Antonio de Cabeçon - KPNhome.planet.nl/~teuli049/CabezonCanciones4blf.pdf · Antonio de Cabeçon ... -los duos para principiantes ... canciones glosadas y motetas a quarto,” “Here

1

Antonio de Cabeçon

(Castrillo Mota de Judíos 1510 – Madrid 1566)

Comiençan las canciones glosadas y motetes a quatro

Fol. 69 – 104

from :

Obras de Musica para Tecla, Arpa y Vihuela

Madrid 1578

15 in 4 voices and 3 pieces in 3 voices

transcribed for keyboard instrument and harp

and arranged for instruments

by Arnold den Teuling

Recorders or other instruments

2016

2

Introduction to the edition of the remaining part of

Antonio de Cabezón’s Obras de Musica para Tecla, Arpa y Vihuela,

Madrid 1578

Hernando de Cabeçon (Madrid 1541-Valladolid 1602), as he spelled his name, published his

father’s works in 1578, despite the year 1570 on the title page. The royal privilege for

publication bears the date 1578 in the page which also contains the “erratas”.

The Obras contain an extensive and very useful introduction, followed by 200 folio’s of

printed music. The notes are represented by numbers on a line, each line being one voice.

Cabeçon explains in his introduction how this tablature works. A facsimile is in IMSLP.

I refer to my edition for keyboard instrument for details on my choice of the pieces which I

edited and arranged in this project.

Cabeçon divided the works according to number of voices and genre, starting the first two

sections with music for beginners.

The following sections have been completely included by Pedrell-Anglés:

-los duos para principiantes (fol.1) duos for beginners

-las obras de a tres para principiantes (fol. 5) trios for beginners

-las obras de a quatro (fol. 9) works in four voices

-los favordones de todos los ocho tonos (fol. 14) fauxbourdons in all eight tones

-los hymnos hymns

-los versos de Magnificat sobre todos los ocho tonos (fol. 29)

Magnificat verses on all eight tones

-quatro Kiries de cada tono (fol. 41) four Kyries in each tone

-los tientos (fol 51-68) tientos

Pedrell-Anglés chose pieces from the following sections:

-las canciones glosadas y motets a quarto (fol. 69), songs with variations and motets in 4

voices, 7 pieces chosen out of 18, 1 partly,

2 by Hernando

-los motetes de a cinco y canciones glosadas motets in 5 voices and songs with

(fol. 105), variations, 5 pieces chosen out of 24, 1 by

Hernando

-los motetes y canciones a seys (fol. 159) motets and songs in 6 voices, 1 piece and

a part of a second one, out of 7.

They concluded with the complete:

-discantes (fol. 185-200) songs with variations.

I did not transcribe these works and so I did not make arrangements for other instruments.

3

My project concerns an edition of the three incompletely published sections of Cabeçon’s

work meant for keyboard instruments or (diatonic) harp. As by-products I will separately give

arrangements for 4-6 instruments, especially recorders, facilitated by Cabeçon’s way of music

notation: tablature with each line bearing one voice. If you play other instruments than

recorders you should play the treble recorder part one octave down, and read the other parts

with clefs an octave down. I combined separate parts but the number of pages will not exceed

3. The page numbers only refer to the scores.

Cabeçon maintained in his intabulations of existing pieces the composer’s original note values

and represented the original pitches, “come stà”, so without correcting them for chiavetti. But

he allowed himself libeeties especially in final bars. He broke up long notes and applied

multiple diminutions and ornaments. In the table of contents I put an * with pieces the

originals of which may be found in IMSLP or CPLD. So you can compare Cabeçon’s version

with the original, but consult the original source if possible, for instance at Early music

Online, https://repository.royalholloway.ac.uk/access/searching.do . The originals are

playable on recorders too.

I follow the Grove Music Online for the authorship of the original vocal pieces.

This first part of my edition will be the section in the content list (Tabla) “Comiençan las

canciones glosadas y motetas a quarto,” “Here begin the songs with diminutions and motets in

four voices.” It contains fifteen works in four voices and three in three voices.

Cabeçon applied accidentals independently for every voice and repeated them for every note,

as usual in the period. Though not usual any more I maintained that, and I did not correct

Cabezon’s inconsistencies. But to be clear I had to add a natural or a flat sign where the signs

were not repeated within the same bar and in places where voices cross. The performer should

decide where he respects or corrects the inconsistencies. Many seeming inconsistencies are

too consistent to be errors! But other editors and most performers, from Pedrell on, adapt

modern use as to the accidentals. Pedrell and his followers do not give the details of their

editorial accidentals. It is, however, very easy to add them oneself in this edition. But every

voice should be played as an independent melody and clashes between, for instance, B flat

and B natural may be regular and should not always be repaired. Of course evident errors

should be corrected, and I mentioned them in the critical notes.

