Stendahl – contains unique
examples of musical compositions without a fixed metro-rhythmical structure. The article examines the possibility of
interpreting the preambles and intabulations of the vocal composition “Froweal myn hoffen an dir lyed” as an early
manifestation of stylus phantasticus in compositions for the organ and keyboards.
Basing herself on description of the fantastic style (stylus phantasticus) given by Athanasius Kircher in 1650, and
on Girolamo Frescobaldi’s instructions for performance of toccatas in the collection from 1615, the author traces the
line of development of musical compositions characterized by their improvisational element.
The global changes in organ construction in the 15th century made it possible for organists to perform more and
more virtuosic parts, while the use of the organ not only for cult purposes but for secular ones was conducive for
musicians to express their improvisational aspirations.
While analyzing compositions from the Tablature of Adam Ileborg, the author comes to the conclusion that the
absence of metric fixation presents an intentional reflection of improvisational musical thinking in the aforementioned
compositions. It is particularly the aspiration towards improvisation, the freedom of expression of the musical idea
expressed in the musical compositions of the Tablatures of Adam Ileborg that makes it possible to classify them among
the early examples of the stylus phantasticus.
Keywords: tablature, stylus phantasticus, Adam Ileborg, preamble, organ, intabulation.
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