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572477 bk Cabezon EU_572477 bk Cabezon EU 27/03/2013 13:24 Page 1 in its title. Their texts both concern the endlessly Antonio’s brother Juan emerges from the shadows Glen Wilson fascinating subject of a rejected lover’s sighs. In Ardenti with one work only ¡. He must have been a major Antonio, Juan miei sospiri @, hypnotic repetition of cadence patterns keyboardist in his own right, because he stayed behind Glen Wilson was born in Illinois in 1952. He studied at The Juilliard portrays amorous torpor so convincingly that one in Brussels in 1555 when Antonio returned home, taking School before moving to Holland in 1971 as a student of Gustav and Hernando de wonders if the composer hadn’t had first-hand an appointment as organist in the Spanish king’s chapel Leonhardt. He was active in Dutch musical life for twenty years experience of the poem’s dedicatee, the celebrity there. At some point Juan came back to Madrid, and (harpsichordist of the Netherlands Chamber Orchestra, Netherlands courtesan Tullia d’Aragona. Ultimi miei sospiri 5, on a died four months after Antonio. I suspect Hernando had Opera, Quadro Hotteterre and duo-partner of Leonhardt, Wieland poem in canzona form by the Medici protégé Ludovico become too busy to take sufficient care of his blind Kuyken, Alice Harnoncourt, Michael Chance, Mieneke van der Velden CABEZÓN Martelli (who also authored a tragedy entitled Tullia), has father, and that Juan was recalled to his old post at the and many others) before moving to Bavaria as professor at the Music a chromatic passage on the text “infinite beauty” that master’s side, passing away soon after his task was University of Würzburg. He has since conducted his edition of presages Cipriano de Rore and Gesualdo. completed. Monteverdi’s Ritorno di Ulisse in patria for the Netherlands Opera over De Rore himself is present with one # of the two The text of Pues a mi desconsolado is a gloss on a sixty times on three continents (DVD on BBC Opus Arte). The Glosas other madrigals we offer here, both belonging to the poem first recorded in 1514. The similarity of the setting production was called “by far” the outstanding event of the season by repertoire of “standards” of the era; the other %, by his to that of the next piece in the Obras, ™ Quién llamó al The New Yorker. Wilson’s recordings include seven solo CDs for Netherlandish countryman Adriaan Willaert, is a perfect partir, partir, has led to the supposition that it, too, might Teldec/Das Alte Werk, a continuing solo series for Naxos, the Mozart/da example of the intricate pervading thematic imitation first be by Juan. But the latter is on a completely different Ponte operas with Nikolaus Harnoncourt, and many chamber music fully developed by Gombert. plane of contrapuntal mastery, and the similarities of discs. His edition of the Préludes of Louis Couperin, which he now Glen Wilson, Harpsichord Hernando de Cabezón was his father’s successor key, layout and general atmosphere have another ascribes to Louis’ brother Charles, was awarded the German Music as keyboardist to Philip II. He included four of his glosas explanation, I think: they are transcribed from a pair of Publishers’ Prize for best scholarly edition. For more information, in the Obras, three of which have found a place here, &, songs of sorrow and parting accompanied by the visit www.glenwilson.eu * and ). Two of these are duplicates of pieces by his vihuela, the standard medium of lyric expression in father, allowing a direct stylistic comparison. More will Spain. Could they have been composed by the brothers be found that is similar than disparate, but a certain for each other in Brussels? Certainly the end of Mannerist tendency is discernible in the younger Antonio’s song sounds like a benediction. generation. His Ave maris stella does not really belong I cannot close without renewing my thanks to John in a collection of glosas, but I have included it in Koster (National Music Museum, University of South gratitude to Hernando for his efforts to preserve his Dakota) for his unfailing aid, and to Andrés Cea Galán father’s music; and because it is such a gemlike (Conservatorio Superior de Música, Sevilla) for his Photo: Volker Schneidereit example of the ancient art which was the foundation of pioneering work on the restoration of the texts. every keyboardist’s training, that of adding limpid voices to a cantus firmus in long notes from Gregorian chant – Glen Wilson in this case, the hymn to “Mary, star of the sea”. It is a www.glenwilson.eu matter of infinite regret that Hernando’s own Compendio, left at his death to his family with the express desire that it be published, was lost. 8.572477 5 8.572477 6 572477 bk Cabezon EU_572477 bk Cabezon EU 27/03/2013 13:24 Page 2 Antonio de Cabezón (1510-66) • Juan de Cabezón (?