Where relevant I will add critical and other remarks.

Arnold den Teuling, Assen, Netherlands, October 2015 March 2016

4

Contents of “las canciones glosadas y motetas a quarto”

arranged for recorders or other instruments

Cabeçon’s TABLA with folio nrs. This edition with page numbers

Prenes pitie criquillon 69 Thomas Crecquillon, Prenez pitié du mal* 5

Ie pres en grei criquillon 71 presumably Jacob Clemens non Papa, Je prens en gre*,

(but there is a mass by Crecquillon on its theme) 10

Ie pres en grei glosado de idem, diminutions by Hernando

Hernando de Cabeçon 73 (ed. Pedrell vol. 7 p. 11) 15

Si par sufrir criquillon 75 Thomas Crecquillon, Si parvenir* (not : Si par

souffrir, set by other composers) 21

Cancion francesa, Clemens

non papa 77 Jacob Clemens non Papa, French song 26

Ancolque col partire 78 Cipriano de Rore, Ancor que col partire*

(ed. Pedrell vol. 7 p. 14) 29

Por un plasir criquillon 79 Thomas Crecquillon*, Pour un plaisir 33

Ungai bergier criquillon 80 Thomas Crecquillon*, Un gai berger 37

Dulce memoria glosada de Pierre Sandrin, Doulce mémoire*, diminutions by 42

Hernando de Cabeçon 82 Hernando (ed. Pedrell vol. 7 p. 17)

Fuga a quatro vozes, todas Canonic fuga in 4 voices, sixth mode 48

las vozes por una, sexto tono 84 (ed. Pedrell vol. 7 p. 20)

Queramus moton. con.2.y.3. Jean Mouton, Quaeramus cum pastoribus*, with 52

parte 85 2nd

and 3rd

part

Queramus moton, con diferente Jean Mouton, Quaeramus cum pastoribus*, with 65

glosa con segunda parte 89 several diminutions with second part (ed. Pedrell

vol. 7 p.22)

Clama neceses Iusquin 92 Josquin Desprez, Clama ne cesses, Agnus Dei III 73

from the mass L’homme armée super voces musicales

Osana de la missa del home Josquin Desprez, Hosanna from the mass 85

arme 97 L’homme armé

Benedictus de la missa del Josquin Desprez, Pleni sunt caeli from the mass 91

home arme Iusquin 99 L’homme armé (3 voices)

Avemaristela canto llano, Ave maris stella, plainchant in the tenor, in three 94

tenor a tres 100 voices (ed. Pedrell vol. 7 p.27)

Beata viscera Mariae cantollano Beata viscera Mariae, plainchant in the bass, in 99

con el baxo a tres 102 three voices (ed. Pedrell vol. 7 p.31)

Cum Sancto Spiritu de beata Josquin Desprez, Cum Sancto Spiritu from the 102

virgine 103 mass De beata virgine

Prenes pitie criquillon fol. 69, Prenez pitié du mal, Thomas Crecquillon (1505-1557)

Antonio de Cabeçon (1510-1566)Arrangement Arnold den Teuling 2015

Descant Recorder

Treble Recorder

Tenor Recorder

Bass Recorder

6

12

5

18

24

29 fol.69v

36

Prenez pitié - Cabezon/Crecquillon6

42

48

54

60 fol.70

Prenez pitié - Cabezon/Crecquillon 7

66

72

77

82

Prenez pitié - Cabezon/Crecquillon8

88 fol. 70v

93

99

103

3 3 3 3

3 3

3 3

3 3

3

3

3

3 3

33

3 3 3 3 3

3

Prenez pitié - Cabezon/Crecquillon 9



Descant Recorder

Treble Recorder

Descant Recorder

Treble Recorder

6

12

20

25

30 fol.69v

37

43

50

56

62 fol.70

69

75

80

Descant Recorder, Treble Recorder2

87 fol. 70v

95

101

3 3 3 3 3 3

3 3

3

3

3

Descant Recorder, Treble Recorder 3



Tenor Recorder

Bass Recorder

Tenor Recorder

Bass Recorder

14

20

29 fol.69v

37

44

50

58 fol.70

65

72

80

88 fol. 70v

94

100

3

3 3 3 3

3

33

3 3 3

3

Tenor Recorder, Bass Recorder2

Ye pres en grey Criquillon fol. 70v, Je prens en gre, Thomas Crecquillon (1505-1557)

but more probably Jacob Clemens non Papa (ca 1510-1555/6)Antonio de Cabeçon (1510-1566)

