Cabezon: Tientos Y Glosados

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Cat No: 8554836

Release Date: 04 January 2001

Label: Naxos - Nxc / Naxos Classics

Packaging Type: Jewel Case

No of Units: 1

Barcode: 636943483626

Genres: Classical

Composer/Series: CABEZON

Description
Antonio de Cabezón (1510-1566)Tientos y GlosadosAntonio de Cabezón was born in 1510 at Castrillo de Matajudíos, near Castrojeriz. He was blind from birth or at least from early childhood and probably had his first instruction in music from the organist at Castrojeriz, continuing his musical education at the Cathedral of Palencia, where he never held any official position. In August 1522, through his influential teacher, he was introduced to the imperial family and in 1525 moved to Toledo, in 1526 becoming organist in the service of Queen Isabella. In 1538 he married Luisa Nuñez de Moscoso, daughter of a well-to-do family, who bore him five children, among them his son Hernando de Cabezón, who in 1578, published his father’s music in a comprehensive edition.After the death of Queen Isabella in 1539, Antonio de Cabezón was appointed músico de cámara y capilla and from then onwards served the Emperor Charles V and his son, the future Philip II. He accompanied both of them on their journeys to Italy, Germany, Luxemburg, the Netherlands and England, and was thus able to meet the most significant musicians outside Spain. Various intabulations of chansons and madrigals bear witness to his extensive knowledge of the most important contemporary works. After his last journey to England with Prince Philip in 1554-56, he settled in the new capital, Madrid, where he died on 26th March 1566.In his lifetime Antonio de Cabezón was regarded as a master of keyboard performance, his importance indicated by the fact that he was one of the very few instrumentalists whose name appears in payment and appointment lists. He is considered to have been the founder of a tradition that spanned the period from Francisco de Arauxo, Pablo Bruna, Sebastián Aguilera de Heredia and Rodrigues Coelho to Juan Cabanilles in the late seventeenth century and his work came at a time when instrumental music was slowly freeing itself from its vocal predecessors, as some instruments noticeably broke away from their earlier function as accompaniment to voices. For a long time it had been usual for vocal parts to be accompanied and reinforced by corresponding instruments, such as the cembalo, clavichord, harp, viols, flute and others. As a result of this, most instrumentalists were familiar with the general vocal repertoire and were accustomed to performing and probably ornamenting it. The step towards the achievement of independence, the performance of an actual original vocal piece in a purely instrumental version arising from new possibilities, was not far off. Cabezón attained a mastery in this art in which he brought out the characteristic properties of his instrument, the organ or the cembalo, while keeping the singing quality of individual parts, free of empty rhetoric or stereotypical flourishes to fill out the texture. Through the constant tensions between harmony, melody and virtuoso ornamentation he a
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