131:
36:
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499:, alternating between imitative counterpoint and non-imitative sections. Usually there are three or four themes, and the first to be presented is also the most developed. The non-imitative parts frequently employ techniques unusual for the genre at the time: extended duets, motifs transforming into ostinato patterns. Twelve more tientos appear in
612:. All of the variation sets begin with the first variation, assuming the theme is already known to the listener, and connects individual variations using free transitions, thus frequently making analysis of the structure complicated. Cabezón uses numerous techniques, such as a migrating and/or heavily ornamented
329:(Madrid, 1578). Together these collections contain some 275 pieces, most for organ or other keyboard instruments. Cabezón also composed instrumental music for plucked string instruments and ensembles, and vocal music, but only a single vocal piece survives:
254:
for Felipe on his journeys. On 19 July 1546 Cabezón's brother Juan, also an organist and composer, was appointed musician in the royal chapel of Prince Felipe. Since the late 1540s
Antonio and Juan both accompanied Felipe on his various trips, and visited
207:
and the organ, and he also assumed the position of organist at the chapel
Isabella organized soon after her wedding. The composer remained with the royal family for the rest of his life. Through the court, he met such important composers as
345:, but the actual music is lost, as are, presumably, many other works by the composer. A good keyboard improviser, many works by Antonio de Cabezón transcribed by his son Hernando were "mere crumbs from my father's table".
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118:. Blind from childhood, he quickly rose to prominence as a performer and was eventually employed by the royal family. He was among the most important composers of his time and the first major
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pieces, Cabezón's late tientos use smaller note values, have a tendency towards longer and more characteristic subjects, and many of their features anticipate the music of the
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are ordered according to polyphonic complexity, starting with the simpler four-part pieces and culminating with six-part ones. They are based on works by composers such as
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491:(an improvisatory prelude or, at a later stage of development, a strict imitative composition). Twenty-nine tientos by Cabezón survive. Fourteen appeared in
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jointly with his mother, the first time the crowns of
Castile and Aragon were united under the same king. After the death of his paternal grandfather,
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203:, further strengthening his position in Spain. It was Isabella who employed Cabezón into her service in 1526. His duties included playing the
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399:, a four-voice setting, four parts (on the same chant: Kyrie, Kyrie, Christe, Kyrie rather than the expected even verses K-Chr-Chr-K)
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503:: six from an earlier period in Cabezón's career, and six late works. While the earlier pieces are similar in many respects to the
325:(Alcalá de Henares, 1557). However, the bulk of his compositions was published posthumously by his son Hernando in a volume titled
181:
135:
290:(1541–1602) became a composer, and it was through his efforts that the bulk of Antonio's oeuvre was preserved. Another son,
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Cabezón's variations are one of the earliest high points of the genre, and presumably influenced
English composers such as
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158:. Nothing is known about his formative years. He became blind in early childhood, and he may have been educated at the
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250:). In 1543 Felipe became Regent of Spain, and he made Cabezón his court organist. Cabezón's duties included playing a
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was a polyphonic form of instrumental music that originated in the
Iberian peninsula, and has been linked to both
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616:. The models are taken from popular Spanish songs, dance forms, and established melodic-harmonic frameworks.
409:, seven four-voice settings, all in four parts (Kyrie, Christe, Christe, Kyrie); the original source places
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Practically nothing is known about Cabezón's personal life. He married one Luisa Nuñez de Mocos from
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is represented by the nine sets of Kyrie verses for organ. These fall into the following groups:
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230:(chamber musician) to Charles (who as a child was educated in music by the noted organist
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by the organist there, García de Baeza. At the time, the country was slowly entering its
234:). After Isabella's death in 1539, Cabezón was appointed music teacher to her children:
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A dictionary-index of musicians (eds. F. H. Martens, M. W. Cochran, and W. D. Darby)
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294:(who died before 1564), became a chorister of the royal chapel. Cabezón died in
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100:, where Cabezón probably received his music education from one García de Baeza
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Isabella of
Portugal, queen consort of Charles V, Cabezón's first patron.
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Enciclopedia
Universal Ilustrada Hispanoamericana. Madrid, Espasa Calpe.
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and are more or less similar to most such compositions of the period.
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While French and
Italian organists of the time frequently composed
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A few of Cabezón's works appeared in print during his lifetime in
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246:(Maria would later become the most important patron of composer
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271:(in 1554–56), where Antonio's variations may have influenced
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comprises 32 hymns and three collections of versets for the
840:
Jambou, Louis (2001). "Cabezón. 1. Antonio de Cabezón". In
286:, and the couple had five children. One of Antonio's sons,
586:
Diferencias sobre el villancico De quién teme enojo Isabel
341:
by Cabezón is contained in a 1611 inventory of music from
824:. Translated by Hans Tischler. Indiana University Press.
215:, known today for his advanced polyphonic fantasias, and
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A generous number of editions from Obras and
Henestrosa
519:
Nine sets of variations (in
Spanish tradition called
196:
and one of the most powerful monarchs in the world.
736:. New York: National Society of Music. p. 74.