Arrangement Arnold den Teuling 2015

Descant Recorder

Treble Recorder

Tenor Recorder

Bass Recorder

6 fol.71

11

10

16

22

27

32 fol.71v

Cabezon/Clemens - Je prens en gre 11

38

43

47

53

Cabezon/Clemens - Je prens en gre12

59 fol.72

64

70

77


83

88

93 fol.72v

99

Cabezon/Clemens - Je prens en gre14

105





Descant Recorder

Treble Recorder

Descant Recorder

Treble Recorder

7 fol.71

13

19

26

33 fol.71v

40

45

52

59 fol.72

64

70

78

84

Descant Recorder

Treble Recorder 2

90

fol.72v97

104

Descant Recorder

Treble Recorder 3




Tenor Recorder

Bass Recorder

Tenor Recorder

Bass Recorder

7 fol.71

16

24

29 fol.71v

36

44

52

58 fol.72

66

74

82

91 fol.72v

98

Tenor Recorder

Bass Recorder

2

104

Tenor Recorder

Bass Recorder

3

Ye pres en grey glossado de Hernandofol. 72v, Je prens en gre, Thomas Crecquillon (1505-1557)

but more probably Jacob Clemens non Papa (ca 1510-1555/6)Hernando de Cabeçon (Madrid 1541-Valladolid 1602)

Arrangement Arnold den Teuling

Descant Recorder

Treble Recorder

Tenor Recorder

Bass Recorder

5

11 fo.73

15

16

21

26

31

3 3

3

3 3

3

Hernando de Cabezon/Clemens - Je prens 16

37

42 fo. 73v

48

53

3

3

3 3

3

3

3 3 3 3

3 3

33

3 3 3 3


59

64

70 fo. 74

75

3

3

3 3 3 3 3

3

3

3

33 3


81

88

95

100 fo. 74v

33

3

3

33

3

3

3

3 3 3

3

3


106


Descant Recorder

Treble Recorder


but more probably Jacob Clemens non Papa (ca 1510-1555/6)

Hernando de Cabeçon (Madrid 1541-Valladolid 1602)


Descant Recorder

Treble Recorder

8 fo.73

16

23

29

36

42 fo. 73v

3 3

3

49

56

62

68 fo. 74

75

81

89

3 3

3

3

3 3 3

3

3

3

3 3 3 3 3

33

3


97

103 fo. 74v

107

3 3 3


Tenor Recorder

Bass Recorder


but more probably Jacob Clemens non Papa (ca 1510-1555/6)



Tenor Recorder

Bass Recorder

5

12 fo.73

18

24

32

40

3 3

3

fo. 73v45

52

59

66 fo. 74

73

80

87

3 3

33

3

33 3 3 3

3

3

3

3

3

33

3

3 3 3

3


94

100 fo. 74v

106

3

3

Tenor Recorder, Bass Recorder 3

Antonio de Cabeçon (1510-1566)


Si par suffrir. Criquillonfo. 74v Thomas Crecquillon (1505-1557), Si parvenir

Descant Recorder

Treble Recorder

Treble/Tenor Recorder

Bass Recorder

6

12

18

21

23 fol. 75

28

33

38

Cabezon/Crecquillon - Si parvenir22

43

51

59 fol. 75v.

65

Cabezon/Crecquillon - Si parvenir 23

71

76

81

87 fol. 76

Cabezon/Crecquillon - Si parvenir24

92

98

104

Crecquillon's chanson as published by Tylman Susato, Le tiers livre de chansons à quatre parties (composees

par Maistre Thomas Crecquillon), fol IX, (Antwerp) 1544, indicates the repetition of the bars 96-112.

108

Cabezon/Crecquillon - Si parvenir 25



Si par suffrir. CriquillonDescant Recorder

Treble Recorder

fo. 74v Thomas Crecquillon (1505-1557), Si parvenir

Descant Recorder

Treble Recorder

6

13

19

fol. 7525

31

37

42

50

58 fol. 75v.

64

70

76

82

Descant Recorder

Treble Recorder

2

88 fol. 76

95

103

107

Descant Recorder

Treble Recorder

3



Si par suffrir. CriquillonTreble/Tenor Recorder

Bass Recorder

fo. 74v Thomas Crecquillon (1505-1557), Si parvenir


Bass Recorder

10

16

22 fol. 75

28

33

41

49

57 fol. 75v.