-1566) Antonio de Cabezón (1510-66): overlapping entrances – we enter a zone of increasing alongside Crecquillon, and may have met the young Hernando de Cabezón (1541-1602): Glosas for Harpsichord complexity, with the fourth and final theme (presented Cabezón on journeys to Spain before he was banished 1 Ayme qui vouldra (Nicolas Gombert) 3:15 simultaneously in inversion) almost inaudibly eliding into to the galleys for sodomy. The initial theme keeps 2 Sana me domine (Jacobus Clemens non Papa) 5:58 For biographical information about Antonio de Cabezón efforts often were. With Cabezón we are safely in the a long descending sequence with one voice in long turning up unexpectedly in various guises, as love will 3 Prenez pitié (Thomas Crecquillon) 3:10 (1510-66), the reader is kindly referred to the notes hands of a master. And it must always be remembered notes running down an octave scale. This pleased (at the end, in diminished and augmented note values). 4 Je file quand Dieu me donne de quoi (Philip van Wilder) 1:19 (available online at www.naxos.com) for Naxos 8.572475- that this practice was the main source of all later Cabezón so much that he presents it first plain, then Gombert sets the text “or if you like danger” like the 5 Ultimi miei sospiri (Philippe Verdelot) 4:22 76, Complete Tientos and Variations. The thorny problem instrumental virtuosity. gorgeously ornamented. soundtrack to a thriller. The passage gets an approving 6 Osanna from the mass L’homme armé (Josquin Desprez) 3:28 of establishing a reliable text from the Obras de Música Another hurdle for these works has been their comment from a later Spanish master (Correa de 7 Au joli bois sur la verdure (Johannes Lupi) 2:58 (1578) published by Antonio’s son Hernando, also extreme difficulty. To get four, five or six highly • The Corpus Christi hymn Pange lingua (text by St Arauxo), who attributes the entire glosa to Hernando. discussed there, is in this case eased somewhat by our ornamented contrapuntal voices into perfect balance and Thomas Aquinas, sung in Spain to a melody that Either he had some special knowledge of the fact, or just 8 Pis ne peult me venir (Crecquillon) 3:11 having most of the vocal models for the Cabezón family’s make them all sing, while at the same time making it probably goes back to a marching song of Caesar’s confused the names of father and son. It does not really 9 Pour un plaisir (Crecquillon) 2:00 ornamented versions found on the present recording of sound easy, requires a disciplined effort that makes the legions) received several extraordinarily long-lived matter. 0 Susanne un jour (Orlande de Lassus) 4:08 glosas. Suffice it here to quote Hernando’s preface: “If Well-Tempered Clavier look like a picnic. In the face of settings by the late-fifteenth-century organist Johannes Almost as fine is the delightful Au joli bois sur la ! Je prens en gré la dure mort (Clemens non Papa?) 2:58 some errors are still present, I beg that they be altered this hurricane of complexities, Hernando’s advice to “take Wreede ^, a native of Bruges, who held the highest verdure 7 (On the grass in the lovely woods) by the all @ Ardenti miei sospiri (Verdelot) 5:08 with my full approval.” I have taken him up on this offer to the fingering as it comes” appears in an aspect of epic musical offices in Spain (where his unpronounceable but forgotten Cambrai master Johannes Lupi (a # Ancor che col partire (Cipriano de Rore) 3:23 a dizzying degree. understatement. In the Obras, the glosas come at the end name was modified to Urreda). Some were still in use as Latinization of “Wolf”), who struggled unsuccessfully to $ Canción francesa (Clemens non Papa?) 1:40 This type of keyboard transcription, which dominates of a scheme of increasing difficulty leading up to works in late as the eighteenth century. Cabezón’s glosa is the keep discipline among his choirboys, and was honored % Chi la dirà (Adriaan Willaert) 2:49 the keyboard literature of the sixteenth century, stands in six voices. (The song and dance variations bring up the only work heard here that comes from the other source by Baston with a musical memorial which proclaimed ^ Pange lingua de Urreda (Johannes Wreede) 2:39 ill repute. Three “complete” editions of Antonio’s works rear, as a kind of dessert.) of his music, the Libro de cifra nueva (1557). him “not a wolf, but an innocent lamb”. were published before the glosas finally saw the light of The glosas are divided carefully not only by the The two chansons attributed to Clemens non Papa day in 1974.