{"id":2991,"date":"2024-06-04T12:03:21","date_gmt":"2024-06-04T10:03:21","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=2991"},"modified":"2025-07-09T14:29:16","modified_gmt":"2025-07-09T12:29:16","slug":"mdwp003-cabezon","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp003-cabezon\/","title":{"rendered":"Antonio de Cabez\u00f3n at the Centre of the World"},"content":{"rendered":"<h2 class=\"subtitle\">Repertoire, Interpretation and Meaning<\/h2>\n<h3 class=\"author\"><em>Andr\u00e9s Cea Gal\u00e1n<\/em> <a href=\"https:\/\/orcid.org\/0000-0002-5523-6083\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-600\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" alt=\"orcid\" width=\"19\" height=\"19\" \/><\/a><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        blockquote.tsquotation p em {\n            font-style: italic !important;\n        }\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\n        figure {\n            margin: 0;\n        }\n        audio {\n            margin-top: 0.5em;\n        }\n    <\/style>\n<p><\/head><br \/>\n<\/p>\n<p style=\"text-align: left;\"><div class=\"one_half\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-lisbon-shewa-goa\" style=\"color:#000000 !important;\">Previous chapter<\/a><\/span><\/div>\n<div class=\"one_half last\">\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-appendix\" style=\"color:#000000 !important;\">Next chapter<\/a><\/span><\/div><div class=\"clear-fix\"><\/div>\n<div 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id=\"zp-ID-2991-4511395-PGV299HE\" data-zp-author-date='Cea-Gal\u00e1n-2024' data-zp-date-author='2024-Cea-Gal\u00e1n' data-zp-date='2024' data-zp-year='2024' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Cea Gal\u00e1n, Andr\u00e9s. 2024. \u201cAntonio de Cabez\u00f3n at the Centre of the World: Repertoire, Interpretation and Meaning.\u201d In <i>\u2018Universum Rei Harmonicae Concentum Absolvunt\u2019. The Harpsichord in the Sixteenth Century<\/i>, edited by Augusta Campagne and Markus Grassl. mdwPress. <a class='zp-ItemURL' href='https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-10'>https:\/\/dx.doi.org\/10.21939\/harpsichord-16c-10<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=PGV299HE' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><div class=\"toggle-content\"><p>\nAntonio de Cabezo\u0301n (1510\u20131566), as a musician in the service of the Spanish royal court, held a really prominent position that allowed him to come into contact with musicans and players of very diverse origins, not only in Spain but also in Italy, Austria, Germany, the Netherlands and England. In this paper, an overview of his work is presented in the context of European music of his time, together with comments on aspects of the interpretation and meaning of this repertory in the light of historical sources.<br \/>\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">About the Author<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">About the Author<\/span><\/h4><div class=\"toggle-content\"><p>\nOrganist, musicologist, educator and editor, <strong>Andr\u00e9s Cea Galan<\/strong> studied in Spain, France and at the Schola Cantorum Basiliensis. He completed his doctorate at Madrid Complutense University with a dissertation on Spanish keyboard tablatures. His books and articles are devoted to the performance of Spanish music as well as to the history and aesthetics of the organ in Spain. As a music editor, he has published the music of Francisco Fern\u00e1ndez Palero, Sebasti\u00e1n Raval and Juan Cabanilles, among others. As a performer, he is frequently invited to play concerts all around Europe, M\u00e9xico, South-America and Japan, and has also been invited to lecture and teach by international academic institutions. He has recorded for Lindoro, Almaviva, Trit\u00f3, Aeolus and Universal labels. He is the president of the Instituto del \u00d3rgano Hispano (<a href=\"http:\/\/www.institutodelorganohispano.es\">www.institutodelorganohispano.es<\/a>).<br \/>\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#0\">Article<\/a><br \/>\n<a href=\"#1\">Appendix 1<\/a><br \/>\n<a href=\"#2\">Appendix 2<\/a><br \/>\n<a href=\"#3\">Bibliography<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#dcb4aa !important;color:#000000 !important;\"><a href=\"https:\/\/pub.mdw.ac.at\/pubmdw\/publication\/52bccba7-112a-4ab6-8708-774e78d98560\" target=\"_blank\" rel=\"nofollow\" style=\"color:#000000 !important;\">Chapter PDF<\/a><\/span>\n<div class=\"motto\">\n<p style=\"font-family: sans-serif; text-align: right; margin-bottom: 1.2cm;\">Bive agora Antonio el ciego, ta\u00f1edor de la Capilla de la Emperatriz, que en el arte no se puede m\u00e1s exmerar, porque dicen que [ha] hallado el centro en el componer.<a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/p>\n<\/div>\n<p id=\"0\">This article aims to offer an overview of Antonio de Cabez\u00f3n\u2019s music in the European context of his time. Before entering into the relevant aspects of his compositional output, it is necessary to review an important part of Cabez\u00f3n\u2019s life. Only then can any guidelines for the interpretation of his music be presented in light of the most recent research.<\/p>\n<p>As a point of departure, let us consider the words contained in the preface to <em>Obras de m\u00fasica<\/em>, published by Antonio\u2019s son, Hernando, in 1578:<a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/p>\n<blockquote class=\"tsquotation\">\n<p class=\"tsquotation\">And no one was so mad as to not surrender their fantasies to the renowned genius of Antonio de Cabez\u00f3n. This was understood not only in Spain, but also in Flanders and Italy, where he journeyed in the service of our lord the Catholic Monarch King Philip.<a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a><\/p>\n<\/blockquote>\n<p>Evidently, this passage seeks to express the importance and singular nature of Antonio de Cabez\u00f3n as a composer and performer in the European context of his time. Though this description may seem an exaggeration to us, one must bear in mind that during his lifetime, Antonio de Cabez\u00f3n stood at the centre of the world.<\/p>\n<p>It bears emphasising that Antonio de Cabez\u00f3n served as a musician in the Spanish Royal Court over the span of 40\u00a0years, beginning in 1526 at the age of 16 and continuing uninterrupted until his death in 1566.<a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a> During this period, he was in turn in the service of the members of the royal family listed in Tab.\u00a01.<\/p>\n<table style=\"border-collapse: collapse; width: 100%;\">\n<colgroup>\n<col style=\"width: 17%\" \/>\n<col style=\"width: 83%\" \/>\n<\/colgroup>\n<thead>\n<tr class=\"header\" style=\"background-color: lightgrey;\">\n<th colspan=\"2\" style=\"text-transform: none; text-align: left; border: 1px solid black; padding-left: 5px;\">\n<strong>Tab. 1: Antonio de Cabez\u00f3n (1510\u201366) in the service of the Spanish Royal Court<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1526\u201339<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Empress Isabel of Portugal<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1539\u201348<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n<p><em>Infantas<\/em> (princesses) Juana and Mar\u00eda, and Prince Philip,<br \/>alternating every six months with Francisco de Soto<\/p>\n<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1548\u201356<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Prince (later King) Philip II<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1557\u201359<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Prince Carlos (son of Philip II)<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1559\u201366<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">King Philip II<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Empress Isabel of Portugal was the wife of the Holy Roman Emperor Charles\u00a0V, grandson of Maximilian\u00a0I of Habsburg. Isabel acted as regent in the Spanish territories during the long absences of her husband, whose involvement in state affairs required extensive travel. Following the death of the empress in 1539, Cabez\u00f3n went into the service of her daughters Juana and Mar\u00eda of Austria.<\/p>\n<p>Mar\u00eda of Austria married Maximilian\u00a0II of Austria in 1548. Together they succeeded the Empress Isabel as regents in Castille during the continued absences of the emperor, now often accompanied by his own son, Prince Philip. Maximilian and Mar\u00eda left Spain in 1552 for his native Vienna. Following the death of Maximilian in 1576, Mar\u00eda returned to Madrid and retired to the convent of Las Descalzas Reales, an institution founded in 1577 by her sister Juana. Among her retinue there, serving as a chaplain, was the composer Tom\u00e1s Luis de Victoria. Though now relegated to the role of dowager empress, given her status as the widow of Emperor Maximilian, two of her sons, Rudolf and Matthias, would both eventually secure their own election to the imperial throne.<a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a> Furthermore, Mar\u00eda was mother of two rulers of the Low Countries (Ernest and Albert of Austria),<a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a> as well as mother of Maximilian\u00a0III, regent of Austria. Mar\u00eda\u2019s daughter Elisabeth became queen of France by marriage<a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a> and her daughter Ana married her own uncle, Prince Philip, after his accession to the Spanish throne as Philip\u00a0II.<\/p>\n<p>Mar\u00eda of Austria\u2019s younger sister, Juana, married King Jo\u00e2o Manuel of Portugal. Their son would later succeed to the Portuguese throne as Sebasti\u00e2o\u00a0I. Following the death of her husband in 1554, she returned to Spain and assumed a regency for the duration of her brother Philip\u00a0II\u2019s voyage to England to marry Mary Tudor.<\/p>\n<p>Throughout this period, the Spanish court had no fixed residence. As a court musician, Cabez\u00f3n\u2019s travels therefore took him across Europe, where he passed through the many cities listed in Tab.\u00a02.<\/p>\n<table style=\"border-collapse: collapse; width: 100%;\">\n<colgroup>\n<col style=\"width: 100%\" \/>\n<\/colgroup>\n<thead>\n<tr class=\"header\" style=\"background-color: lightgrey; text-align: left;\">\n<th style=\"border: 1px solid black; padding-left: 5px; text-transform: none;\">\n<strong>Tab. 2: Cities in which Antonio de Cabez\u00f3n\u2019s music sounded<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; border-top: 3px solid black; padding-left: 5px;\">1. SPANISH CITIES WHERE ANTONIO DE CABEZ\u00d3N LIVED WITH THE COURT<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Valladolid, Palencia, Burgos, Toledo, Segovia, <strong>Avila<\/strong>, Salamanca, Zamora, Badajoz, Burgo de Osma, Medina del Campo, Tordesillas, Alcal\u00e1 de Henares, Madrid, Lerma, Ar\u00e9valo, Aranda de Duero, Oca\u00f1a, Aranjuez, El Pardo, Torquemada, Villal\u00f3n, Monz\u00f3n, Zaragoza, Barcelona or Valencia, among many others.<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; border-top: 3px solid black; padding-left: 5px;\">2. THE ITINERARY WITH PRINCE PHILIP TO BRUSSELS<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Valladolid (2th October 1548), Zaragoza, Barcelona<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\"><strong>Genoa<\/strong> (25th November 1548), Alessandria, Pavia, <strong>Milano<\/strong>, Malegnano, Lodi, Cremona, Mantova, Villafranca, Rovereto, Trent, Bolzano, Brixen<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\"><strong>Innsbruck<\/strong> (4th February 1549), Munich, Augsburg, Ulm, Heidelberg, Saarbr\u00fccken, Luxemburg, Namur<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\"><strong>Brussels<\/strong> (1<sup>st<\/sup> of March 1549\u201312th July 1549)<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; border-top: 3px solid black; padding-left: 5px;\">3. CITIES VISITED IN THE LOW COUNTRIES WITH PRINCE PHILIP<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Lovain, Dendermonde, Gant, Brugge, Ypres, Bergues, St. Omer, Bethune, Lille, Tournai, Douai, Bapaume, Cambrai, Valenciennes, Le Quesnoy, Binche, Mons, Soignies, Malines, Lier, Amberes, Bergen op Zoom, \u2018s-Hertogenbosch, Gorinchem, Dordrecht, Rotterdam, Delft, \u2018s-Gravenhage, Leiden, Haarlem, Amsterdam, Utrecht, Amersfoort, Harderwijk, Campen, Zwolle, Deventer, Zutphen, Arnhem, Nijmegen, Middelaar, Venlo, Roermond, Weert and Turnhout, among other cities along the way.