The court organist Antonio de Cabezón, who was appointed to Queen Isabella’s court chapel in Toledo at the young age of 16, was rightly regarded by his contemporaries as the leading Spanish organist and keyboard player of the 16 th century. His hymns and versets are based on short, decorated harmonisations of the psalm tones. In the tientos, the transformation from vocal motet style to a style of writing suitable for keyboard instruments is perfectly executed.

This Urtext edition contains a selection of Cabezon’s best known works and will consist of four volumes. It has been prepared by two editors working at Portuguese and Spanish universities who are both leading scholars of the works of Cabezón and reflects the latest research findings.


- First scholarly-critical edition of selected works by the leading Spanish organist
- Reflects the latest research findings
- Each volume with a foreword (Ger/Eng) with tips on editorial technique, critical commentary (Ger/Eng) and index of sources

Vorwort:
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Anlass und Konzeption
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Leben
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Werke
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Tabulator
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Cabezóns Tradition
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Hinweise zur Aufführung:
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Metrik
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"Tañer con buen ayre"
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Fingersatz
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Verzierungen und Glosas
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"Semitonía subintelecta"
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Instrument und Registrierung
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Schlusswort
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Abbildungen:
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L. V. de henestrosa. "Libro de cifra nueva para tecla, harpa y vihuela" (1557) Titelblatt
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H. de Cabezón. Obras de Música para tecla, arpa y vihuela, de Antonio de Cabezón" (1578) Titelblatt
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Composer / Author:
Cabezón, Antonio de
52. Canción glosada "Je file quand Dieu" (Philip Van Wilder)
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Antonio de
53. Canción glosada "Au joly boys" (Johannes Lupi)
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Antonio de
54. Canción glosada "Ayme qui vouldra" (Nicolas Gombert)
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Antonio de
55. Canción glosada "Triste départ" (Nicolas Gombert)
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Hernando de
56. Canción glosada "Pis ne me peult venir" (Thomas Crecquillon)
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Hernando de
57. Canción glosada "Susane un jour" (Orlandus Lassus)
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Antonio de
58. Canción glosada " Qui la dira" (Adrian Willaert)
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Antonio de
59. Canción glosada "Ardenti miei sospiri" (Philippe Verdelot)
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Antonio de
60. Diferencias sobre "Las Vacas"
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Antonio de
61. Diferencias sobre "La Pavana Italiana"
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Antonio de
62. Diferencias sobre "La Gallarda Milanesa"
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Antonio de
63. Diferencias sobre "El Canto Ilano del Caballero"
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Antonio de
64. Diferencias sobre "La Pavana Italiana"
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Antonio de
65. Diferencias sobre "La dama le demanda"
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Antonio de
66. Diferencias sobre "Quién te me enojó Isabel"
Instrumentation:
Orgel, Klavier, Cembalo
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Composer / Author:
Cabezón, Antonio de
67. Glosa sobre "Dont vient cela" (Claudin de Sermisy)
Instrumentation:
Orgel, Klavier, Cembalo
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Krititscher Bericht:
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I. Abkürzungen
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II. Zur Editionstechnik
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III. Quellen
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IV. Einzelnachweise
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Bibliographie