66

73

81

88 fol. 76

94


Bass Recorder

2

101

108


Bass Recorder

3

Cancion Francesa. Clemens non Papa



fo. 76v French chanson, Jacob Clemens non Papa (ca 1510-ca 1555)

Descant Recorder

Treble Recorder


Bass Recorder

5

10

3

26

16

22

27

33

3 3

3

3 3 3 3

Cabezon/Clemens - Cancion Francesa 27

38

43

Bar 14, note 2 tenor: the f ' has been positioned right beneath superius a', but the expected sign for lengthening the

preceding f is lacking; but, for instance, the lengtening signs after a and c' in bar 31 tenor and bass are also missing,

where the interpretation leaves no doubt. If one accepts the positioning of the f ' in bar 14 as a printing error,

a more regular alternative transcription could result: (tenor) crotchet f + minim f '. The clash f ' against (superius)

g ' would not be unusual. I prefer the notes as transmitted.

47

Cabezon/Clemens - Cancion Francesa 28

Ancol que col partire



fo. 77v Ancor que col partire, Cipriano de Rore (1515/6-1565)

Descant Recorder

Treble Recorder

Tenor Recorder

Bass Recorder

6

11

29

17

23

29 fo. 78

34

Cabezon/Rore - Ancor que col partire30

39

45

50

56 fo. 78v

Cabezon/Rore - Ancor que col partire 31

62

67

72

77

Cabezon/Rore - Ancor que col partire32




Descant Recorder

Treble Recorder fo. 77v Ancor que col partire, Cipriano de Rore (1515/6-1565)

8

14

20

27 fo. 78

33

39

V.S.

45

53

58 fo. 78v

64

70

77





Tenor Recorder

Bass Recorder

fo. 77v Ancor que col partire, Cipriano de Rore (1515/6-1565)

Tenor Recorder

Bass Recorder

8

16

23

fo. 7830

36

43

49

55 fo. 78v

63

70

76


Por un plasir. Criquillon



fo. 79 Thomas Crecquillon (1505-1557), Pour ung plaisir

Descant Recorder

Treble Recorder

Tenor Recorder

Bass Recorder

6

12

33

17

22

fo 79v28

33

Cabezon/Crecquillon - Pour ung plaisir 34

38

44

49 fo. 80

54


59

62





Descant Recorder

Treble Recorder


Descant Recorder

Treble Recorder

8

13

19

26 fo 79v

33

39

45

51 fo. 80

57

61





Tenor Recorder

Bass Recorder


Tenor Recorder

Bass Recorder

7

15

21

27 fo 79v

34

40

47 fo. 80

55

60




Ungaybergeir. Criquillon fo. 80. Thomas Crecquillon (1505-1557), Ung gay bergier

Descant Recorder

Treble Recorder

Tenor Recorder

Bass Recorder

6 fo. 80v

11

37

16

21

26

32 fo. 81

Cabezon/Crecquillon - Ung gay bergier38

38

43

49

54

3

3

3

3

Cabezon/Crecquillon - Ung gay bergier 39

60 fo. 81v

65

72

78

Cabezon/Crecquillon - Ung gay bergier40

84

90

Bar 56 Bassus: Cabeçon notates a q above the e and a h above f, normally meaning: four crotchets + one minim.

This notation is identical to bar 57. But there are only three note numbers in the bassus line bar 56, and four

in bar 57. The positioning of these note numbers in the line of bar 56, compared to th`e positioning of the four

note numbers of bar 57, may lead to the interpretation as a triplet. The usual sign 3 for a triplet is, however, missing.

So I followed the alternative interpretation: hqq . Susato (Premier livre de chansons à quatre parties, Antwerp 1543,

fo. xvi) only gives the first note as w, as expected.

fo. 8293

Cabezon/Crecquillon - Ung gay bergier 41



Ungaybergeir. Criquillon

Descant Recorder

Treble Recorder

fo. 80. Thomas Crecquillon (1505-1557), Ung gay bergier

Descant Recorder

Treble Recorder

7 fo. 80v

12

17

23

28

35 fo. 81

40

45

51

56

fo. 81v63

71

78

3

3


85

91 fo. 82




Ungaybergeir. Criquillon

Tenor Recorder

Bass Recorder

fo. 80. Thomas Crecquillon (1505-1557), Ung gay bergier

Tenor Recorder

Bass Recorder

9 fo. 80v

18

25

33 fo. 81

41

50

3

3

57 fo. 81v

64

72

79

87

92 fo. 82


Dulce memoriae. Hernando de Cabeçon



Fo.82 Pierre Sandrin (ca 1490 - after 1561), Doulce memoire

Treble Recorder

Tenor Recorder 1

Tenor Recorder 2

Bass Recorder

5

10

42

15

20 fo. 82v

25

30

Hernando de Cabezon/Sandrin - Doulce memoire 43

36

41

46 fo. 83

51

3 3

Hernando de Cabezon/Sandrin - Doulce memoire44

59

66

71

76 fo83v


80

84

89

94

3 3

33

3 3 3 3 3

3 3 3 3

3 3 333

33

33

Hernando de Cabezon/Sandrin - Doulce memoire46

Bar 26 and 52: the double bar lines are editorial. Sandrin's original has a repeat sign after bar 26, as in Tielman Susato,

Le second livre de chansons à quatre parties, Antwerp 1544, fo. VII. Cabeçon makes different variations.

Bar 79 Tenor: the natural is, by exception, Cabeçon's.

Bar 93: The notated rhythm of the Bass line shows some irregularity. But because the rhthm notation of the bars

93-96 is nearly identical, I assumed that the rhythm was meant to be shifting triplets in bar 93 too.

99






Tenor Recorder 1

Tenor Recorder 2

9

14

20 fo. 82v

25

30

38

V.S.

43 fo. 83

51

59

68

74 fo83v

81

87

Tenor Recorder 1, Tenor Recorder 22

95

Tenor Recorder 1, Tenor Recorder 2 3





Treble Recorder

Bass Recorder

Treble Recorder

Bass Recorder

6

14

21 fo. 82v

30

36

41

47 fo. 83

53

61

67

73

78 fo83v

81

3 3

Treble Recorder, Bass Recorder2

86

91

96

100

3 3 3 3 3 3 3

3

3 33

3 33

33

3 3 3

3 3

3

Treble Recorder, Bass Recorder 3

Fuga a quatro todas las bozes por una sexto tono



Fo. 84 Fuga in four voices, all voices equal, sixth tone.

Descant Recorder

Treble Recorder

Tenor Recorder

Bass Recorder

8

16

48

24

32

40

48

Cabezon - Fuga a quatro 49

57 fo.84v

65

73

81

Cabezon - Fuga a quatro50

88

96

104

* Bar 90 Tenor: semibrevis c: one would expect a minim c + minim rest.

* Bar 101 note 1 Bass: d: one would expect f; presumably error, compare the error in Bar 43 note 2 Superius, corrected

by Cabeçon.

110

*

*

Cabezon - Fuga a quatro 51




Descant Recorder

Treble Recorder


Descant Recorder

Treble Recorder

9

18

27

36

44

54 fo.84v

63

72

81

89

98

107





Tenor Recorder

Bass Recorder


Tenor Recorder

Bass Recorder

11

20

29

38

46

56 fo.84v

65

74

83

91

100

107

* Bar 90 Tenor: semibrevis c: one would expect a minim c + minim rest.

* Bar 101 note 1 Bass: d: one would expect f; presumably error, compare the error in Bar 43 note 2 Superius, corrected

by Cabeçon.

*

*


Quaeramus Moton



Fo. 85. Jean Mouton (ca 1459-1522), Quaeramus cum pastoribus

Descant Recorder

Treble Recorder

Tenor Recorder

Bass Recorder

7

12

52

18

23

29

fo. 85v35

Cabezon / Mouton - Quaeramus53

40

45

50

57


62

fo.86 Segunda parte de Quaeramus 68

73

78


83

88

94

100


105

111

118

124


130 fo. 87

136

140

Tercera parte de Quaeramus146


153

159

166

172


179

185

191

196


201

207

212 fo.88

219


226

233

239

244


250fo.88v

257

262

268


274

Bar 32 Superius: the x is positioned 2 positions too far to the left. Alternatively, two 16th notes c" b' could be inserted.

Bar 165 Bass f: lengthening sign is missing, compare Altus 157 (rest only in 166)

Bar 266 Tenor note 1: only the point indicating f' - e" is clearly visible; f' is the most logical choice.

Mouton's motet consists of two parts. Cabeçon's parts 1 and 2 are Mouton's part 1, and Cabeçon's part 3 is

Mouton's part 2.