<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; border-top: 3px solid black; padding-left: 5px;\">4. ITINERARY OF THE RETURN TO SPAIN WITH PRINCE PHILIP<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\"><strong>Brussels<\/strong> (26th October 1549\u20137th June 1550), Aachen, K\u00f6ln, <strong>Augsburg<\/strong> (8th July 1550\u201325th May 1551), Genoa, Barcelona (12th July 1551)<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; border-top: 3px solid black; padding-left: 5px;\">5. TRIP TO ENGLAND WITH PRINCE PHILIP<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Tordesillas, Santiago de Compostela, La Coru\u00f1a (13th June 1554), Southampton (24th July), Winchester, <strong>London<\/strong> and other Tudor residences (mid-August 1554\u2013August 1555), <strong>Brussels<\/strong> (September 1555\u2013January 1556). Antonio de Cabez\u00f3n returned to \u00c1vila (Spain).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>From 1548, Cabez\u00f3n was in the exclusive service of Prince Philip. This decision was taken at the start of the prince\u2019s journey to Italy, Austria and Germany, where he was to be presented as the successor to the Spanish crown in the Low Countries.<a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a> As a member of the entourage, Cabez\u00f3n departed from Valladolid on the 2<sup>nd<\/sup> of October 1548 (Tab.\u00a02). Travelling via Zaragoza and Barcelona, their fleet of one hundred ships was received in Genoa by Admiral Andrea Doria himself. From Genoa, they travelled on through Milan, Cremona, Mantua, Rovereto and Trent. They crossed the Alps via Bolzano and Brixen, arriving in Innsbruck in early February of 1549. Here the entourage was received by Ferdinand\u00a0I, the regent of Austria and Prince Philip\u2019s uncle. They continued on through Munich, Augsburg, Ulm, Heidelberg, Luxembourg and Namur, arriving in Brussels on the 1<sup>st<\/sup> of March 1549, six months after their departure from Spain. Prince Philip finally joined his father, the Emperor Charles, as well as the Emperor\u2019s two sisters, Queen Mary of Hungary and Queen Eleanor of France. After an initial four-month stay in Brussels, the retinue (Cabez\u00f3n ever present in the roster) visited the most important cities in Flanders and Holland, which were ready to acknowledge Philip as the apparent heir to the throne. This trip, along the cities listed in Tab.\u00a02, took more than three months. They then returned to Brussels and remained for another seven months, finally departing at the beginning of June 1550. Thus, Cabez\u00f3n spent a total of fourteen months in the Low Countries in the course of this journey.<\/p>\n<p>On the 7th of June of 1550, Philip and his father, accompanied by their respective entourages, departed for Augsburg via Aachen and Cologne. There they were hosted by the Fugger family and attended the Diet of the Holy Roman Empire. Its main agenda at the time was to contain the spread of Protestantism in Europe. Their stay in Augsburg lasted more than ten months: from the 8th of July 1550 to the 25th of May 1551.<a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a> They finally returned to Spain via Genoa in July 1551. In total, Cabez\u00f3n\u2019s journey in the service of the prince lasted two years and eight months.<\/p>\n<p>Just three years later, Cabez\u00f3n again accompanied Philip on his journey to England to marry Queen Mary Tudor. They departed from Spain on the 13th of June 1554, this time with a fleet of 125\u00a0ships, arriving in Southampton 41\u00a0days later. The princely court settled in Winchester, where the wedding was celebrated in the cathedral. Their arrival in London was delayed until mid-August, where they remained for one year until August 1555, when Philip departed to Brussels for a third visit. Cabez\u00f3n spent another four and a half months there before he was granted permission to return to Spain. His brother Juan de Cabez\u00f3n, also a member of the Spanish Royal Chapel since 1546, continued in the Prince\u2019s service.<\/p>\n<p>Thus, Cabez\u00f3n spent a total of four years and five months of his life away from Spain, with long stays in Brussels (more than fifteen months), Augsburg (more than ten months) and London (one year) and punctuated by visits to many important cities in Italy, Austria, Germany, the Low Countries, England.<\/p>\n<p>It is worth noting, that in addition to other ceremonies, the sung Catholic mass was celebrated daily by the Spanish Royal Chapel in each and every one of the cities they visited. No doubt local musicians participated in many of these ceremonies, religious or otherwise. The frequency and variety of these occasions provided a rich meeting place for Cabez\u00f3n and a diverse array of musicians, an environment in which he would have encountered many different repertoires and styles of playing. Given his official role as a court organist, he would surely have been able to listen to and perhaps even play many of the organs of the churches in which the Royal Chapel heard and celebrated mass.<a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a><\/p>\n<p>Philip remained abroad until 1559. Back in Spain, Antonio de Cabez\u00f3n spent the next two years in the service of Philip\u2019s son Prince Carlos in Valladolid, after one year\u2019s leave of absence in his hometown in \u00c1vila to marry Luisa Nu\u00f1ez. When Philip returned to Spain to rule, Cabez\u00f3n returned to his service. At this time, the members of the now defunct Emperor\u2019s Flemish Chapel were incorporated into the Spanish Chapel in Madrid, thus strengthening and consolidating the pre-existing musical exchange between these two professional institutions.<a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a><\/p>\n<p>As far as the context of Antonio de Cabez\u00f3n\u2019s professional life is concerned, the most thorough analysis can be found in the work of the musicologist Macario Santiago Kastner. His research seeks to establish concrete connections between Cabez\u00f3n and the numerous musicians whom he would have been able to meet, both in Spain and abroad. He notes, for example, Cabez\u00f3n\u2019s possible influence on Peter Paix, the organist of the Fugger family in Augsburg. This hypothesis is based on the appearance of the first description of the use of both thumbs in the context of German keyboard music, in the writings of Jacob Paix, Peter\u2019s son.<a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a> This practice had been an integral facet of keyboard technique in Spain since the middle of the 16th century, if not earlier. Kastner also notes the presence of a copy of Antonio de Cabez\u00f3n\u2019s <em>Obras de m\u00fasica<\/em> in the library of Wolfenb\u00fcttel, signed by Gregor Aichinger, an organist and composer active in Augsburg. For Kastner, these facts point to a probable diffusion of Cabez\u00f3n\u2019s music in the region.<a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a> Moreover, Kastner points out that Cabez\u00f3n\u2019s visit to London coincides with Thomas Tallis\u2019s duties in the English capital, when he was employed by the Chapel Royal under Mary Tudor. He also speculates on the possibility of a meeting between Cabez\u00f3n and Tallis\u2019 student William Byrd (who was at this time about fourteen years old), and thus suggests Cabez\u00f3n\u2019s variations as a model for the style of the English virginalists.<a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a> Appearing some years after Willi Apel\u2019s publication \u2018Neapolitan links between Cabez\u00f3n and Frescobaldi\u2019, Kastner\u2019s observations are part of a well-established line of research into the probable connections between Cabez\u00f3n and other national schools of composition.<a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a><\/p>\n<p>We could add some more data to those connections. The presence of <em>Obras de m\u00fasica<\/em> in France, for example, can be traced back to a reference by Pierre Trichet in his <em>Trait\u00e9 des instruments<\/em> (c.\u00a01640). In 1586, only eight years after the publication of <em>Obras de m\u00fasica<\/em>, at least seven copies of the book were sent to colonial Mexico. Likewise, two of the extant exemplars preserved in Brussels and Washington D.C. attest to the presence of Cabez\u00f3n\u2019s music in Portugal.<a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a> One can also imagine Antonio de Cabez\u00f3n hearing and likely playing the organ of the cathedral church of Notre-Dame in Saint-Omer. Jehan Titelouze was born there in 1562 and later took up his first post as organist in this very church. Also noteworthy is Cabez\u00f3n\u2019s visit to the Oude Kerk in Amsterdam, which at this time boasted two organs. Jan Pieterzoon Sweelinck began his illustrious career as city organist associated with this church in 1577. Even more intriguing is the meeting in Brussels between Peter Phillips, Peter Cornet and John Bull in the immediate wake of Cabez\u00f3n\u2019s 18\u00a0month stay in this city.<\/p>\n<p>Unfortunately, it is difficult to draw any solid conclusions about these relationships and possible influences in the absence of both concrete documentary references and of any surviving music by many of the musicians whom Cabez\u00f3n would have encountered (especially those attached to the courts of Brussels and London and to the city of Augsburg). What is known for certain, however, is that having heard and probably played a great many instruments in the course of such widespread travels across Europe, Cabez\u00f3n proposed to engage a Flemish organ builder when the construction of new organs became an imperative for the Royal Chapel in Madrid.<a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a> In particular, he put forward the name of Jean Crinon, who had built not only the organ of St-Omer mentioned above (later played by Titelouze), but also several other important instruments which he would have known in Brussels, at least from their regular use at state occasions. Crinon declined the royal invitation to work in Spain, because he was already busy with a number of important commissions in Flanders, and by this time, also surely because of his advanced age. These circumstances paved the way for the appearance of Gilles Brebos in the context of organ building in Spain.<a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a> Brebos was commissioned to carry out the most important organ project in 16th century Europe: four large organs for the Basilica of the Monastery at El Escorial. In addition, he provided a variety of smaller instruments, both for the monastery itself and for other institutions associated with the Spanish Royal Court.<a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a><\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>All things considered, Antonio de Cabez\u00f3n\u2019s most important legacy is his music, which still speaks to us eloquently five centuries after its creation. The printed sources account for a total of at least 282\u00a0compositions, of which 157 are brief versets or <em>fabordones.<\/em> A further 125\u00a0pieces can be considered major works. The composition of one vocal piece has been attributed to the period of his stay in England.<a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a> Not included in this account are a number of pieces probably by Cabez\u00f3n, but without any indication of authorship. These are the anonymous pieces published in the <em>Libro de cifra nueva<\/em> of 1557<a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a> and the pieces marked <em>Ca<\/em> or <em>A.C<\/em>. in the Coimbra manuscript (P-Cug MM\u00a0242).<a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a> Also excluded are pieces by other composers which have been misattributed to Cabez\u00f3n.