Antonio de Cabezón, His Sacred and Secular Music

Antonio de Cabezón (1510–1566), one of the most important composers of the late Renaissance and considered one of the first major Iberian keyboard composers, was blind from childhood. A highly productive composer, he left behind a rich collection of compositions, which was collected and published posthumously by his son, Hernando de Cabezón, who was also a musician. The collection is titled Obras de Música para Tecla, Arpa y Vihuela (Works of Music for Keyboard, Harp, and Vihuela). He was accomplished in both sacred and secular music. As the chamber and chapel musician and organist for King Don Philippe, he primarily composed sacred music for the Daily Office, including hymns, Kyrie verses, Magnificats, and more. However, Cabezón's greatest contribution was his keyboard works. The creativity and improvisational style found in his tientos and Diferencias (variations) inspired many later composers, such as Thomas Tallis and William Byrd.

The music I chose to include mainly consists of his variations. These variations are based on popular Renaissance songs and dances. For example, one of the variations included in this program, La Dama le Demanda, is a solemn and elegant court dance originally called La Belle Qui Tiens Ma Vie, from Orchésographie by his contemporary, the French cleric and writer Thoinot Arbeau (see Fig. 9). Many composers have written pieces based on this famous tune, yet what  Cabezón created is truly special: the fast runs flow seamlessly from one voice to another, while the tune retains its original character. His composition is virtuosic, full of freedom, yet so natural and beautiful.

A different type of piece I included in the cycle is the Canción Religiosa (Christmas Carol). This piece was originally found in a 1557 published collection called Libro de Cifra Nueva, published by Luis Venegas de Henestrosa.  Although the composer of the music is not clearly indicated in the collection, a plausible assumption can be made based on Hispaniae Schola Musica Sacra by Felipe Pedrell, a leading 20th-century scholar who specialised in Spanish music, as well as a composer and guitarist, that it is by Antonio de Cabezón. This piece was originally composed for keyboard, harp, and vihuela with lyrics(see Fig.10). The music is tender and intimate, filled  with sorrow and redemption, and it echoes Mompou’s music through time. Although there may be fewer written resources about composers from earlier periods, the music they left behind reflects much about who they were, their artistic identity, and their personality.