Parody fantasia based on another by Albert de Rippe (Fantasias ed. Vaccaro no 12, from Casteliono 1536/9, nº 2 “Fantasia de M. Alberto da Mantua”, fols. 5-6v). Vaccaro pp. 171-177 gives parallel transcriptions of the 1536 version and the later 1563 version published by Le Roy and Ballard of Alberto’s original.

Ward established Alberto as the model for this work [ward1953, p. 232], and gives a detailed comparative table showing 35 compses of borrowed material. Griffiths “The Vihuela Fantasía” [griffiths1983] also discusses the work in detail, pp. 279-283, with comparative transcriptions of the borrowed material.

Analysis
Parody fantasia, based on Fantasia 12 of Albert de Rippe, originally printed by Casteliono (1536). One of the 3 parodies by Valderrábano on Italian lute works. 117 compases, medium length. Of the work; compases 44-82 are based on Albert ie 1/3 of the work. Of the parodied section, all but a few linking bars are quotation. The main difference is a reduction to 3 voices of Albert’s 4 and sometimes 5-part texture, mainly done by thinning Albert’s harmonies and chords. Some figures are reduced, and Valderrábano adds the odd passing note. Albert’s material is not quoted in any strict order. Valderrábano momentarily quotes from Albert at 34-36, being 177-9 of the model. He then quotes 93-100, 175-8, 39-45, 112, 125 of the 216 bar model. The material selected by Valderrábano is not Albert’s most important, but rather some of his most appealing. Quotes are of non-imit material, from Albert’s rich, exciting sequence, from the climax of the 1st half, from the consequent anti-climax of great harmonic individuality (= coda), and from the conclusion of the 1st episode. Passive rather than active, harmonic rather than imitative quotes.
The opening section of the work is imitative, with the theme 1 imitations, giving way to an intricate free texture. After the quotes, the texture thins, and begins again but in non-imit free counterpoint spiced with the odd redoble and in broad sweeping treble dominated chords.