<a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a><\/p>\n<p>As presented in Tab.\u00a03, the preserved repertoire is remarkable for its quantity and in its variety. These qualities led Willi Apel to define Antonio de Cabez\u00f3n as an exception in the panorama of 16th-century European keyboard music, since his output includes examples that represent the full range of genres and styles used by the musicians of his time.<a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a> In absolute terms, because of the large amount of surviving music, he occupies a position among Renaissance composers of keyboard music which is similar to that of Francesco da Milano in the field of lute music.<\/p>\n<table style=\"border-collapse: collapse; width: 100%;\">\n<colgroup>\n<col style=\"width: 36%\" \/>\n<col style=\"width: 20%\" \/>\n<col style=\"width: 20%\" \/>\n<col style=\"width: 22%\" \/>\n<\/colgroup>\n<thead>\n<tr class=\"header\" style=\"background-color: lightgrey; text-align: left;\">\n<th colspan=\"4\" style=\"border: 1px solid black; padding-left: 5px; text-transform: none;\">\n<strong>Tab. 3: Pieces by Antonio de Cabez\u00f3n preserved in printed sources<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\"><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1557<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1578<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Total<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Tientos<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">15<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">12<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">27<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Hymns<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">17<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">20<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">37<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Versets<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">&#8211;<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">124<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">124<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Fabordones<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">32<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">33<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Intabulations<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">&#8211;<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">42<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">42<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Diferencias<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">3<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">9<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">12<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Others<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">3<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">4<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">7<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Total<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">39<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">241<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">282<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Although all of the <em>tientos<\/em> by Cabez\u00f3n printed in 1557 and half of those published in 1578 generally fit the <em>ricercar<\/em> or the <em>fantasia<\/em> models,<a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a> six <em>tientos<\/em> in <em>Obras de m\u00fasica<\/em> exhibit considerable originality at many levels. Commenting on these six pieces, Willi Apel writes that each of them, \u2018is a master-piece, and has individual features and many remarkable and captivating details\u2019.<a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a> Combining imitative sections with others based on <em>fabourdon<\/em> techniques, they anticipate the toccata style, a genre whose nascent features scarcely appear in any other keyboard repertoire before Cabez\u00f3n\u2019s death in 1566. Of the six, Apel believes that it is the <em>Tiento de primer tono<\/em> which \u2018represent[s] the climax of Cabez\u00f3n\u2019s works\u2019.<a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a> In many respects, the style achieved by Cabez\u00f3n in these pieces not only predates the style developed in the <em>tientos<\/em> of Aguilera de Heredia, Correa de Arauxo or Rodrigues Coelho in Spain, but also exhibits many of the techniques explored in the fantasias of Sweelinck and Pieter Cornet.<a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a><\/p>\n<p>With regard to the hymn settings, Willi Apel likewise observes that, \u2018no organ master crystallised this [cantus firmus] style so purely, filled it so perfectly with content, as Cabez\u00f3n\u2019.<a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a> Many extraordinary passages in these pieces confirm a unique approach to diminution. For those hymns in which Cabez\u00f3n places the melody as a <em>cantus firmus<\/em> in the bass<em>,<\/em> the resulting texture heralds the style adopted by Titelouze for each of the opening versets of his own <em>Hymnes,<\/em> published in 1623. Among other conspicuous outliers is a singular <em>Pange lingua<\/em> composed in <em>protus<\/em> mode, with the cantus firmus maintained in <em>tritus<\/em>.<\/p>\n<p>No less remarkable is Cabez\u00f3n\u2019s collection of <em>diferencias<\/em> (variations). Among them, the <em>Diferencias sobre el canto llano del caballero<\/em> is an elaboration of the cantus firmus of the Gombert chanson \u2018Dezilde al cavallero\u2019, presented successively in the sopran, tenor, altus and bass. This same technique is found in the work of later composers, including in that of Sweelinck and Titelouze. Cabez\u00f3n\u2019s other <em>diferencias<\/em> are developed as variations on a ground, but with incessant reference to the original melodies. Among these, three are clearly constructed adhering to Italian dance forms: <em>Discante sobre la pavana italiana<\/em>, <em>Diferencias sobre la Gallarda milanesa<\/em> and <em>Diferencias sobre la pavana italiana<\/em>. The <em>Diferencias sobre el canto de La Dama le demanda<\/em> is simply another version of the same Italian pavan, a piece later reproduced by Thoinot Arbeau in the <em>Orch\u00e9sographie<\/em> of 1588. From this collection, the <em>Discante sobre la pavana italiana<\/em> (Appendix\u00a01) emerges as a highly significant piece, for it became a model reused by John Bull, Sweelinck<em>,<\/em> Scheidt, Thomas Robinson, Alfonso Ferrabosco, Michael Praetorius and many other European composers, who often acknowledged its provenance with such titles as <em>Spanish pavan<\/em> or <em>Pavana hispanica.<\/em><a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a><\/p>\n<p>Three pieces in <em>Obras de m\u00fasica<\/em> are based on the ground of <em>Las Vacas<\/em>, a Hispanic variant of the Romanesca<em>.<\/em> However, it is the <em>Diferencias sobre el villancico de quien te me enoj\u00f3 Isabel<\/em> that stand out as the most remarkable of Cabez\u00f3n\u2019s variations (Appendix\u00a02). As has already been expressed in an article,<a href=\"#fn31\" class=\"footnote-ref\" id=\"fnref31\" role=\"doc-noteref\"><sup>31<\/sup><\/a> this piece comes down to us in a corrupted version. This is probably due to the fact that Cabez\u00f3n\u2019s son Hernando copied and published his father\u2019s music from incomplete or imperfect drafts. This piece consists of three main sections: the first presents four complete variations on the <em>passamezzo moderno<\/em>; the second comprises two variations and is constructed as a pavan on the same ground, albeit harmonically enriched, with the main melody in the bass. This latter technique echoes the style found some decades later in the pavans composed by William Byrd. The final section exhibits many textural changes, which according to subsequently codified performance practices can suggest interesting changes of character and tempo in the overall context of a style which also anticipates some elements of the nascent Italian <em>toccata<\/em>.<\/p>\n<p>Apart from these phenomena, it is perhaps the collection of intabulations (based on 3, 4, 5 and 6-part chansons, madrigals, motets and sections of the mass), which represents Cabez\u00f3n\u2019s most valuable contribution to the keyboard repertoire. The importance of the intabulations in terms of volume is immediately evident when comparing the number of pages devoted to each of the genres represented in <em>Obras de m\u00fasica<\/em>, as shown in Tab.\u00a04:<\/p>\n<table style=\"border-collapse: collapse; width: 100%;\">\n<colgroup>\n<col style=\"width: 80%\" \/>\n<col style=\"width: 19%\" \/>\n<\/colgroup>\n<thead>\n<tr class=\"header\" style=\"background-color: lightgrey; text-align: left;\">\n<th colspan=\"2\" style=\"border: 1px solid black; padding-left: 5px; text-transform: none;\">\n<strong>Tab. 4: <em>Obras de m\u00fasica<\/em>. Repertoire in proportion<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Duos<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">2%<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Tercios<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">2%<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Versets and <em>fabordones<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">11%<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Kyries<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">5%<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Hymns<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">6%<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Tientos<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">9%<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Intabulations<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">57%<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Diferencias or Variations<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">8%<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>There are several elements of interest in these intabulations that merit further scrutiny, such as the homogeneous distribution of the diminutions between the different voices as well as the introduction of imitative techniques in the ornamental material. Moreover, Cabez\u00f3n seems to be the first to write intabulations in six voices with diminutions explicitly for keyboard instruments. Four motets and two madrigals of this kind are included in the publication. Particularly in these pieces, the overall impression is one of the original polyphony reduced to simple chords and consonances while the diminutions flow around. The scales and passages pass from one voice to another in a style that frequently approaches that found in the <em>intonazioni<\/em> and <em>toccate<\/em> of the Gabrieli family as well as in those of Claudio Merulo. Nevertheless, there are important stylistic differences between Antonio\u2019s intabulations and those of his son Hernando. Four of Hernando\u2019s intabulations have survived, included in <em>Obras de m\u00fasica<\/em>, whose title page conspicuously bears his father\u2019s name. As Marie-Louise G\u00f6llner asserts in a 1990 article, Hernando makes use of new and advanced imitative techniques and treats each verse of the original work differently in relation to the meaning of its text. In her view, the appearance of similar elements in the music of succeeding generations connects his compositions with the <em>toccata<\/em> and <em>madrigale passeggiato<\/em> style developed by Neapolitan composers (among them Ascanio Mayone and Giovanni Maria Trabaci) some three or four decades later.<a href=\"#fn32\" class=\"footnote-ref\" id=\"fnref32\" role=\"doc-noteref\"><sup>32<\/sup><\/a><\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>Interest in Cabez\u00f3n\u2019s music is heightened by the fact that there is an enormous quantity of information about his playing style at the keyboard, as well as about his compositional process. The principal source for this information is <em>Arte de ta\u00f1er fantas\u00eda,<\/em> published by Tom\u00e1s de Santa Mar\u00eda in 1565.