279


Quaeramus Moton




Descant Recorder

11

18

27

34 fo. 85v

40

46

53

62

65


78

86

94

102

108

127

fo. 87135

140


155

163

171

180

191

Descant Recorder2

198

205

212 fo.88

222

230

240

246

fo.88v253

263

272

278

Descant Recorder 3

Quaeramus Moton




Treble Recorder

7

15

24

31 fo. 85v

38

46

57

63


78

87

108

116

124

133 fo. 87

140


158

167

177

186

196

208 fo.88

216

Treble Recorder2

225

236

244

fo.88v253

262

270

277

Treble Recorder 3

Quaeramus Moton




Tenor Recorder

25 fo. 85v

36

46

54

60


80

89

97

103

111

126

fo. 87135

140


162

176

189

198

206

fo.88214

223

231

244 fo.88v

Tenor Recorder2

255

264

274

280

Tenor Recorder 3

Quaeramus Moton




Bass Recorder

21

fo. 85v35

44

54

62 fo.86 Segunda parte de Quaeramus

71

85

92

110

119

128 fo. 87

137


166

179

194

201

209 fo.88

218

234

243 fo.88v

257

269

278

Bass Recorder2

Quaeramus. Moton. con differente glossa



Fo. 89. Jean Mouton (ca 1459-1522), Quaeramus cum pastoribus, with different divisions

Descant Recorder

Treble Recorder

Tenor Recorder

Bass Recorder

6

11

65

17

22

28 fo. 89v.

33

Cabezon / Mouton - Quaeramus con differente glossaFull Score66

38

43

48

54

§ §

Cabezon / Mouton - Quaeramus con differente glossaFull Score 67

59fo. 90

64

Segunda parte de Quaeramus. Moton. 69

74


79

84 fo. 90v.

89

94


100

105

110fo. 91

115


119

124

129

134


fo. 91v.139

Bar 16 Superius: hypothecically note 1 is a semibrevis, confirmed by Mouton'original elsewhere on this site.

Bar 44 Superius note 3: hand written d' above the same ink stain, reverse page.

Bar 55 Tenor notes 9 and 10: Mouton's original does not presuppose a leading note here, so I assume that

the sharp sign should be replaced one position to the left, to sharpen the b flat.

Cabeçon's first two parts in this division set are only the first part of Mouton's original motet.

144






Descant Recorder

10

18

27

34

40

46

52

59

65 Segunda parte de Quaeramus. Moton.

74

81

86

95

103

109

126

134

142

Descant RecorderDescant Recorder2





Treble Recorder

6

12

18

26

33

41

48

58


79

89

97

112

118

124

130

136

143

Treble RecorderTreble Recorder2





Tenor Recorder

23

32

44

53

62


80

89

100

108

114

§ §

129

136

143

Tenor RecorderTenor Recorder2





Bass Recorder

20

33

42

52

60


80

90

96

113

120

129

139

144

Bass RecorderBass Recorder2

1

Antonio de Cabeçon ( 1510-1566 )


Clama necesses. Iusquin.Fo. 91v. Josquin Desprez, Clama, ne cesses, Call, do not stop:

Agnus Dei III from the mass L'homme armé super voces musicales

Treble RecorderDescant Recorder

Treble Recorder

Tenor Recorder

Bass Recorder

5

10 fo. 92

Descant Recorder

To Tr. Rec.

15

20

25

30

Treble Recorder

Cabezon - Clama ne cesses74

35 fo. 92v.

41

47

52

Cabezon - Clama ne cesses 75

57

62 fo. 93

67

72


77

82

87 fo. 93v.

92

3

3 3

3 3


97

102

107

112fo. 94


117

123

128

133

3 3 3

3

3


138 fo.94v.

144

149

154


159

164 fo. 95

169

175


180

185

190 fo. 95v.

195


200

205

210

215fo. 96


220

225

The time signature in the original by Josquin Desprez is for the superius, for its "resolutio" (solution) and for

the other parts. The Superius is originally the chanson L'homme armé. The bar lines are Cabeçon's. Cabeçon freely broke up

the cantus firmus, and did not follow Josquin in bar 166-184.

In a number of places I had to swap the voices 2 and 3 or 3 and 4,because of the relative small range of the recorders.

The only real problem were the bars 127-129, where I had to transpose the Tenor an octave up, to prevent chords with wrong

bass notes.

The first part of the Superius may of course be performed on a treble recorder too, like the rest of this part.

229


1





Treble RecorderDescant Recorder

5

10 fo. 92

17

28 fo. 92v.

40

47

55

60 fo. 93

71

80 fo. 93v.

91

Descant Recorder

To Tr. Rec.

Treble Recorder

3

98

105

110 fo. 94

115

122

133

fo.94v.143

150

162 fo. 95

174

186 fo. 95v.

198

209 fo. 96

Treble recorder, Descant Recorder2

221

228

Treble recorder, Descant Recorder 3

1





Treble Recorder

9 fo. 92

16

22

28

35 fo. 92v.

