Antonio de Cabezon (1510-1566) / Instrumental Works

Antonio de Cabezón (1510-1566)
Instrumental works
Spanische Instrumentalmusik zur Zeit Karl V

Réédition/Reissued Virgin Veritas 561875 (CD # 2) EMI 561964 2 (CD # 6)

Description

Artistes / Performers
Hespèrion XX, Jordi Savall, dir.
Sergi Casademunt, Paolo Pandolfo, Carol Lewis, Roberto Gini, Lorenzo Alpert, Paolo Grazo, Bruce Dickey, Charles Toet, Harry Ries, Richard Lister, Robert Clancy, Hopkinson Smith, Antonio Barbera

Lieu d'enregistrement / Recording site: Église catholique de Seewen / Catholic Church - Bâle / Basle, (Suisse/Switzerland)

Date d'enregistrement: oct. 1983
Recording date: Oct. 1983

Durée totale / Total time: 50'08

Édition originale/Original recording
EMI - 70385
(HMV 270385) (LP)

To order / Commander



Appréciation (s) / Review(s)
01/1987	#482 06/2001	# 34( 07-08/2001)
	Par/by: Peter Bates

Gramophone- 01/1987	- Non disponible - No longer available	Subscription Abonnement
Chroniqueur: DF Condensé (traduction libre):
Reviewer: DF Full text-: Antonio de Cabezon is one of those characters who appear in the history books for entirely the wrong reasons. We read too often that he was 'important' for writing sets of keyboard variations in the middle of the sixteenth century and was thereby a major influence on the English virginalists-a questionable proposition at best. But it is less often stated that he was one of the purest and serenest contrapuntist of his age, an age in which Spain is particularly rich in wonderful composers; and this is the feature of his work that is most clearly portrayed in the new record by Hesperion XX. Particularly in the works played by the ensemble of vihuelas de mano you can hear a supreme master of notes at work, a magician who can create fantasias of the most inexhaustible invention and beauty. And Jordi Savall's string ensemble is now surely without parallel anywhere in the world. With their rich, vibrant tone, they manage to create musical textures of the utmost clarity and lucidity, giving space to every significant detail, adding moments of stunning virtuosity, and at the same time always showing the strongest control of Cabezon's format designs. Most of Cabezon's music survives in the form of keyboard tablatures-those published by Venegas de Henestrosa in 1557 and by the composer's son Hernando in 1578. And both volumes are fairly specific in describing the music as for "keyboard, harp and vihuela", so it is perhaps worth noting that the musicians here use no key board instrument and no harp, though two works are nicely performed on a pair of vihuelas. For the rest, the music has been adapted for various ensembles, primarily one of bowed strings and one of wind instruments based on a group of sackbuts. But in a sense part of the point in these arrangements is simply that they help to demonstrate the enormous richness of Cabezons counterpoint. They bring it to startling life at every point. And one significant feature of the performances is their excellent rhythmical control, with unusual flexibility and springiness in nearly all the pieces. Sometimes the juxtaposition of instrumental groups works less well than it should. The wind ensemble may have little to fear from other such groups in the world, but they nevertheless sound slightly less refined than the strings, so it is sometimes disturbing to the ear to hear the two in quick succession, and the works with strings and wind instruments together show some fleeting moments of tricky intonation. But those are details: beyond any shadow of doubt, whether else may turn up in the course of the year, this is one for my next Christmas list.

Diapason- # 482 06/2001	Appréciation Evaluation	Abonnement Subscription
Chroniqueur: Gaëtan Naulleau Résumé ou abrégé: Le chroniqueur souligne le fait que cet enregistrement de Savall de pièces instrumentales de Antonio de Cabezón réalisé en 1983 n'avait depuis fait l'objet d'aucune réédition. Et pourtant , il s'agit là d'une "superbe anthologie gravée par Hespèrion XX". Savall "... initiait alors des arrangements pour consort de pièces pour clavier afin de combler l'absence de musiques d'ensemble dans les sources de la Renaissance ibérique. Historiquement probable, magistralement accomplie, dans cet enregistrement, l'hypothèse a fait école. Des trombones mal assurés ne troublent jamais l'humble ferveur de l'ensemble -- parfait écho à l'écriture de Cabezon".
Reviewer: Abridged version :

Classica- # 34 07-08/2001	Appréciation ~~~~~ Evaluation Note de 4	Abonnement Subscription
Chroniqueur: Stephan Vincent-Lancrin Résumé ou abrégé: Quelques lignes à peine consacrées à cet enregistrement consacré à la musique instrumentale d'Antonio de Cabezón qui " est plus intérieur, plus tourmenté" que celui consacré à la musique de la cour napolitaine (EMI 561876); il "nous touche ... totalement, malgré de sérieux problèmes de justesse des cuivres".
Reviewer: Abridged version :

Autres références disponibles via la base de données de Todd McComb:
(Site: http://www.medieval.org)

Other references available via
Todd McComb's data base:
(Site: http://www.medieval.org)

La musique / The music
1. Himno XIX Pange lingua IV	10. Un gay bergier (Thomas Crecquillon)
2. Pour un plaisir (Thomas Crecquillon)	11. Diferencias sobre "Las Vacas" (romanesca)
3. Diferencias sobre "La dama le demanda"	12. Tiento IX. Quinto tono
4. Tiento II. Cuarto tono	13. Para quien crié cabellos (folia)
5. Pavana con su glosa	14 Tiento XIII. Fuga a cuatro
6. Fabordones del sexto tono	15. Tiento VII. Cuarto tono
7. Tiento VIII	16. Diferencias sobre la pavana italiana
8. Quien llamo al partir, partir ?	17. Je fille quant dieu me donne de quoy (Adrian Willaert)
9. Tres sobre la Alta (Spagna)	18. Tiento III. Primer tono

Consulter directement / Instant access

Quelques titres de référence / A few fundamental titles

Date de création de cette fiche: 4 avril 2006
Dernière mise à jour de cette fiche:
26-Mar-2008

This page was first published on:
April 4, 2006
This page was updated on:
03/26/08

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