<a href=\"#fn33\" class=\"footnote-ref\" id=\"fnref33\" role=\"doc-noteref\"><sup>33<\/sup><\/a> This book includes the first and most complete description of all the fundamental aspects of keyboard music interpretation: the position of the hands and fingers, fingering, articulation, ornamentation and diminution. Santa Mar\u00eda readily informs us that his work was supervised by both Antonio and Juan de Cabez\u00f3n. Just as it was addressed to the musicians and theorists of their time, this affiliation continues to affirm the work\u2019s faithful transmission of the interpretative and compositional tradition of the Cabez\u00f3n brothers.<a href=\"#fn34\" class=\"footnote-ref\" id=\"fnref34\" role=\"doc-noteref\"><sup>34<\/sup><\/a><\/p>\n<p>It bears noting that Santa Mar\u00eda\u2019s treatise presents an evidently advanced approach to fingering in the context of mid-16th century Europe, with extensive use of the thumb in both hands and the use of groups of two, three, four and even five fingers up and down in succession (<em>arreo<\/em>).<a href=\"#fn35\" class=\"footnote-ref\" id=\"fnref35\" role=\"doc-noteref\"><sup>35<\/sup><\/a> With regards to ornamentation, Santa Mar\u00eda offers descriptions of both small ornaments and trills as well as diminutions. He also differentiates between the \u2018old\u2019 and \u2018new\u2019 ornaments, encouraging players to apply the latter rather than the former, and therefore implying a clear idea of evolution, progress and adaptation to the prevailing tastes of the day. These \u2018new\u2019 ornaments start on the upper note and before the beat. Curiously, the quantity and quality of information about ornamentation transmitted by Santa Mar\u00eda and other Spanish theorists contrasts with an almost total absence of signs in the music itself indicating where these ornaments are to be played. The exact opposite situation occurs in the English repertoire of the same period, wherein an abundance of signs in the musical sources contrasts with a lack of information about the meaning of these signs.<a href=\"#fn36\" class=\"footnote-ref\" id=\"fnref36\" role=\"doc-noteref\"><sup>36<\/sup><\/a><\/p>\n<p>Perhaps the most interesting part of Santa Mar\u00eda\u2019s treatise refers to the practice of \u2018ta\u00f1er con buen ayre\u2019 (\u2018playing with good taste\u2019). This signifies primarily an articulation technique, but also a manner of <em>in\u00e9gal<\/em> interpretation. In tandem, these two elements are associated with good taste or grace in playing.<a href=\"#fn37\" class=\"footnote-ref\" id=\"fnref37\" role=\"doc-noteref\"><sup>37<\/sup><\/a> Similar forms of <em>in\u00e9galit\u00e9<\/em> likewise existed in France and Italy at this time. As Anne Smith writes broadly concerning Renaissance music, \u2018this is one of the areas of 16th century performance practice where much may still be discovered\u2019.<a href=\"#fn38\" class=\"footnote-ref\" id=\"fnref38\" role=\"doc-noteref\"><sup>38<\/sup><\/a><\/p>\n<p>Furthermore, Santa Mar\u00eda\u2019s book is a manual for the study of polyphonic improvisation, describing Renaissance compositional techniques in all their rigour as well as how to apply them extempore.<a href=\"#fn39\" class=\"footnote-ref\" id=\"fnref39\" role=\"doc-noteref\"><sup>39<\/sup><\/a> From this wealth of detailed contemporary information, Antonio de Cabez\u00f3n emerges as the sole composer of Renaissance instrumental music for whom such a complete textual record exists, both of the prevailing method of composition and of the interpretation of his work. In this respect he can only be compared to Claudio Merulo who actively participated in the writing of Girolamo Diruta\u2019s treatise <em>Il Transilvano<\/em>.<\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>Another prominent feature of <em>Obras de m\u00fasica<\/em> is the inclusion of a complete system of both binary and ternary tempo indications (Tabs.\u00a05 and 6). These were used to indicate the proper playing speed of a piece or sections thereof, following a practice previously described in multiple vihuela books published by Mil\u00e1n, Narv\u00e1ez, Mudarra, Valderr\u00e1bano and Pisador. In one way or another, together with Cabez\u00f3n, they anticipate the use of the terms <em>adagio<\/em> and <em>allegro<\/em> invented in Italy for similar purposes around the year 1600. The Spanish system of indicating tempo reaches its peak with the <em>Facultad org\u00e1nica<\/em> of Francisco Correa de Arauxo, published in 1626.<a href=\"#fn40\" class=\"footnote-ref\" id=\"fnref40\" role=\"doc-noteref\"><sup>40<\/sup><\/a> <a href=\"#fn41\" class=\"footnote-ref\" id=\"fnref41\" role=\"doc-noteref\"><sup>41<\/sup><\/a><\/p>\n<table style=\"border-collapse: collapse; width: 100%;\">\n<thead>\n<tr class=\"header\" style=\"background-color: lightgrey; text-align: left;\">\n<th style=\"border: 1px solid black; padding-left: 5px; text-transform: none;\">\n<strong>Tab.\u00a05: Binary tempo signatures in Spanish printed sources (1536\u20131626)<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tr>\n<td style=\"border: 1px solid black;\">\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Tab.5_1_edit.png\" alt=\"\"><br \/>\n<\/tr>\n<\/td>\n<\/table>\n<table style=\"border-collapse: collapse; width: 100%;\">\n<thead>\n<tr class=\"header\" style=\"background-color: lightgrey; text-align: left;\">\n<th style=\"border: 1px solid black; padding-left: 5px; text-transform: none;\">\n<strong>Tab.\u00a06: Ternary tempo signatures in Spanish printed sources (1538\u20131626)<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tr>\n<td style=\"border: 1px solid black;\">\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Tab.5_2_edit.png\" alt=\"\"><br \/>\n<\/tr>\n<\/td>\n<\/table>\n<p>These tempo indications are complemented by Luis Mil\u00e1n\u2019s instructions concerning the concept of \u2018ta\u00f1er de gala\u2019<a href=\"#fn42\" class=\"footnote-ref\" id=\"fnref42\" role=\"doc-noteref\"><sup>42<\/sup><\/a> on the vihuela. He describes a refined manner of playing and implies alternating between slow and fast sections in a single piece.<a href=\"#fn43\" class=\"footnote-ref\" id=\"fnref43\" role=\"doc-noteref\"><sup>43<\/sup><\/a><\/p>\n<p>Nearly two centuries later, Pablo Nassarre, a student of Pablo Bruna, describes a similar manner of playing in his publication <em>Escuela m\u00fasica<\/em> (1724),<a href=\"#fn44\" class=\"footnote-ref\" id=\"fnref44\" role=\"doc-noteref\"><sup>44<\/sup><\/a> in which he compares the performance practices of the Spanish and Italian musicians of his time. According to his description, both groups played \u2018especially in instrumental music\u2019 alternating between slow and fast sections within a piece. However, it is the \u2018early Spanish masters\u2019 (as Nassarre refers to them) who preferred to handle transitions between sections by applying <em>accelerando<\/em> and <em>ritardando<\/em>, while it was the Italians who performed tempo changes abruptly.<a href=\"#fn45\" class=\"footnote-ref\" id=\"fnref45\" role=\"doc-noteref\"><sup>45<\/sup><\/a> Nassarre thus attributes to these early Spanish musicians a practice which at present, interpreters tend to associate solely with the Italian style cultivated by members of the Frescobaldi circle. It is also possible that Nassarre had in mind the Italian sonata or cantata style of the 17th century. A more difficult task, however, is to locate the music of Spanish origin to which he refers. Although it can be inferred that he was addressing his remarks to keyboardists and organists, it seems evident that Nassarre\u2019s general approach is equally applicable to the vihuela\/guitar and harp repertoire, as well as to some vocal music. Though a connection can be made with Milan\u00b4s instructions of 1536, it is otherwise difficult to establish with any degree of certainty the provenance of this Spanish approach to the performance of instrumental music as described by Nassarre. With regard to the practice of tempo changes in Spanish music, it is worth noting that the term <em>allarga la batutta<\/em> first appeared around 1600 in the music of composers such as Giovanni Maria Trabaci, all of whom were associated with the Spanish court in Naples.<\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>Another important aspect in the European context of Cabez\u00f3n\u2019s music is the question of temperament and the different approaches to the tuning of musical instruments described in Spanish treatises. Apart from a controversial precedent expressed by Gonzalo Mart\u00ednez Bizcargui (1511), the aforementioned Santa Mar\u00eda was the first in Spain to characterise the diatonic, or singable (<em>cantable<\/em>) semitone as \u2018major\u2019. He thus positions himself as an advocate of a novel approach to temperament, as first defended in Italy by Zarlino in 1558 and later again in Spain by Salinas in 1577 (Tab.\u00a07).<\/p>\n<table style=\"border-collapse: collapse; width: 100%;\">\n<colgroup>\n<col style=\"width: 24%\" \/>\n<col style=\"width: 23%\" \/>\n<col style=\"width: 6%\" \/>\n<col style=\"width: 24%\" \/>\n<col style=\"width: 23%\" \/>\n<\/colgroup>\n<thead>\n<tr class=\"header\" style=\"background-color: lightgrey; text-align: left;\">\n<th colspan=\"5\" style=\"border: 1px solid black; padding-left: 5px; text-transform: none;\">\n<strong>Tab. 7: Spanish treatises classified according to their consideration of the diatonic semitone as minor (Pythagorean approach) or major (Meantone approach)<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr class=\"odd\">\n<td colspan=\"2\" style=\"border: 1px solid black; padding-left: 5px;\">Diatonic semitone as minor (Pythagorean)<\/td>\n<td style=\"border: 1px solid black;\"><\/td>\n<td colspan=\"2\" style=\"border: 1px solid black; padding-left: 5px;\">Diatonic semitone as major (Meantone)<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Domingo Marc\u00f3s Dur\u00e1n<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Lux bella<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1492<\/td>\n<td colspan=\"2\" rowspan=\"5\" style=\"border: 1px solid black;\"><\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Guillermo de Podio<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Ars musicorum<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1495<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Alfonso Espa\u00f1\u00f3n<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Introducci\u00f3n de canto llano<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1498<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Diego del Puerto<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Portus musice<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1504<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Francisco Tovar<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Libro de m\u00fasica pr\u00e1ctica<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1510<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td colspan=\"2\" style=\"border: 1px solid black;\"><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1511<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Gonzalo Mart\u00ednez Bizcargui<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Arte de canto llano<\/em><\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Juan Espinosa<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Tractado de principios<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1520<\/td>\n<td colspan=\"2\" rowspan=\"7\" style=\"border: 1px solid black;\"><\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Matheo de Aranda<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Tractado de canto mensurable<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1535<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Gaspar de Aguilar<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Arte de principios<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1537<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Fray Juan Bermudo<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Arte tripharia<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1550<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Fray Juan Bermudo<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Declaraci\u00f3n