42

50

57fo. 93

64

70

77

83 fo. 93v.

90

97

108 fo. 94

118

125

136

fo.94v.143

150

156

162 fo. 95

168

174

3 3

3 3 3

Treble Recorder2

180

185

190 fo. 95v.

197

204

209

215 fo. 96

220

226

230

Treble Recorder 3

1





Tenor Recorder

11 fo. 92

20

28 fo. 92v.

37

48

57 fo. 93

66

75

82 fo. 93v.

90

99

3 3

106 fo. 94

116

127

133 fo.94v.

145

153

160

fo. 95167

173

181

189 fo. 95v.

197

205

Tenor Recorder2

213 fo. 96

221

227

Tenor Recorder 3

1



Clama necesses. Iusquin.

Fo. 91v. Josquin Desprez, Clama, ne cesses, Call, do not stop:


Bass Recorder

8 fo. 92

17

26

33 fo. 92v.

39

47

58 fo. 93

67

74

83 fo. 93v.

92

100

109 fo. 94

119

129

137 fo.94v.

150

160 fo. 95

170

178

187 fo. 95v.

195

201

208 fo. 96

3

3

Bass Recorder2

217

226

Bass Recorder 3

1

A. de Cabeçon (1510-1566)


Osanna dela missa de lome armefo. 96v. Josquin Desprez (ca 1450-1521, Hosanna from the mass

L'homme armé super voces musicales

Treble RecorderSuperius

Tenor RecorderAltus

Tenor RecorderTenor

Bass RecorderBassus

5

10

15

19

23 fo. 97

28

3

Cabezon / Josquin - Hosanna L'homme armé86

34

40

45

50fo. 97v

3 3

3 3

3

Cabezon / Josquin - Hosanna L'homme armé 87

55

60

65

70

b


74 fo. 98

79

84

89

Cabezon / Josquin - Hosanna L'homme armé 89

94

The cantus firmus is, with divisions, in the tenor, beginning in bar 9 and ending in bar 83; the final note of Josquin's

original is 88, with Cabeçon's fermate.

Josquin's cantus firmus has a flat sign throughout, the other parts have not. So I added an editorial accidental in Tenor

bar 62. I leave it to the performer to apply other accidentals according to modern or other use, for instance in Bass

bar 61; the flat in Bass bar 59 is Cabeçon's. I printed the tenor in purple.

As indicated by the time signature Josquin's original has been written in a tripartite time system. Two longae are

equivalent with three bars in Cabeçon's arrangement. One could read the time signature as 6/2.

Bar 4 note 2 Altus: the natural is by exception Cabeçon's.

98 fo. 98v.


Treble Recorder

1





Treble RecorderSuperius

6

18

23

31

39

45

52

57

68

77

84

3 3

90

97

Treble RecorderTreble Recorder2

Tenor Recorder 1

1





Tenor RecorderAltus

6

12

22

32

40

48

56

62

70

78

85

3 3 3

b

90

96

Tenor Recorder 1Tenor Recorder 12

Tenor Recorder 2

1





13

18

24

34

41

48

60

63

68

77

88

95

Tenor Recorder 2 Tenor Recorder 2 2

Bass Recorder

1





Bass RecorderBassus

13

21

28

34

43

50

57

65

70

74

82

3

90

96

Bass RecorderBass Recorder2

Benedictus de la missa delome arme. Iusquin



fo. 98v. Josquin Desprez (ca 1450-1521), Pleni sunt caeli from the mass


Tenor Recorder 1

Tenor Recorder 2

Bass Recorder

6

11

16

21 fo. 99

26

32

37

42

48

Cabezon / Josquin - Pleni sunt from L'homme armé92

53 fo. 99v.

59

In this part of the mass Josquin did not apply the cantus firmus of L'homme armé. Cabeçon referred to the wrong part of the

Sanctus/Benedictus.

65

Cabezon / Josquin - Pleni sunt from L'homme armé 93

Tenor Recorder 1




1



Tenor Recorder 1

13

19

fo. 9925

34

41

49

56

62

66

Tenor Recorder 2




1



Tenor Recorder 2

8

14

22 fo. 99

28

40

46

52

59

64

Bass Recorder




1



Bass Recorder

7

19

28

34

41

52

61

Avemaristela



Fo. 99v. Ave maris stella, canto llano, tenor a tres

Plainchant in tenor, three voices

Treble Recorder

Tenor Recorder

Bass Recorder

5 fo. 100

10

15

20

26

29 fo. 100v.

