Cabezón: Glosados, Diferencias, Tientos
- Antonio de Cabezón: Glosados, Diferencias, Tientos
- Trio Unda Maris
La mà de guido 2014
Contents:
- Discante sobre la pavana italiana (harpsichord, recorder, viol,
percussion)
- Diferencias sobre la gallarda milanesa (harpsichord, recorder,
viol, vihuela, percussion)
- Tiento X del primer tono (organ)
- Diferencias sobre El canto del caballero (harpsichord)
- Tiento IV Qui la dira (after Willaert;
harpsichord)
- Durmendo un jorno (after Verdelot;
harpsichord, recorder, viol)
- D'ou vient cela (after Sermisy?;
harpsichord)
- Ancol que col partire (after Rore;
harpsichord, recorder, viol)
- Tiento XI Cum Sancto (clavichord)
- Benedictus de la missa del hom arme (after
Josquin; clavichord)
- Tiento IX del quinto tono (organ)
- Hierusalem luge (after Richafort;
organ, recorder, viol)
- Tiento V del segundo tono (harpsichord)
- Hernando de Cabezón: Susana un jur (after
Lassus; harpsichord, recorder, viol)
- La dama le demanda (organ, recorder, viol, vihuela,
percussion)
- Pavana con su glosa (organ, recorder, viol, vihuela,
percussion)
- Juan de Cabezón: Quien llamó al partir partir
(harpsichord, recorder, viol)
- Juan de Cabezón: Pues a mi desconsolado (clavichord)
- Diferencias sobre la pavana italiana (clavichord)
- Por un plasir (after Thomas Crecquillon; harpsichord)
- Je suis ayme (after Crecquillon; harpsichord, viol)
- Un gai bergier (after Crecquillon; harpsichord, recorder)
- Je fille quanile medona (after Philip van Wilder; organ,
recorder, viol, vihuela, percussion)
Performers: Eduard Martínez (harpsichord, organ, clavichord),
Joan Vives (recorder), Jordi Comellas (viol), Ferran Quiroga
(vihuela), Míriam López (percussion)
Playing time: 60'
Recording date: September 1995
Antonio de Cabezón (1510-1566) is one of the clear pioneers
in the field of idiomatic instrumental music and variation technique.
Blind, and an organist by profession, he still managed to travel
widely and even as far as England (where, in all probability, he
influenced Byrd). His work went
unpublished in his lifetime, but was ultimately published in Madrid
by his son Hernando in 1578.
Although this repertory is usually seen strictly as keyboard
music, the present performers have adopted a more expansive
orchestration in keeping with other contemporary practices (such
as that scored by Ortiz). Parenthetical
composers above are those who wrote the original themes on which
Cabezón wrote variations.
Similar programs:
- Cabezón: Obras de Musica
- Doulce Memoire - Denis Raisin Dadre
Ricercar 335
- Canto a mi caballero
- The Tradition of Antonio de Cabezón
Capriccio Stravagante - Skip Sempé
Astrée 8651
- Cabezón: Tientos y Glosadas
- Ensemble Accentus - Thomas Wimmer
Naxos 8.554836
- Spanische Instrumentalmusik zur Zeit Karl V
- Hespèrion XX - Jordi Savall
EMI "Reflexe" 067 270 385
(LP)
A notable recording on harp:
- Pour un plaisir
- Intabulations by Antonio de Cabezón and his contemporaries
Véronique Musson-Gonneaud
Brilliant Classics 94351
Finally, a recording featuring a different ensemble with the
same name:
- Aý Luna
- Música española del Siglo de Oro
Guillemette Laurens / Unda Maris
Alpha 064
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To FAQ references to this recording.
To FAQ CD index page.
Todd M. McComb