de instrumentos<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1555<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Juan P\u00e9rez de Moya<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Discursos de Aritm\u00e9tica pr\u00e1ctica<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1562<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Luis de Villafranca<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Breve instrucci\u00f3n<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1565<\/td>\n<\/tr>\n<tr class=\"odd\">\n<td colspan=\"2\" rowspan=\"4\" style=\"border: 1px solid black;\"><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1565<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Fray Tom\u00e1s de Santa Mar\u00eda<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Arte de ta\u00f1er fantas\u00eda<\/em><\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1571<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Juan P\u00e9rez de Moya<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Tratado de mathem\u00e1ticas<\/em><\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1577<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Francisco Salinas<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>De Musica<\/em><\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1592<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Francisco de Montanos<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Arte de m\u00fasica<\/em><\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Andr\u00e9s de Monserrate<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Arte breve y compendioso \u2026<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1614<\/td>\n<td colspan=\"2\" style=\"border: 1px solid black;\"><\/td>\n<\/tr>\n<tr class=\"even\">\n<td colspan=\"2\" rowspan=\"13\" style=\"border: 1px solid black;\"><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">1626<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Antonio Fern\u00e1ndez<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Arte de m\u00fasica<\/em><\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1649<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Fray Tom\u00e1s G\u00f3mez<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Arte de canto llano, \u00f3rgano y cifra<\/em><\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1672<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Andr\u00e9s Lorente<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>El porqu\u00e9 de la m\u00fasica<\/em><\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1700<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Fray Pablo Nassarre<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Fragmentos m\u00fasicos<\/em><\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1707<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Antonio de la Cruz Brocarte<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>M\u00e9dula de m\u00fasica te\u00f3rica<\/em><\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1742<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Jos\u00e9 de la Fuente<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Reglas de canto llano<\/em><\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1748<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Antonio Ventura Roel del R\u00edo<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Instituci\u00f3n harm\u00f3nica<\/em><\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1760<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Diego de Roxas y Montes<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Promptuatio arm\u00f3nico<\/em><\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1761<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Ger\u00f3nimo Romero de \u00c1vila<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Arte de canto llano<\/em><\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1765<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Pedro de Villasagra<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Arte y compedio<\/em><\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1767<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Manuel de Paz<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>M\u00e9dula de canto llano<\/em><\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1776<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Francisco Marcos y Navas<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Arte o compendio general<\/em><\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">1778<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Francisco de Santa Mar\u00eda<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Dialectos m\u00fasicos<\/em><\/td>\n<\/tr>\n<\/table>\n<p>More fundamentally, the first rejection of the classical Pythagorean division of the octave is found in the treatise <em>Musica pr\u00e1ctica<\/em> (Bologna: Baltasar de Hyrberia, 1482) written by Bartolom\u00e9 Ramos de Pareja. Later, Juan Bermudo presents an exemplary approach to equal temperament in his <em>Declaraci\u00f3n de instrumentos musicales<\/em>.<a href=\"#fn46\" class=\"footnote-ref\" id=\"fnref46\" role=\"doc-noteref\"><sup>46<\/sup><\/a> Using the term <em>preparaci\u00f3n<\/em> to describe the process, his method is based on the division of the syntonic comma into three parts. Bermudo also proposes a modified version of this temperament suitable for the organ, the result of which approximates 1\/8 comma meantone. As shown, Bermudo\u2019s <em>preparaci\u00f3n<\/em> of the syntonic comma anticipates the concept of <em>participatio<\/em> utilized by Zarlino in his mathematical and geometric definition of the various meantone temperaments.<a href=\"#fn47\" class=\"footnote-ref\" id=\"fnref47\" role=\"doc-noteref\"><sup>47<\/sup><\/a><\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>Antonio de Cabez\u00f3n\u2019s responsibilities as chamber musician at the Spanish court offer a final point of interest. Although he was then, as now, renowned as an instrumentalist, his duties also included singing. The eyewitness account of Pierre Maillard describes Cabez\u00f3n singing while accompanying himself at the keyboard. A number of the hymn settings and motet intabulations included in Luis Venegas de Henestrosa\u2019s <em>Libro de cifra nueva<\/em> are presented with their original texts printed in such a way that they align with the notated music (Tab.\u00a08). This seems to suggest the practice described above, that of singing at the organ (<em>cantar al \u00f3rgano<\/em>). In any case, the presence of these texts alongside the music opens up new perspectives for the interpretation of this repertoire.<a href=\"#fn48\" class=\"footnote-ref\" id=\"fnref48\" role=\"doc-noteref\"><sup>48<\/sup><\/a><\/p>\n<table style=\"border-collapse: collapse; width: 100%;\">\n<colgroup>\n<col style=\"width: 19%\" \/>\n<col style=\"width: 21%\" \/>\n<col style=\"width: 28%\" \/>\n<col style=\"width: 30%\" \/>\n  <\/colgroup>\n<thead>\n<tr class=\"header\" style=\"background-color: lightgrey; text-align: left;\">\n<th colspan=\"4\" style=\"border: 1px solid black; padding-left: 5px; text-transform: none;\">\n        <strong>Tab. 8. <em>Libro de cifra nueva<\/em>, 1557: Keyboard pieces in tablature printed with text<\/strong>\n      <\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr class=\"odd\" style=\"background-color: lightgrey;\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">Psalms<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Motets<\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\"><em>Chanzonetas \/ Villancicos<\/em><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">Hymns and others<\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>Cum invocarem<\/em><br \/>\n        Fabord\u00f3n, in 4 parts\n      <\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>Aspice Domine<\/em><br \/>\n        Palero, in 5 parts<br \/>\n        Text in the bass\n      <\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>Iesu Christo hombre y Dios<\/em><br \/>\n        Polyphony in 4 parts\n      <\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>Sacris solemniis Ioseph vir<\/em><br \/>\n        Polyphony in 4 parts<br \/>\n        c.f. in the sopran\n      <\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>Nunc dimittis<\/em><br \/>\n        Fabord\u00f3n, in 4 parts\n      <\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>Si bona suscepimus<\/em><br \/>\n        Palero, in 5 parts<br \/>\n        Text in the bass\n      <\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>M\u00edralo como llora<\/em><br \/>\n        Polyphony in 6 parts<br \/>\n        Text applied to second soprano\n      <\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>Salve regina<\/em>, Antonio de Cabez\u00f3n, in 4 parts<br \/>\n        Text in the bass\n      <\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>Non accedet<\/em><br \/>\n        In 5 parts<br \/>\n        Text in the bass\n      <\/td>\n<td rowspan=\"3\" style=\"border: 1px solid black; background-color: lightgrey;\"><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>De la virgen que pari\u00f3<\/em><br \/>\n        In 4 parts<br \/>\n        Text in the bass\n      <\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>O gloriosa domina<\/em><br \/>\n        Polyphony in 3 parts<br \/>\n        c.f. in the tenor\n      <\/td>\n<\/tr>\n<tr class=\"odd\">\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>In pace<\/em><br \/>\n        In 5 parts<br \/>\n        Text in the bass\n      <\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>Mundo qu\u00e9 me puedes dar<\/em><br \/>\n        In 5 parts<br \/>\n        Text in the bass\n      <\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>Te Matrem Dei laudamus<\/em><br \/>\n        Fabord\u00f3n, in 4 parts\n      <\/td>\n<\/tr>\n<tr class=\"even\">\n<td style=\"border: 1px solid black; background-color: lightgrey;\"><\/td>\n<td style=\"border: 1px solid black; padding-left: 5px;\">\n        <em>Al rebuelo de una gar\u00e7a<\/em><br \/>\n        In 4 parts<br \/>\n        Text in the bass\n      <\/td>\n<td style=\"border: 1px solid black; background-color: lightgrey;\"><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p style=\"text-align: center;\">***<\/p>\n<p>To conclude, even with the wealth of information available to help us interpret the music of Antonio de Cabez\u00f3n, something will always be missing. Its real essence is not captured on paper or in the minutiae of Santa Mar\u00eda, Mil\u00e1n and others; the scores and treatises alone cannot not describe all that it takes to achieve a convincing rendition. This repertoire lived in the mind, in the imagination of the blind Cabez\u00f3n. His music became a true sonic reality to his audience only through his fingers and his voice. In this sense, one must always maintain a critical attitude when confronting Cabez\u00f3n\u2019s musical texts, especially bearing in mind the difficult circumstances surrounding their transmission, having passed first over the desk of copyist Pedro Blanco before their final delivery into the hands of Hernando de Cabez\u00f3n. One must also consider the further editorial challenge which this music presented to Hernando himself, and also to Venegas de Henestrosa.<a href=\"#fn49\" class=\"footnote-ref\" id=\"fnref49\" role=\"doc-noteref\"><sup>49<\/sup><\/a> Above all, it is essential to accept the impossibility of reaching the true centre, which is a complete understanding of the original meaning and importance of Antonio de Cabez\u00f3n\u2019s music, both in his context and in ours. Such efforts can never be in vain, however, as this music has been heralded as that of a new Orpheus, praised for \u2018sweetness\u2019, but also admired because of its \u2018strangeness\u2019.<a href=\"#fn50\" class=\"footnote-ref\" id=\"fnref50\" role=\"doc-noteref\"><sup>50<\/sup><\/a><\/p>\n<div id=\"1\">\n<h4>Appendix 1<\/h4>\n<\/div>\n<p>Antonio de Cabez\u00f3n, \u2018Discante sobre la pavana italiana\u2019, in: <em>Obras de m\u00fasica<\/em> (Madrid, 1578), fol.\u00a0186<sup>v<\/sup>\u2013187<sup>v<\/sup>.