33

37

41

Cabezon - Ave maris stella 95

46

51

fo. 10156

61

66

Cabezon - Ave maris stella96

71

75fo. 101v.

81

86

91

3 3 3

3 3

3 3 3

3

Cabezon - Ave maris stella 97

The beginning of the cantus firmus is similar to the most usual melody in the Liber usualis p. 1259, but the rest is different.

The melody ends in bar 78 and is freely repeated from bar 65, beginning in bar 82.

The original contains extra bass notes in bars 80-81 and 97-100, which I had to simplify; the tenor ended on d (modus 1).

96

3

Cabezon - Ave maris stella98

Treble Recorder

Tenor Recorder

Avemaristela



1



Treble Recorder

Tenor Recorder

5

10

16

24

28

32

38

43

48

53

58

63

68

Treble Recorder, Tenor Recorder2

73

80

85

90

96

3 3 3

3 3 3

Treble Recorder, Tenor Recorder 3

Tenor Recorder

Bass RecorderAvemaristela



1



8

14

19

25

32

38

V.S.

44

51

59

65

72

79

86

3

3


92

3 3

Tenor Recorder, Bass Recorder 3

Beata viscera mariae. Cantollano



Beata viscera mariae. Cantollanoconel baxo a tres. Fo. 102. Plainchant in the bass, three parts.

Tenor Recorder/Treble recorder

Treble Recorder

Bass Recorder

5

11

15

To Tr. Rec. Treble Recorder

19

24fo. 102v.

29

34

39

3 3 3 3

3 3 3 3

Cabezon - Beata viscera100

44

48 fo. 103

53

The cantus firmus shows some similarity with the plainchant communio for feasts for St Mary (commune festorum

B. Mariae virginis) as in the Liber usualis, p.1268, and none with responsory of the Christmas Matins, p. 389.

The change from tenor recorder to treble should be done somewhere between bar 16 and 25.

57

Cabezon - Beata viscera 101

Tenor Recorder/ Treble recorder

Treble Recorder

Beata viscera mariae. Cantollano



1


5

10

14

17

21

fo. 102v.25

29

33

37

V.S.

To Tr. Rec. Treble Recorder

3 3 3 3

42

47 fo. 103

52

56

Tenor Recorder/ Treble recorder, Treble Recorder2

Treble Recorder Beata viscera mariae. Cantollano



1


7

12

18

22 fo. 102v.

26

31

36

41

46 fo. 103

V.S.

3 3

3 3

51

55

Treble Recorder2

Bass Recorder Beata viscera mariae. Cantollano



1


10

20 fo. 102v.

30

40

fo. 10349

55

1

Cum sancto Spiritu. Iusquin.Fo. 103. Cum Sancto Spiritu from the Mass De beata virgine, Josquin Desprez.



Descant Recorder

Treble Recorder

Tenor Recorder

Bass Recorder

6

fo. 103v.12

3

3

3

3

18

23

28

34

Cabezon / Josquin - Cum Sancto Spiritu 103

39

44 fo. 104

49

54

B

G

Cabezon / Josquin - Cum Sancto Spiritu104

59

64

69

73

Cabezon / Josquin - Cum Sancto Spiritu 105

One bar in Cabeçon is a brevis in the edition of Petrucci's Missarum Josquin liber tertius, Venice 1514. The time

signature in Petrucci is . Three bars in Cabeçon are equivalent with one in, for instance, Smijers's edition of

Josquin's Werken 30.16, p. 137, bars 223-250. Cabeçon has .

Josquin's original clefs in this part of the Gloria are G2 C3 C3 F4, possibly chiavetti, and in that case the piece

should be sung a fourth down. For a male voice is g" too high. However, the lowest tone is now F, a fourth down

would result C, which is very low for a normal bass voice.

Superius bar 5 note 5: the superfluous natural is Cabeçon's.

I changed Tenor bar 34-43 note 1 to the treble recorder part.

76

Cabezon / Josquin - Cum Sancto Spiritu106

Descant Recorder

Treble Recorder

1




Descant Recorder

Treble Recorder

6

12

23

28

35

41

3

3

B

fo. 10447

55

60

66

71

75

Descant Recorder

Treble Recorder

2

Tenor Recorder

Bass Recorder

1




Tenor Recorder

Bass Recorder

14

20

33

41

50

58

3

3

G

65

72

76

Tenor Recorder

Bass Recorder

2

Documents

Antonio de Cabeçon - KPNhome.planet.nl/~teuli049/CabezonCanciones4blf.pdf · Antonio de Cabeçon ... -los duos para principiantes ... canciones glosadas y motetas a quarto,” “Here