Hi Jim, I only recently rejoined the LSA so I don't have any jounals from 2004. If you and others could provide information on availability of Cabezon's works I'd greatly appreciate it.
I know very little about Cabezon other than what I read in Reese's "Music in the Renaissance" that piqued my interest: The contents of Cabezon's Obras resemble those of the earlier tablature, but the quality is of a different order. Cabezon's mastery is everywhere apparent. Within a miniature frame it is found in the versillos - brief settings of the psalm-tones - each of which is a perfect gem. In one such set, the Versillos del primer tono, the plainchant appears successively in the soprano, alto, tenor and bass, accompanied each time by new polyphony. Formal balance on a grander scale is found in the tientos, which, in breadth and invention, surpass all other Spanish essays in this form. In richness of texture they are comparable to the fantasias of Fuenllana; the resources of the keyboard, however, allow a greater polyphonic unfolding than is possible on the technically more limited vihuela. Still another aspect of Cabezon's art is found in the diferencias, which were evidently an outgrowth of the older examples for vihuela. Equal in variety and freshness to those of Narvaez, the diferencias of Cabezon are further unified by one variation's proceeding without break to the next, thereby creating continuous music. Thanks and regards, David James A Stimson wrote: > > >Dear David and All: > The Cabezon tiento you intabulated is the same piece that I published in >the LSA Quarterly last year. > So far I've arranged about 20 Cabezon pieces, including at least one >tiento in each of the eight church modes. They seem to fit the vihuela >remarkably well for pieces written by a blind keyboardist. >Cheers, >Jim > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > >
