Antonio de Cabezón, Vol. 3

Antonio de Cabezón, Vol. 3
Obras de Música para tecla, arpa y vihuela
Harmonices Mundi / La Moranda - Claudio Astronio
Stradivarius Dulcimer 33451


    Comiençan los hymnos

  1. Ave maris stella (winds)
  2. Ave maris stella (organ)
  3. Ave maris stella (winds)
  4. Ave maris stella (organ)
  5. Veni creator (regal)
  6. Christe redemptor (organ)
  7. Ut queant laxis (strings)
  8. Christe redemptor (organ)
  9. Pange lingua (strings)
  10. Otra pange lingua (harpsichord)
  11. Pange lingua de Urreda (organ)
  12. Motetes de a cuatro II

  13. Osana de la missa del home arme (organ)
  14. Benedictus de la missa del home arme Jusquin (regal)
  15. Avemaristela (strings)
  16. Beata viscera Mariae (organ)
  17. Cum sancto spiritu de Beata Virgine (organ)
  18. Comiençan quatro Kiries de cada tono

  19. Quatro Kiryes de nuestra Señora (winds)
  20. Quatro Kiryes del primer tono (organ)
  21. Quatro Kiryes del segundo tono (regal)
  22. Quatro Kiryes del tercer tono (organ)
  23. Quatro Kiryes del cuarto tono (strings)
  24. Quatro Kiryes del sexto tono (organ)
  25. Quatro Kiryes del séptimo tono (regal)
  26. Quatro Kiryes del quinto tono (organ)

Performers: Alessandro Ciccolini (violin), Patrizio Focardi (violin), Vania Pedronetto (viola), Rosario Di Meglio (tenor viola), Wally Pituello (cello), Claudio Astronio (organ, regal, harpsichord), Marie Garnier (cornets), Paco Rubio (cornet), Stefan Legée (sackbut), Jean-Marie Bonche (sackbut), Pascal Gonzales (sackbut)

Playing time: 64'

Recording date: 1997

This recording was bizarrely entitled "Sacred Choral Music, Volume 1" by the US distributor, despite a cover shot in their own release catalog showing otherwise. This is obviously totally incorrect, but has made its way into retail databases. It is a particularly striking example of the silly practice of distributors attempting to translate titles into English without the slightest idea what they're talking about.

The actual program continues directly where the previous one left off, and includes an interesting discussion of how Reformation politics may have affected Cabezón's work. The settings themselves continue to be transcriptions of vocal polyphony by other composers, sometimes poorly attributed, or Cabezón's own harmonizations of plainchant. In the latter case, different settings are harmonized in different ways.

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Todd M. McComb