<\/p>\n<p>Transcription and reconstruction: Andr\u00e9s Cea Gal\u00e1n<\/p>\n<p>This edition is based on the analysis presented in a prior journal article \u2018Nuevos pasajes corruptos en las <em>Obras de m\u00fasica<\/em> de Antonio de Cabez\u00f3n\u2019 (2010).<a href=\"#fn51\" class=\"footnote-ref\" id=\"fnref51\" role=\"doc-noteref\"><sup>51<\/sup><\/a> In order to paint a clearer picture of the metric structure of the piece (exemplified by its characteristic up-beat opening) in this edition, each bar is equivalent to two bars of the original. Original note values have been retained. Bars\u00a040 and 48\u201349, missing from the original source, have been reconstructed and are differentiated in the score by a slightly reduced font size. Additional chromatic alterations are signaled above and beneath certain notes. Previously used to indicate the end of each variation, certain fermatas have been restored to their proper places. Each variation has been assigned a number in brackets. Each performer may view these modifications as suggestions, which in no way should hinder any personal interpretative decisions concerning both the structure and details of this composition with reference to the original source material.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Cea-Galan_Appendix1-1.png\" alt=\"\"><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Cea-Galan_Appendix1-2.png\" alt=\"\"><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Cea-Galan_Appendix1-3.png\" alt=\"\"><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Cea-Galan_Appendix1-4.png\" alt=\"\"><\/p>\n<div id=\"2\">\n<h4>Appendix 2<\/h4>\n<\/div>\n<p>Antonio de Cabez\u00f3n, \u2018Diferencias sobre el villancico de qui\u00e9n te me enoj\u00f3, Isabel\u2019, in: <em>Obras de m\u00fasica<\/em> (Madrid, 1578), fol.\u00a0193<sup>v<\/sup>\u2013196<sup>v<\/sup>.<\/p>\n<p>Transcription and reconstruction: Andr\u00e9s Cea Gal\u00e1n<\/p>\n<p>This edition is also based on a previous analysis made in another article, \u2018\u00bfQui\u00e9n te me enoj\u00f3, Isabel? y otras preguntas sin respuesta en las obras de m\u00fasica de Antonio de Cabez\u00f3n\u2019 (2007),<a href=\"#fn52\" class=\"footnote-ref\" id=\"fnref52\" role=\"doc-noteref\"><sup>52<\/sup><\/a> wherein a preliminary version was presented. This piece comes down to us from the original source in a fairly corrupted version. Specifically in b.\u00a017, and beginning from b.\u00a019 on, the note values have been doubled in the original printed version, thereby obscuring the structure of the piece as a whole. Furthermore, the reprise included in each variation has usually been misplaced, as is the case with the fermatas indicating the end of each variation. In the original, only the first variation up to the middle of the second is presented in a correct reading. From an editorial point of view, the last variation is especially problematic in its presentation of unnecessary repeated bars among other inconsistences. Thus, in its reconstruction, the present version presumes the original structure and form of each variation.<\/p>\n<p>Likewise, each bar is equivalent to two bars of the original so as to paint a clearer picture of the piece\u2019s metrical structure, especially as it opens on an up-beat. Occasional notes missing from the original have been restored and are differentiated in the score by a slightly reduced font size. Additional chromatic alterations are signalled above and beneath certain notes. The fermatas have been restored to their proper places. Each variation has been assigned a number in brackets. Each performer may view these modifications as suggestions, which in no way should hinder any personal interpretative decisions concerning both the structure and details of this composition with reference to the original source material.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Cea-Galan_Appendix2-1.png\" alt=\"\"><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Cea-Galan_Appendix2-2.png\" alt=\"\"><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Cea-Galan_Appendix2-3.png\" alt=\"\"><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Cea-Galan_Appendix2-4.png\" alt=\"\"><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Cea-Galan_Appendix2-5.png\" alt=\"\"><br \/>\n<img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2024\/05\/Cea-Galan_Appendix2-6.png\" alt=\"\"><\/p>\n<h4>Endnotes<\/h4>\n<aside id=\"footnotes\" class=\"footnotes footnotes-end-of-document\" role=\"doc-endnotes\">\n<hr \/>\n<ol>\n<li id=\"fn1\">\n<p>\u2018In our time there lives Antonio [de Cabez\u00f3n], the blind, a musician in the Empress\u2019 Chapel. They say that in his art none can perfect it any further, as he has come upon the very center of composition\u2019. Crist\u00f3bal Villal\u00f3n, <em>Ingeniosa comparaci\u00f3n entre lo antiguo y lo presente<\/em> (Valladolid: Nicolas Tyerri, 1539), ed. Manuel Serrano y Sanz, Libros publicados por la Sociedad de Bibli\u00f3filos Espa\u00f1oles 33 (Madrid 1898), 176\u20137; online: &lt;<a href=\"https:\/\/bibliotecadigital.jcyl.es\/es\/consulta\/registro.do?id=18741\">https:\/\/bibliotecadigital.jcyl.es\/es\/consulta\/registro.do?id=18741<\/a>&gt; (accessed 5\u00a0September 2022).<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>It is not known for certain whether or not these eloquent words from the preface to this book are those of Hernando de Cabez\u00f3n or those of another author. On this matter, Jos\u00e9 Sierra P\u00e9rez, <em>Antonio de Cabez\u00f3n (1510\u20131566). Una vista maravillosa de \u00e1nimo<\/em> (Madrid, Sociedad Espa\u00f1ola de Musicolog\u00eda, 2010), preface.<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>\u2018Y ninguno huvo tan loco, que no rindiesse sus fantasias a la grandeza de ingenio que en Antonio de Cabe\u00e7on se conocia. Lo qual se entendio assi no solo en Espa\u00f1a: pero en Flandes y en Italia, por donde anduvo siguiendo y sirviendo al catholico Rey don Philippe nuestro se\u00f1or de quien fue tambien querido y estimado, quanto pudo ser hombre de su facultad de Rey ninguno [\u2026].\u2019 Hernando de Cabez\u00f3n, <em>Obras de M\u00fasica<\/em> (Madrid: Francisco Sanchez, 1578) (RISM 1578<sup>24<\/sup>), proemio (n.pag.); online: &lt;<a href=\"http:\/\/purl.org\/rism\/BI\/1578\/24\">http:\/\/purl.org\/rism\/BI\/1578\/24<\/a>&gt; (accessed 24\u00a0June 2022).<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>For all biographical data, if not stated otherwise, Macario Santiago Kastner, <em>Antonio und Hernando de Cabez\u00f3n. Eine Chronik dargestellt am Leben zweier Generationen von Organisten<\/em> (Tutzing, 1977); Spanish edition published as Macario Santiago Kastner, <em>Antonio de Cabez\u00f3n<\/em>, ed. Antonio Baciero (Burgos 2000).<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Rudolf\u00a0II of Habsburg was educated in Madrid. He became Archduke of Austria, King of Hungary and Bohemia, and was Emperor of the Holy Roman Empire from 1576 till his death in 1612. Matthias of Habsburg was governor of Austria, King of Hungary, Bohemia and Croatia, and became emperor in 1612.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>Ernest, also educated in Madrid, was Archduke of Austria and became governor of the Low Countries in 1594. Albert was Archduke of Austria, Chancellor of Castille, Viceroy of Portugal, archbishop of Toledo and governor of the Low Countries together with king Philip\u00a0II\u2019s daughter Isabel Clara Eugenia from 1596 to 1621.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>After the death of Charles, she returned to the Stallburg (a part of the Hofburg palace in Vienna) in 1575 and founded the Klarissenkloster St.\u00a0Maria, K\u00f6nigin der Engel. She died there in 1592.<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>A complete report of this journey appears in Juan Crist\u00f3bal Calvete de la Estrella, <em>El felic\u00edssimo viaje del muy alto y muy poderoso Pr\u00edncipe don Phelippe<\/em> (Amberes: Mart\u00edn Nucio, 1552), modern edition by Sociedad Estatal para la Conmemoraci\u00f3n de los Centenarios de Carlos\u00a0V y Felipe\u00a0II (Madrid, 2001). Online: &lt;<a href=\"https:\/\/bibliotecadigital.jcyl.es\/es\/consulta\/registro.do?id=4546\">https:\/\/bibliotecadigital.jcyl.es\/es\/consulta\/registro.do?id=4546<\/a>&gt; (accessed 5\u00a0September 2022).<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>Even if the session of the diet had adjourned officially on the 14th of February 1551.<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>On this matter, Andr\u00e9s Cea Gal\u00e1n, \u2018<em>Audire, tangere, mirari<\/em>: Notas sobre el <em>instrumentarium<\/em> de los Cabez\u00f3n\u2019, in: <em>AnM<\/em> 69 (2014), 225\u201348.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>An updated study about the Chapel of king Philip\u00a0II can be found in Luis Robledo Estaire, \u2018La m\u00fasica en la Casa del Rey\u2019, in: <em>Aspectos de la cultura musical en la Corte de Felipe\u00a0II<\/em>, ed. Luis Robledo Estaire et al., Patrimonio Musical Espa\u00f1ol 6 (Madrid, 2000), 99\u2013193.<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Kastner, <em>Antonio und Hernando de Cabez\u00f3n<\/em> (see n.\u00a04), 216. The text from Paix\u2019s edition quoted by Kastner reads, \u2018[\u2026] Dann so man mit dem Daum an der rechten Hand auch haltet, wirt die Coloratur mit dem hinderm und kleinen finger leichtlich gefuhrt: deszgleichen auch mit der linken hand geschehen kan. Dann ich mit fleisz nachgesuchet, wie drey Stimen mit einer hand gegriffen, unnd dennach ein Coloratur k\u00f6nte mit lauffen [\u2026]\u2019. In any case, this must be contrasted with Harald Vogel\u2019s essay on German organ technique, \u2018Zur Spielweise der Musik f\u00fcr Tasteninstrumente um 1600\u2019, in: <em>Samuel Scheidt. Tabulatura nova<\/em>, ed. by Harald Vogel, Part\u00a0II (Wiesbaden\/Leipzig\/Paris, 1999), 145\u201371.<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>Kastner, <em>Antonio und Hernando de Cabez\u00f3n<\/em> (see n.\u00a04), 226. Unfortunatly, this particular copy with the signature \u20185.2 Musica 2\u00ba\u2019 has been misplaced.<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>On this topic, see Macario Santiago Kastner, \u2018Parallels and discrepancies between English and Spanish keyboard music of the 16th and 17th century\u2019, in: <em>AnM<\/em> 7 (1952), 77\u2013115, and William Porter, \u2018A stylistic analysis of the fugas, tientos and diferencias of Antonio de Cabez\u00f3n and an examination of his influence on the English Keyboard School\u2019, DMA thesis, Boston University, 1994.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>Willi Apel, \u2018Neapolitan links between Cabez\u00f3n and Frescobaldi\u2019, in: <em>MQ<\/em> 24 (1938), 419\u201337.<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>B-Br F\u00e9tis 2000C (RP), US-Wc M7.C145. The former belonged to the \u2018Congrega\u00e7\u00e2o do Oratorio de Estremoz\u2019, the latter bears the inscription \u2018Do uso do irm\u00e2o frei Gaspar de S. Jo\u00e2o\u2019.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>On this topic, see Cea Gal\u00e1n, \u2018<em>Audire, tangere, mirari<\/em>\u2019 (see n.\u00a010).<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>The documents relating to this matter were published by Cristina Bordas, \u2018Nuevos datos sobre los organeros Brebos\u2019, in: <em>Livro de homenagem a Macario Santiago Kastner<\/em>, ed. Maria Fernanda Cidrais Rodrigues, Manuel Morais and Rui Vieira Nery (Lisbon, 1992), 51\u201367. This documentation complements the dates presented by Guido Persoons, <em>De Orgels en de Organisten van der Onze Lieve Vrouwkerk te Antwerpen van 1500 tot 1650<\/em> (Brussels, 1981), 158, and Jeannine Lambrecht-Douillez, <em>Orgelbouwers te Antwerpen in de 16de eeuw<\/em>, Mededelingen van het Ruckers-Genootschap 6 (Antwerpen, 1987), 16.