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Imagine sitting in church listening to very serious music played on an organ or sung by a choir, when suddenly the sound of a country fiddler or wailing bagpipe wafts into the sacred space. For just a moment, your attention is grabbed by this lively ruckus before returning to the more austere church music. Soon, the two are competing for attention, and perhaps the fiddle band from outside even enters the church and joins in with the church music, or maybe the church organist starts imitating the virtuosic strains wafting in from outside. Eventually, a profound clash of activity or harmony occurs, and they all join up in an epic romp. This fantastical conception, or something like it, was known as stilus fantasticus—or, as Schmelzer called his collection dedicated to the style, Sacro profanus concentus musicus fidium. The unlikely marriage of these disparate sound worlds is a distinctive feature of music by the so-called "Transalpine" composers Antonio Bertali, Johann Heinrich Schmelzer, and many of their contemporaries working in Vienna, Salzburg, and their associated outlying courts. The careers of these two great composer-violinists span nearly five decades of service to the Viennese court, including the reigns of three of the Habsburg Holy Roman Emperors—Ferdinand II, Ferdinand III, and Leopold I, all of whom were themselves music lovers, amateur composers, and collaborators. The music associated with both Kaiser Ferdinands and Leopold—written and performed by a hand-picked array of professional musical personalities—is characterized by a melting pot of disparate styles; some new, some old, and all at once groundbreaking, sublime, unique, and vibrant.