may not be the most technical, but it is the longest of his securely attributed lute fantasias. Over the course of its four or five minutes in performance, the performer has the opportunity to demonstrate facility in a large number of different musical textures and techniques. The opening exposes two principal ideas, a ground consisting of mostly repeated notes and a memorable and active countermelody. After the two have exchanged roles, a brief cadential passage punctuated by dotted rhythms ensues, and the foundations of the fantasia have been laid. Much of the remaining music follows or adapts these basic musical materials: we encounter passages in which a two-voiced texture elaborates an ornamented line that repeats some notes, and passages involving a more imitative texture following the first contrapuntal melody, and passages that riff upon the dotted-note motif and its rhythmic interest. The conclusion of this lengthy fantasia shifts rhythmic meters twice and brings the virtuosic complexity of the inner voices to a peak of difficulty.