Cabezón: Glosados, Diferencias, Tientos

Antonio de Cabezón: Glosados, Diferencias, Tientos
Trio Unda Maris
La mà de guido 2014


  1. Discante sobre la pavana italiana (harpsichord, recorder, viol, percussion)
  2. Diferencias sobre la gallarda milanesa (harpsichord, recorder, viol, vihuela, percussion)
  3. Tiento X del primer tono (organ)
  4. Diferencias sobre El canto del caballero (harpsichord)
  5. Tiento IV Qui la dira (after Willaert; harpsichord)
  6. Durmendo un jorno (after Verdelot; harpsichord, recorder, viol)
  7. D'ou vient cela (after Sermisy?; harpsichord)
  8. Ancol que col partire (after Rore; harpsichord, recorder, viol)
  9. Tiento XI Cum Sancto (clavichord)
  10. Benedictus de la missa del hom arme (after Josquin; clavichord)
  11. Tiento IX del quinto tono (organ)
  12. Hierusalem luge (after Richafort; organ, recorder, viol)
  13. Tiento V del segundo tono (harpsichord)
  14. Hernando de Cabezón: Susana un jur (after Lassus; harpsichord, recorder, viol)
  15. La dama le demanda (organ, recorder, viol, vihuela, percussion)
  16. Pavana con su glosa (organ, recorder, viol, vihuela, percussion)
  17. Juan de Cabezón: Quien llamó al partir partir (harpsichord, recorder, viol)
  18. Juan de Cabezón: Pues a mi desconsolado (clavichord)
  19. Diferencias sobre la pavana italiana (clavichord)
  20. Por un plasir (after Thomas Crecquillon; harpsichord)
  21. Je suis ayme (after Crecquillon; harpsichord, viol)
  22. Un gai bergier (after Crecquillon; harpsichord, recorder)
  23. 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 His work went unpublished in his lifetime, but was ultimately published in Madrid by his son Hernando in 1578.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)

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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Todd M. McComb