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>On this topic, see Andr\u00e9s Cea Gal\u00e1n, \u2018\u00d3rganos en la Espa\u00f1a de Felipe\u00a0II: elementos de procedencia for\u00e1nea en la organer\u00eda aut\u00f3ctona\u2019, in: <em>Pol\u00edticas y pr\u00e1cticas musicales en el mundo de Felipe\u00a0II<\/em>, ed. John Griffiths and Javier Su\u00e1rez-Pajares (Madrid, 2004), 325\u201392. An abbreviated version of this article (in English, French and German) was published in Andr\u00e9s Cea Gal\u00e1n, \u2018\u00d3rganos en Espa\u00f1a entre los siglos XVI y XVII\u2019, in: <em>ISO Journal<\/em> 23 (July 2006), 6\u201332. See also Louis Jambou, <em>Evoluci\u00f3n del \u00f3rgano espa\u00f1ol. Siglos XVI-XVIII<\/em>, 2\u00a0vols., Ethos m\u00fasica 2 (Universidad de Oviedo, 1988).<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>A <em>Letan\u00eda pro Regina gravida<\/em> composed during the supposed pregnancy of Mary Tudor, published by Luis Robledo Estaire, \u2018Sobre la letan\u00eda de Antonio de Cabez\u00f3n\u2019, in: <em>NASS<\/em> 5, no.\u00a02 (1989), 143\u20139.<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>Venegas de Henestrosa, <em>Libro de cifra nueva<\/em> (Alcal\u00e1 de Henares: Juan de Brocar, 1557), title page; online: &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000039213&amp;page=1\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000039213&amp;page=1<\/a>&gt; (accessed 23\u00a0June 2022).<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>The question of the identification of these pieces in the manuscript MM\u00a0242 of the University of Coimbra is rather complex. One of the pieces by Antonio de Cabez\u00f3n published in <em>Libro de cifra nueva<\/em> was copied in the fol.\u00a013 under the name <em>Ca<\/em>. In total, another 13\u00a0pieces bear the same letters identifying their authorship, but Kastner assigned all of them to Antonio Carreira. This composer is identified in the sources with <em>A. carreira,<\/em> with only his surname <em>carreira<\/em>, twice with <em>A.\u00a0Car<\/em>. and once with <em>A.C<\/em>. On this topic see also Gerhard Doderer, \u2018Os manuscritos MM\u00a048 e MM\u00a0242 da Biblioteca da Universidade de Coimbra e a presenca de organistas ib\u00e9ricos\u2019, in: <em>RdM<\/em> 34, no.\u00a02 (2011), 43\u201362.<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>See Andr\u00e9s Cea Gal\u00e1n, \u2018New Approaches to the Music of Antonio de Cabez\u00f3n\u2019, in: <em>Early Keyboard Journal<\/em> 27\u201329 (2012), 7\u201325.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>Willi Apel, <em>The History of Keyboard Music to 1700<\/em> (Bloomington, 1972), 76.<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>In fact, one of the <em>tientos<\/em> attributed to Antonio de Cabez\u00f3n in the <em>Libro de cifra nueva<\/em> is, in reality, a <em>ricercar<\/em> by Julio Segni da Modena published in <em>Musica nova<\/em> (Venice: [Andrea Arrivabene], 1540) (RISM 1540<sup>22<\/sup>). The same piece is published twice in <em>Musicque de Joye<\/em> (Lyon: Jacques Moderne, [c.\u00a01550]) (RISM [c.\u00a01550]<sup>24<\/sup>), attributed to Segni and to Adrian Willaert. On the other hand, the <em>Tiento de tercer tono<\/em> published in <em>Obras de m\u00fasica<\/em> also appears in two Italian manuscript sources under an attribution to \u2018Giaches\u2019. On this matter, Andr\u00e9s Cea Gal\u00e1n, \u2018Nuevas rutas para Cabez\u00f3n en manuscritos de Roma y Par\u00eds\u2019, in: <em>RdM<\/em> 34, no.\u00a02 (2011), 223\u201334, and idem, \u2018New Approaches to the Music of Antonio de Cabez\u00f3n\u2019.<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>Apel, <em>The History of Keyboard Music<\/em>, 190.<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>Ibid., 193.<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>Unfortunately, the lack of 16th century instrumental musical sources from the Low Countries makes it impossible to establish the possible connections between the two repertoires.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>Apel, <em>The History of Keyboard Music<\/em>, 129.<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>For an updated review of the origin and diffusion of these pieces, see Giuseppe Fiorentino, \u2018M\u00fasica espa\u00f1ola del Renacimiento entre tradici\u00f3n oral y transmisi\u00f3n escrita: El esquema de fol\u00eda en procesos de composici\u00f3n e improvisaci\u00f3n\u2019, doctoral thesis, University of Granada, 2009.<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn31\">\n<p>Andr\u00e9s Cea Gal\u00e1n, \u2018\u00bfQui\u00e9n te me enoj\u00f3, Isabel? y otras preguntas sin respuesta en las obras de m\u00fasica de Antonio de Cabez\u00f3n\u2019, in: <em>Cinco siglos de m\u00fasica de tecla espa\u00f1ola<\/em>, ed. Luisa Morales (Garrucha, 2007), 169\u201394.<a href=\"#fnref31\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn32\">\n<p>Marie-Louise G\u00f6llner, \u2018The intabulations of Hernando de Cabez\u00f3n\u2019, in: <em>De musica hispana et aliis<\/em>. <em>Miscel\u00e1nea en honor al Prof. Dr. Jos\u00e9 L\u00f3pez-Calo en su 65\u2070 cumplea\u00f1os<\/em>, ed. Emilio Casares y Carlos Villanueva, 2\u00a0vols. (Universidad de Santiago de Compostela, 1990), i, 275\u201390. Here, again, the lack of early Italian <em>toccate<\/em> or intabulations makes it impossible to establish any precise comparison between the two styles and schools.<a href=\"#fnref32\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn33\">\n<p>Tomas de Santa Mar\u00eda, <em>Libro llamado arte de ta\u00f1er fantas\u00eda<\/em> (Valladolid: Francisco Fernandez de Cordova, 1565); online: &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000158382&amp;page=1\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000158382&amp;page=1<\/a>&gt; (accessed 23\u00a0June 2022).<a href=\"#fnref33\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn34\">\n<p>This topic was studied in detail by Miguel \u00c1ngel Roig-Francol\u00ed, \u2018Compositional theory and practice in mid-sixteenth century spanish instrumental music: the \u2018Arte de ta\u00f1er fantas\u00eda\u2019 by Tom\u00e1s de Santa Mar\u00eda and the music of Antonio de Cabez\u00f3n\u2019, PhD thesis, Indiana University, 1990; idem, \u2018En torno a la figura de Cabez\u00f3n y la obra de Tom\u00e1s de Santa Mar\u00eda: aclaraciones, evaluaciones y relaciones con la m\u00fasica de Cabez\u00f3n\u2019, in: <em>RdM<\/em> 15 (1992), 55\u201385; idem, \u2018Modal paradigms in mid-sixteenth-century Spanish instrumental composition: Theory and practice in Antonio de Cabez\u00f3n and Tom\u00e1s de Santa Mar\u00eda\u2019, in: <em>JMT<\/em> 38 (1994), 249\u201391; idem, \u2018Playing in consonances: a Spanish Renaissance technique of chordal improvisation\u2019, in: <em>EM<\/em> 23 (1995), 437\u201349.<a href=\"#fnref34\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn35\">\n<p>See also the chapter of Maria Luisa Baldassari in this volume.<a href=\"#fnref35\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn36\">\n<p>On this topic see Andr\u00e9s Cea Gal\u00e1n, \u2018La cifra hispana: m\u00fasica, ta\u00f1edores e instrumentos (siglos XVI-XVIII)\u2019, Doctoral thesis, Universidad Complutense de Madrid, 2014, part\u00a0II.<a href=\"#fnref36\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn37\">\n<p>An updated appraisal of this question can be found in ibid.<a href=\"#fnref37\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn38\">\n<p>Anne Smith, <em>The Performance of 16th-Century Music. Learning from the Theorists<\/em> (Oxford, 2011), 70.<a href=\"#fnref38\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn39\">\n<p>On this topic see also the chapter by August Valentin Rabe in this volume.<a href=\"#fnref39\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn40\">\n<p>Francisco Correa de Arauxo, Francisco, <em>Libro de tientos y discursos de m\u00fasica pr\u00e1ctica y the\u00f3rica de \u00f3rgano intitulado Facultad org\u00e1nica<\/em> (Alcal\u00e1 de Henares: Antonio Arnao, 1626).<a href=\"#fnref40\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn41\">\n<p>On this topic, see Andr\u00e9s Cea Gal\u00e1n, \u2018La cifra hispana\u2019, part\u00a0II and chapter <em>Cabez\u00f3n<\/em>.<a href=\"#fnref41\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn42\">\n<p>\u2018Gala\u2019 refers to the special dress worn for significant occasions, as well as to the grace, charm or elegance employed when doing something. The term has connotations of perfection, excellence and exquisiteness, referring to specially chosen actions, persons or objects.<a href=\"#fnref42\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn43\">\n<p>Mil\u00e1n expressed this clearly on several occasions. For example: \u2018Ya os dixe q[ue] todo lo q[ue] es redobles que l[os] agays apriessa y la consonancia a espacio. De manera que en una mesma fantasia aveys de hacer mutaci\u00f3n de compas. Y por esto os dixe que esta musica no tiene mucho respecto al compas para darle su natural ayre [\u2026].\u2019 (I already told you that you have to play all the diminutions quickly and the consonances slowly. In such a manner that in a single fantasia you have to change the measure. And for this reason I told you that this music does not have much respect for the measure to give it its natural air.) Luis Mil\u00e1n, <em>Libro de musica de vihuela de mano, intitulado El maestro<\/em> (Valencia: Francisco D\u00edaz Romano, 1536), fol.\u00a0[23<sup>r<\/sup>]; online: &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000022795\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000022795<\/a>&gt; (accessed 3\u00a0July 2022).<a href=\"#fnref43\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn44\">\n<p>Pablo Nassarre, <em>Escuela m\u00fasica seg\u00fan la pr\u00e1ctica moderna<\/em> (Zaragoza: Herederos de Diego de Larumbe, 1724), parte primera, lib.\u00a0iv, cap.\u00a0xii, 443\u20134, \u2018De la mucha utilidad que puede sacar el m\u00fasico en la pr\u00e1ctica de las proporciones\u2019; online: &lt;<a href=\"https:\/\/bdh-rd.bne.es\/viewer.vm?id=0000014534\">https:\/\/bdh-rd.bne.es\/viewer.vm?id=0000014534<\/a>&gt; (accessed 5\u00a0September 2022).<a href=\"#fnref44\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn45\">\n<p>On this topic, see Andr\u00e9s Cea Gal\u00e1n, \u2018Ayre de Espa\u00f1a: zu Tempo und Stil in der <em>Escuela M\u00fasica<\/em> von Fray Pablo Nassarre\u2019, in: <em>In Organo Pleno: Festschrift f\u00fcr Jean-Claude Zehnder zum 65. Geburstag<\/em>, ed. Luigi Collarile and Alexandra Nigito (Bern, 2007), 113\u201322. See also Cea Gal\u00e1n, \u2018La cifra hispana\u2019 (see n. 36), part\u00a0II.<a href=\"#fnref45\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn46\">\n<p>Juan Bermudo, <em>Declaraci\u00f3n de instrumentos musicales<\/em> (Osuna: Juan de Le\u00f3n, 1555), facs.ed. by Macario Santiago Kastner (Kassel\/Basel, 1957). Online: &lt;<a href=\"http:\/\/bdh.bne.es\/bnesearch\/detalle\/bdh0000046174\">http:\/\/bdh.bne.es\/bnesearch\/detalle\/bdh0000046174<\/a>&gt; (accessed 5\u00a0September 2022).<a href=\"#fnref46\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn47\">\n<p>On this matter, Cea Gal\u00e1n, \u2018La cifra hispana\u2019 (see n. 36), part\u00a0II and the chapter <em>Bermudo<\/em>.<a href=\"#fnref47\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn48\">\n<p>This aspect is analysed in Andr\u00e9s Cea Gal\u00e1n, \u2018Cantar Victoria al \u00f3rgano. Documentos, m\u00fasica y praxis\u2019, in: <em>Tom\u00e1s Luis de Victoria: Estudios\/Studies<\/em>, ed. Javier Su\u00e1rez-Pajares and Manuel del Sol (Madrid, 2013), 307\u201357.<a href=\"#fnref48\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn49\">\n<p>On all these subjects, Cea Gal\u00e1n, \u2018\u00bfQui\u00e9n te me enoj\u00f3, Isabel?\u2019 (see n.\u00a031); idem, \u2018Nuevos pasajes corruptos en las <em>Obras de m\u00fasica<\/em> de Antonio de Cabez\u00f3n\u2019, in: <em>Diferencias<\/em> 1, 2\u00aa \u00e9poca (2010), 67\u201398; idem, \u2018Nuevas rutas para Cabez\u00f3n\u2019 (see n.\u00a025); idem, \u2018New Approaches to the Music of Antonio de Cabez\u00f3n\u2019 (see n.\u00a023).<a href=\"#fnref49\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn50\">\n<p>Calvete de la Estrella described Cabez\u00f3n\u2019s playing in <em>El felic\u00edssimo viaje<\/em> (see n.\u00a08), fol.