375:—prescribed prayers of the daily round. Music for
851:The New Grove Dictionary of Music and Musicians
834:Geschichte der Orgel- und Klaviermusik bis 1700
464:in upper, bass and inner voices for each tone)
107:(30 March 1510 – 26 March 1566) was a Spanish
672:performed on a harpsichord by Robert Schröter
192:, and later went on to become Emperor of the
8:
887:Obras de musica para tecla, arpa y vihuela
495:: these works are all written out in long
327:Obras de música para tecla, arpa y vihuela
904:International Music Score Library Project
80:Learn how and when to remove this message
560:Diferencias sobre el canto del Caballero
357:, in Spain this practice was limited to
223:, was examined and approved by Cabezón.
43:This article includes a list of general
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554:Diferencias sobre la Gallarda milanese
184:, in 1519, Charles also inherited the
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574:La Dama le demanda (6 variations on
566:Diferencias sobre la Pavana italiana
487:(an improvisatory prelude) and the
470:(7 Magnificat verses for each tone)
335:Cancionero de la Casa de Medinaceli
998:People from the Province of Burgos
704:Problems playing these files? See
367:. Consequently, most of Cabezón's
49:it lacks sufficient corresponding
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910:Free scores by Antonio de Cabezón
900:Free scores by Antonio de Cabezón
993:Spanish male classical composers
893:- Biblioteca Nacional de España
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930:Cancioneros Musicales Españoles
891:(click "View options" JPG icon)
390:("Mass IV") chant in the tenor.
836:by Bärenreiter-Verlag, Kassel.
730:Mason, Daniel Gregory (1917).
279:, who later took up the form.
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988:Spanish Renaissance composers
693:performed on a clavichord by
572:Diferencias sobre el canto de
27:Spanish composer and organist
914:Choral Public Domain Library
968:Spanish classical organists
592:Diferencias sobre las Vacas
540:Diferencias sobre las Vacas
468:Salmodia para el Magnificat
434:Salmodia para principiantes
371:music was intended for the
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832:. Originally published as
598:Otras diferencias de Vacas
413:last, possibly by mistake.
319:Luis Venegas de Henestrosa
226:In 1538, Cabezón was made
978:Blind classical musicians
943:Discografia – Paola Erdas
580:La Belle qui tiens ma vie
417:Cabezón's music for the
199:In 1525, Charles married
973:Male classical organists
854:(2nd ed.). London:
407:, segundo, septimo tono
148:Castrillo Mota de Judíos
384:Kyrie de Nuestra Señora
331:Invocación a la letanía
172:was proclaimed King of
64:more precise citations.
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349:Liturgical organ music
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248:Tomás Luis de Victoria
221:Arte de tañer fantasía
150:, a municipality near
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624:The intabulations in
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983:Spanish blind people
856:Macmillan Publishers
493:Libro de cifra nueva
323:Libro de cifra nueva
217:Tomás de Santa María
201:Isabella of Portugal
168:. On 14 March 1516,
146:Cabezón was born in
800:Apel 1972, 190–191.
791:Apel 1972, 188–189.
658:Canto del Caballero
288:Hernando de Cabezón
228:músico de la cámara
122:keyboard composer.
926:Antonio de Cabezón
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531:) are included in
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298:on 26 March 1566.
292:Agustín de Cabezón
267:(in 1548–49), and
160:Palencia Cathedral
154:, in the north of
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105:Antonio de Cabezón
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98:Palencia Cathedral
18:Antonio de Cabezon
865:978-1-56159-239-5
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634:Orlande de Lassus
448:Fabordon y glosas
440:on each of the 8
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880:Sheet music
818:Apel, Willi
695:Joan Benson
525:diferencias
497:note values
442:psalm tones
427:Magnificats
411:quinto tono
109:Renaissance
62:introducing
952:Categories
937:Recordings
714:References
706:media help
679:Duuiensela
515:Variations
403:Kyries de
369:liturgical
205:clavichord
182:Maximilian
165:Golden Age
45:references
521:discantes
462:divisions
454:faburdens
438:versillos
333:, in the
210:vihuelist
188:lands in
170:Charles V
70:July 2022
848:(eds.).
820:. 1972.
511:period.
489:ricercar
186:Habsburg
136:Portrait
116:organist
112:composer
912:in the
906:(IMSLP)
902:at the
509:Baroque
475:Tientos
456:with 3
363:on the
269:England
265:Germany
190:Austria
176:and of
174:Castile
120:Iberian
58:improve
862:
828:
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576:Arbeau
529:glosas
481:tiento
458:glosas
423:psalms
405:primer
360:versos
296:Madrid
178:Aragon
152:Burgos
140:Titian
47:, but
928:, at
640:Media
527:, or
394:Tema
365:Kyrie
302:Works
284:Ávila
257:Italy
240:Maria
156:Spain
895:info
860:ISBN
826:ISBN
768:ISBN
632:and
608:and
479:The
450:tono
377:Mass
339:mass
275:and
244:Joan
242:and
126:Life
114:and
96:The
578:'s
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