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  Antonio de Cabezon  
 
 
 
 
 
 
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Antonio de Cabezon
 
 
 
Antonio de Cabezón, Cabezón also spelled Cabeçon (born c. 1510, Castrillo de Matajudíos, near Burgos, Spain—died March 26, 1566, Madrid), earliest important Spanish composer for the keyboard, admired for his austere, lofty polyphonic music, which links the keyboard style of the early 1500s with the international style that emerged in the mid-16th century.

Blind from infancy, Cabezón studied organ in Palencia and in 1526 became organist and clavichordist to the empress Isabel, wife of Charles V; in 1548 he entered the service of the future Philip II. Through the court he met the influential musicians Tomás de Santa María, theorist and composer, and Luis de Narváez, the vihuelist. He traveled with the royal chapel to Italy, Germany, and the Netherlands (1548–51) and to England and the Netherlands (1554–56). His style influenced the English school of composers for the virginal and the organ style of the Low Countries exemplified by Jan Pieterszoon Sweelinck.

The bulk of Cabezón’s surviving music was published in the Libro de cifra nueva (1557) of Luys Venegas de Henestrosa, which also contains works by other composers, and in the Obras de música . . . de Antonio de Cabeçon (1578), published posthumously by Cabezón’s son Hernando. Both books are printed in cifra nueva (“new tablature”), a notation in which the notes of each octave are numbered 1 to 7, starting on F, with signs to indicate the particular octave; each part is printed on a single line of the staff. Both specify keyboard, lute, or vihuela (a six-course guitar tuned like the lute), although the music is clearly designed for organ or other keyboard. Hernando includes recommendations for players of the vihuela and of wind and stringed instruments.

Cabezón’s compositions consist of tientos (ricercari, pieces often using melodic imitation); short plainsong settings for the mass and office; sets of verses on the psalm tones and their fabordones (i.e., falsobordoni, four-part chordal harmonizations of the psalm tones); a number of dance pieces; diferencias, or variations and divisions, on chansons and motets by the leading continental composers and on popular song tunes; and a few vocal pieces.

His instrumental compositions are conceived for the keyboard, unusual in an era in which the style of instrumental music was taken over from vocal music. In his tientos, free melodic imitation gives rise to new themes. Cabezón was one of the earliest composers to use the theme-and-variations form. Especially known are the variations on the song “Canto del caballero” and the three sets of variations on “Guárdame las vacas.”

Encyclopædia Britannica

 
 

The Palencia Cathedral, where Cabezón probably received his music education from one García de Baeza.
 
 
 
 
 
 
Antonio de Cabezon  - Works on Clavichord - Rene Clemencic
 
 
 
 
 
 
 
 
 
Antonio de Cabezón - Tientos y Glosados
 

1
Diferencia Sobre "La Gallarda Milanesa" for organ
Antonio de Cabezón
Thomas Wimmer 2:25
2
Tiento I del segundo tono, for keyboard
Antonio de Cabezón
Thomas Wimmer 2:51
3
Fabordón y glosas del primer tono Ilano
Antonio de Cabezón
Thomas Wimmer 3:10
4
Ancol que col partire, for organ
Antonio de Cabezón
Thomas Wimmer 3:02
5
Ave, maris stella VI, hymn
Antonio de Cabezón
Thomas Wimmer 2:14
6
Pavana con su glosa
Antonio de Cabezón
Thomas Wimmer 3:11
7
Pues a Mi, Desconsolado
Juan de Cabezón
Thomas Wimmer 2:37
8
Die Nobis Maria
Antonio de Cabezón
Thomas Wimmer 2:59
9
Diferencia Sobre "Las Vacas" for harpsichord
Antonio de Cabezón
Thomas Wimmer 3:17
10
Diferencia Sobre "El Canto la Dama le Demenda" for organ
Antonio de Cabezón
Thomas Wimmer 3:38
11
Fabordón y glosas del Sexto Tono, for organ
Antonio de Cabezón
Thomas Wimmer 4:06
12
Diferencia Sobre "El Canto Del Caballero" for organ
Antonio de Cabezón
Thomas Wimmer 2:27
13
Pavana Italiana for harpsichord, "La Gamba"
Antonio de Cabezón
Thomas Wimmer 1:54
14
Tiento XIII fuga a 4
Antonio de Cabezón
Thomas Wimmer 3:59
15
Te lucis ante terminum. Lleva el canto llano el tenor
Antonio de Cabezón
Thomas Wimmer 1:17
16
Duuiensela
Antonio de Cabezón
Thomas Wimmer 3:06
17
Susana un Jur
Hernando de Cabezón
Thomas Wimmer 4:12
18
Romance: Para Quien Crie Yo Cabellos
Antonio de Cabezón
Thomas Wimmer 2:15
19
Pange lingua V, hymn
Antonio de Cabezón
Thomas Wimmer 1:41
20
Rugier, glosado de Antonio
Antonio de Cabezón
Thomas Wimmer 1:06

 
 
 
 
 
 
 
 
 
Antonio de Cabezón - Órgano de Banyalbufar ( Mallorca )
 
 
 
 
 
 
 
 
 
Antonio de Cabezón - Quatro favordones
 

Obras de Musica para Tecla, Arpa y Vihuela
Recopiladas y puestas en cifra por Hernando de Cabeçon (Madrid, 1578)

I.- Quatro favordones del primer tono
II.- Quatro favordones del segundo tono
III.- Quatro favordones del tercer tono
IV.- Quatro favordones del quarto tono

Intérpretes: Hamonices Mundi & La Moranda
(Claudio Astronio)

 
 
 
 
 
 
 
 
 
Antonio de Cabezón - Pavana con su glosa
 
 
 
 
 
 
 
 
 
Antonio de Cabezón - Diferencias sobre el villancico
 
 
 
 
 
 
 
 
 
 
Antonio de Cabezón - Jesucristo Hombre y Dios
 
 
 
 
 
 
 
 
 
Antonio de Cabezon El canto llano del caballero
 
 
 
 
 
 
 
 
 
     
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