\u00a017<sup>v<\/sup>\u201318<sup>r<\/sup>, when refering to the mass celebrated in the Genoa cathedral on the 8th of December 1548: \u2018Celebrose la missa de pontifical. Oficiaronla los cantores y capilla d\u2019el Principe con gran admiracion de todo el pueblo de ver la solenidad con que se haziay y con tan divina musica y de tan escogidas vozes y de oyr la suavidad y estra\u00f1eza con que tocava el organo el unico en este genero de musica Antonio de Cabe\u00e7on, otro Orpheo de nuestros tiempos.\u2019 (The pontifical mass was celebrated with participation of the singers and chapel of the Prince, producing great admiration into the people due to the solemnity with which everything was done, with such a divine music and such selected voices, and also hearing the softness and strangeness with which the organ was played by the very unique man in this genre of music, Antonio de Cabez\u00f3n, another Orpheus of our times.)<a href=\"#fnref50\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn51\">\n<p>See n.\u00a049.<a href=\"#fnref51\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn52\">\n<p>See n.\u00a031.<a href=\"#fnref52\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<\/aside>\n<div id=\"3\">\n<h4>Bibliography<\/h4>\n<\/div>\n<p><\/p>\n<p class=\"bibliography\">Willi Apel, \u2018Neapolitan links between Cabez\u00f3n and Frescobaldi\u2019, in: <em>MQ<\/em> 24 (1938), 419\u201337<\/p>\n<p class=\"bibliography\">Willi Apel, <em>The History of Keyboard Music to 1700<\/em> (Bloomington, 1972)<\/p>\n<p class=\"bibliography\">Juan Bermudo, <em>Declaraci\u00f3n de instrumentos musicales<\/em> (Osuna: Juan de Le\u00f3n, 1555), &lt;<a href=\"http:\/\/bdh.bne.es\/bnesearch\/detalle\/bdh0000046174\">http:\/\/bdh.bne.es\/bnesearch\/detalle\/bdh0000046174<\/a>&gt;<\/p>\n<p class=\"bibliography\">Cristina Bordas, \u2018Nuevos datos sobre los organeros Brebos\u2019, in: <em>Livro de homenagem a Macario Santiago Kastner<\/em>, ed. Maria Fernanda Cidrais Rodrigues, Manuel Morais and Rui Vieira Nery (Lisbon, 1992), 51\u201367<\/p>\n<p class=\"bibliography\">Hernando de Cabez\u00f3n, <em>Obras de M\u00fasica<\/em> (Madrid: Francisco Sanchez, 1578) (RISM 1578<sup>24<\/sup>), &lt;<a href=\"http:\/\/purl.org\/rism\/BI\/1578\/24\">http:\/\/purl.org\/rism\/BI\/1578\/24<\/a>&gt;<\/p>\n<p class=\"bibliography\">Juan Crist\u00f3bal Calvete de la Estrella, <em>El felic\u00edssimo viaje del muy alto y muy poderoso Pr\u00edncipe don Phelippe<\/em> (Amberes: Mart\u00edn Nucio, 1552), modern edition by Sociedad Estatal para la Conmemoraci\u00f3n de los Centenarios de Carlos\u00a0V y Felipe\u00a0II (Madrid, 2001), &lt;<a href=\"https:\/\/bibliotecadigital.jcyl.es\/es\/consulta\/registro.do?id=4546\">https:\/\/bibliotecadigital.jcyl.es\/es\/consulta\/registro.do?id=4546<\/a>&gt;<\/p>\n<p class=\"bibliography\">Andr\u00e9s Cea Gal\u00e1n, \u2018\u00d3rganos en la Espa\u00f1a de Felipe\u00a0II: elementos de procedencia for\u00e1nea en la organer\u00eda aut\u00f3ctona\u2019, in: <em>Pol\u00edticas y pr\u00e1cticas musicales en el mundo de Felipe\u00a0II<\/em>, ed. John Griffiths and Javier Su\u00e1rez-Pajares (Madrid, 2004), 325\u201392<\/p>\n<p class=\"bibliography\">Andr\u00e9s Cea Gal\u00e1n, \u2018\u00d3rganos en Espa\u00f1a entre los siglos XVI y XVII\u2019, in: <em>ISO Journal<\/em> 23 (July 2006), 6\u201332<\/p>\n<p class=\"bibliography\">Andr\u00e9s Cea Gal\u00e1n, \u2018Ayre de Espa\u00f1a: zu Tempo und Stil in der <em>Escuela M\u00fasica<\/em> von Fray Pablo Nassarre\u2019, in: <em>In Organo Pleno: Festschrift f\u00fcr Jean-Claude Zehnder zum 65. Geburstag<\/em>, ed. Luigi Collarile and Alexandra Nigito (Bern, 2007), 113\u201322<\/p>\n<p class=\"bibliography\">Andr\u00e9s Cea Gal\u00e1n, \u2018\u00bfQui\u00e9n te me enoj\u00f3, Isabel? y otras preguntas sin respuesta en las obras de m\u00fasica de Antonio de Cabez\u00f3n\u2019, in: <em>Cinco siglos de m\u00fasica de tecla espa\u00f1ola<\/em>, ed. Luisa Morales (Garrucha, 2007), 169\u201394<\/p>\n<p class=\"bibliography\">Andr\u00e9s Cea Gal\u00e1n, \u2018Nuevos pasajes corruptos en las <em>Obras de m\u00fasica<\/em> de Antonio de Cabez\u00f3n\u2019, in: <em>Diferencias<\/em> 1, 2\u00aa \u00e9poca (2010), 67\u201398<\/p>\n<p class=\"bibliography\">Andr\u00e9s Cea Gal\u00e1n, \u2018Nuevas rutas para Cabez\u00f3n en manuscritos de Roma y Par\u00eds\u2019, in: <em>RdM<\/em> 34, no.\u00a02 (2011), 223\u201334<\/p>\n<p class=\"bibliography\">Andr\u00e9s Cea Gal\u00e1n, \u2018New Approaches to the Music of Antonio de Cabez\u00f3n\u2019, in: <em>Early Keyboard Journal<\/em> 27\u201329 (2012), 7\u201325<\/p>\n<p class=\"bibliography\">Andr\u00e9s Cea Gal\u00e1n, \u2018Cantar Victoria al \u00f3rgano. Documentos, m\u00fasica y praxis\u2019, in: <em>Tom\u00e1s Luis de Victoria: Estudios\/Studies<\/em>, ed. Javier Su\u00e1rez-Pajares and Manuel del Sol (Madrid, 2013), 307\u201357<\/p>\n<p class=\"bibliography\">Andr\u00e9s Cea Gal\u00e1n, \u2018<em>Audire, tangere, mirari<\/em>: Notas sobre el <em>instrumentarium<\/em> de los Cabez\u00f3n\u2019, in: <em>AnM<\/em> 69 (2014), 225\u201348<\/p>\n<p class=\"bibliography\">Andr\u00e9s Cea Gal\u00e1n, \u2018La cifra hispana: m\u00fasica, ta\u00f1edores e instrumentos (siglos XVI-XVIII)\u2019, Doctoral thesis, Universidad Complutense de Madrid, 2014<\/p>\n<p class=\"bibliography\">Francisco Correa de Arauxo, <em>Libro de tientos y discursos de m\u00fasica pr\u00e1ctica y the\u00f3rica de \u00f3rgano intitulado Facultad org\u00e1nica<\/em> (Alcal\u00e1 de Henares: Antonio Arnao, 1626)<\/p>\n<p class=\"bibliography\">Gerhard Doderer, \u2018Os manuscritos MM\u00a048 e MM\u00a0242 da Biblioteca da Universidade de Coimbra e a presenca de organistas ib\u00e9ricos\u2019, in: <em>RdM<\/em> 34, no.\u00a02 (2011), 43\u201362<\/p>\n<p class=\"bibliography\">Giuseppe Fiorentino, \u2018M\u00fasica espa\u00f1ola del Renacimiento entre tradici\u00f3n oral y transmisi\u00f3n escrita: El esquema de fol\u00eda en procesos de composici\u00f3n e improvisaci\u00f3n\u2019, doctoral thesis, University of Granada, 2009<\/p>\n<p class=\"bibliography\">Marie-Louise G\u00f6llner, \u2018The intabulations of Hernando de Cabez\u00f3n\u2019, in: <em>De musica hispana et aliis<\/em>. <em>Miscel\u00e1nea en honor al Prof. Dr. Jos\u00e9 L\u00f3pez-Calo en su 65\u2070 cumplea\u00f1os<\/em>, ed. Emilio Casares y Carlos Villanueva, 2\u00a0vols. (Universidad de Santiago de Compostela, 1990), i, 275\u201390<\/p>\n<p class=\"bibliography\">Louis Jambou, <em>Evoluci\u00f3n del \u00f3rgano espa\u00f1ol. Siglos XVI-XVIII<\/em>, 2\u00a0vols., Ethos m\u00fasica 2 (Universidad de Oviedo, 1988)<\/p>\n<p class=\"bibliography\">Macario Santiago Kastner, \u2018Parallels and discrepancies between English and Spanish keyboard music of the 16th and 17th century\u2019, in: <em>AnM<\/em> 7 (1952), 77\u2013115<\/p>\n<p class=\"bibliography\">Macario Santiago Kastner, <em>Antonio und Hernando de Cabez\u00f3n. Eine Chronik dargestellt am Leben zweier Generationen von Organisten<\/em> (Tutzing, 1977); span. ed.: Macario Santiago Kastner, <em>Antonio de Cabez\u00f3n<\/em>, ed. Antonio Baciero (Burgos 2000)<\/p>\n<p class=\"bibliography\">Jeannine Lambrecht-Douillez, <em>Orgelbouwers te Antwerpen in de 16de eeuw<\/em>, Mededelingen van het Ruckers-Genootschap 6 (Antwerpen, 1987)<\/p>\n<p class=\"bibliography\">Luis Mil\u00e1n, <em>Libro de musica de vihuela de mano, intitulado El maestro<\/em> (Valencia: Francisco D\u00edaz Romano, 1536), &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000022795\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000022795<\/a>&gt;<\/p>\n<p class=\"bibliography\"><em>Musica nova accomodata per cantar et sonar sopra organi [\u2026]<\/em> (Venice: [Andrea Arrivabene], 1540) (RISM 1540<sup>22<\/sup>)<\/p>\n<p class=\"bibliography\"><em>Musicque de Joye<\/em> (Lyon: Jacques Moderne, [c.\u00a01550]) (RISM [c.\u00a01550]<sup>24<\/sup>)<\/p>\n<p class=\"bibliography\">Pablo Nassarre, <em>Escuela m\u00fasica seg\u00fan la pr\u00e1ctica moderna<\/em> (Zaragoza: Herederos de Diego de Larumbe, 1724), online: &lt;<a href=\"https:\/\/bdh-rd.bne.es\/viewer.vm?id=0000014534\">https:\/\/bdh-rd.bne.es\/viewer.vm?id=0000014534<\/a>&gt;<\/p>\n<p class=\"bibliography\">Jos\u00e9 Sierra P\u00e9rez, <em>Antonio de Cabez\u00f3n (1510\u20131566). Una vista maravillosa de \u00e1nimo<\/em> (Madrid, Sociedad Espa\u00f1ola de Musicolog\u00eda, 2010)<\/p>\n<p class=\"bibliography\">Guido Persoons, <em>De Orgels en de Organisten van der Onze Lieve Vrouwkerk te Antwerpen van 1500 tot 1650<\/em> (Brussels, 1981)<\/p>\n<p class=\"bibliography\">William Porter, \u2018A stylistic analysis of the fugas, tientos and diferencias of Antonio de Cabez\u00f3n and an examination of his influence on the English Keyboard School\u2019, DMA thesis, Boston University, 1994<\/p>\n<p class=\"bibliography\">Luis Robledo Estaire, \u2018Sobre la letan\u00eda de Antonio de Cabez\u00f3n\u2019, in: <em>NASS<\/em> 5, no.\u00a02 (1989), 143\u20139<\/p>\n<p class=\"bibliography\">Luis Robledo Estaire, \u2018La m\u00fasica en la Casa del Rey\u2019, in: <em>Aspectos de la cultura musical en la Corte de Felipe\u00a0II<\/em>, ed. Luis Robledo Estaire et al., Patrimonio Musical Espa\u00f1ol 6 (Madrid, 2000), 99\u2013193<\/p>\n<p class=\"bibliography\">Miguel \u00c1ngel Roig-Francol\u00ed, \u2018Compositional theory and practice in mid-sixteenth century spanish instrumental music: the \u2018Arte de ta\u00f1er fantas\u00eda\u2019 by Tom\u00e1s de Santa Mar\u00eda and the music of Antonio de Cabez\u00f3n\u2019, PhD thesis, Indiana University, 1990<\/p>\n<p class=\"bibliography\">Miguel \u00c1ngel Roig-Francol\u00ed, \u2018En torno a la figura de Cabez\u00f3n y la obra de Tom\u00e1s de Santa Mar\u00eda: aclaraciones, evaluaciones y relaciones con la m\u00fasica de Cabez\u00f3n\u2019, in: <em>RdM<\/em> 15 (1992), 55\u201385<\/p>\n<p class=\"bibliography\">\u2018Miguel \u00c1ngel Roig-Francol\u00ed, \u2018Modal paradigms in mid-sixteenth-century Spanish instrumental composition: Theory and practice in Antonio de Cabez\u00f3n and Tom\u00e1s de Santa Mar\u00eda\u2019, in: <em>JMT<\/em> 38 (1994), 249\u201391<\/p>\n<p class=\"bibliography\">Miguel \u00c1ngel Roig-Francol\u00ed, \u2018Playing in consonances: a Spanish Renaissance technique of chordal improvisation\u2019, in: <em>EM<\/em> 23 (1995), 437\u201349<\/p>\n<p class=\"bibliography\">Tomas de Santa Mar\u00eda, <em>Libro llamado arte de ta\u00f1er fantas\u00eda<\/em> (Valladolid: Francisco Fernandez de Cordova, 1565), &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000158382&amp;page=1\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000158382&amp;page=1<\/a>&gt;<\/p>\n<p class=\"bibliography\"><em>Samuel Scheidt. Tabulatura nova<\/em>, ed. by Harald Vogel, Part\u00a0II (Wiesbaden\/Leipzig\/Paris, 1999)<\/p>\n<p class=\"bibliography\">Anne Smith, <em>The Performance of 16th-Century Music. Learning from the Theorists<\/em> (Oxford, 2011)<\/p>\n<p class=\"bibliography\">Luis Venegas de Henestrosa, <em>Libro de cifra nueva<\/em> (Alcal\u00e1 de Henares: Juan de Brocar, 1557), &lt;<a href=\"http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000039213&amp;page=1\">http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000039213&amp;page=1<\/a>&gt;<\/p>\n<p class=\"bibliography\">Crist\u00f3bal Villal\u00f3n, <em>Ingeniosa comparaci\u00f3n entre lo antiguo y lo presente<\/em> (Valladolid: Nicolas Tyerri, 1539), ed. Manuel Serrano y Sanz, Libros publicados por la Sociedad de Bibli\u00f3filos Espa\u00f1oles 33 (Madrid 1898), &lt;<a href=\"https:\/\/bibliotecadigital.jcyl.es\/es\/consulta\/registro.do?id=18741\">https:\/\/bibliotecadigital.jcyl.es\/es\/consulta\/registro.do?id=18741<\/a>&gt;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Repertoire, Interpretation and Meaning Andr\u00e9s Cea Gal\u00e1n Bive agora Antonio el ciego, ta\u00f1edor de la Capilla de la Emperatriz, que en el arte no se puede m\u00e1s exmerar, porque dicen que [ha] hallado el centro en el componer.1 This article aims to offer an overview of Antonio de Cabez\u00f3n\u2019s music in the European context of &hellip;<\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[114],"tags":[],"class_list":["post-2991","post","type-post","status-publish","format-standard","hentry","category-harpsichord-in-the-sixteenth-century"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Antonio de Cabez\u00f3n at the Centre of the World &#8211; 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