Cabezón: Obras de Música

Cabezón: Obras de Música para Tecla...
Enrico Baiano
Symphonia 98156


  1. Pisne me pulvenir (Crecquillon)
  2. Susane (Lassus)
  3. Ad Dominum com Tribulatur
  4. Un gay bergier (Crecquillon)
  5. Tiento VII del quarto tono
  6. Ancol que col partire (Rore)
  7. Diferencias sobre la Pavana Italiana
  8. Ultimi mei suspiri (Verdelot)
  9. Je pres en grey (Crecquillon)
  10. Aiuli vous sola verdura (Lupus)
  11. Diferencias sobre el canto llano del caballero
  12. Tiento IX del quinto tono
  13. Tiento I del segundo tono
  14. Duvinsela (Crecquillon)
  15. Diferencias sobre la Galliarda milanesa
  16. Tiento IV sobre "Qui la dira"
  17. Qui la dira (Willaert)
  18. Tiento III del primer tono
  19. Tiento XII sobre el Cum Sancto Spiritu de Beata Virgine de Josquin
  20. Tiento VIII del octavo tono
  21. Por un plasir (Crecquillon)
  22. Pange lingua IV
  23. Diferencias sobre guárdame las vacas

Instrument: Harpsichord, Ugo Casiglia (Palermo, 1993) after Giusti (1693)

Playing time: 75'

Recording date: March 1998 (Pugnano, Pisa)

Antonio de Cabezón (1510-1566), blind almost since birth, was one of the dominant instrumental composers of the 16th century. His work is all of the highest quality, even though it had to wait for his son Hernando (d.1602) to publish posthumously. The primary printed collection dates from 1578, and supposedly represents only "a few crumbs" from Cabezón's table. The instrumental variation technique is certainly impressive, and basically unprecedented at this level.

Composers given above are those who wrote the original themes which Cabezón used.

Prior to Cabezón, there were of course numerous organ manuscripts written throughout Europe. These were largely anonymous, or consisted primarily of transcriptions, and so Cabezón is known as the first solid historical keyboard composer of definite stature.

This all-harpsichord performance of a range of Cabezón's masterworks is especially welcome. It highlights the three major genres in which Cabezón was an important pioneer: the tiento (or toccata née ricercar), the diferencias or variations, and the vocal glosado or intabulation and diminutions of pre-existing polyphonic sequences.

There is also a very fine recording of Cabezón's music performed on a wider variety of instruments:

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

The first volume in a series devoted to Cabezón's complete works, played primarily on organ:

The instrumental works of Antonio de Cabezón, Vol. 1
Obras de Música para tecla, arpa y vihuela
Claudio Astronio
Stradivarius Dulcimer 33449

Later volumes in this series also make use of instrumental ensembles.

Other recordings on harpsichord:

Cabezón: Complete Tientos and Variations
Glen Wilson
Naxos 8.572475-76 [CDx2]
Antonio de Cabezón: La Tecla de l'Alma
Paola Erdas
Arcana 357

Other recordings featuring organ:

Cabezón: Works for Organ
Hommage to King Charles V
José Luis González Uriol
Motette 12291 (2 CDs)
Cabezón y su glosa
Pièces sacrées et profanes pour avec alternance de plainchant
Frédéric Muñoz / Compagnie musicale catalane - Josep Cabré
XCP 5036

Finally, other recordings by the present performer:

Paradies: Sonatas for Harpsichord
Enrico Baiano
Symphonia 95140
Froberger: Diverse curiose partite per cembalo
Enrico Baiano
Symphonia 96152
D. Scarlatti: Sonatas for Harpsichord
Enrico Baiano
Symphonia 99166
Musica al Tempo di Luca Giordano
Il cembalo nella Napoli del '600
Enrico Baiano
Symphonia 01184
Frescobaldi: Intavolature di Cimbalo
Enrico Baiano
Symphonia 02202

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Todd M. McComb