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Orlando Gibbons (1583–1625) wrote his Fantasia à 2 for two viols in the English consort tradition, where instrumental pieces circulated in separate partbooks rather than in score. Despite its Renaissance origins, the notation looks strikingly modern: English scribes of Gibbons’s generation had already adopted familiar note shapes, and the only overtly historical feature is the cut?C mensuration sign, still technically a mensuration symbol but functioning very close to our modern cut time.

This fantasia is anything but solemn. Its two lines spark off one another in quick, lively imitation, creating a rhythmic interplay that feels almost conversational. In this arrangement for two alto recorders, the music’s buoyant energy comes through immediately—light on its feet, full of momentum, and simply enjoyable to play once the lines begin to dance together.

Although the edition is presented barless, players should not be put off. Barless notation can look unfamiliar at first, but in this repertoire it actually clarifies the phrasing and helps the counterpoint breathe. With just a little practice, most players find it intuitive, and the payoff is real: the music unfolds with a freedom and naturalness that modern barlines can sometimes obscure. For Gibbons especially, the effort feels richly rewarded.