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JOAN CABANILLES Keyboard Music, Volume Two 1 Tiento No. 65 lleno, de quinto tono 6:14 2 Tiento No. 109 de contras, de octavo tono 4:08 3 Tiento No. 126 de clarines de sexto tono [partido de mano derecha, y de dos tiples]* ** 7:42 4 Verso No. 61 sobre Ave Maris Stella, de primero tono 1:40 5 Tiento No. 4 partido de mano derecha sobre Ave Maris Stella, de primero tono* ** 8:28 6 Verso No. 62 sobre Ave Maris Stella, de primero tono 0:57 7 Tiento No. 15 de falsas, de quinto tono 4:10 8 Tiento No. 97 partido de mano izquierda, de tercero tono* ** 6:30 11 versos de cuarto tono* 9 No. 230 1:23 10 No. 232 0:56 11 No. 257** 1:04 12 No. 233 1:26 13 No. 262 partido de dos bajos 2:25 14 No. 277 de ecos 1:24 15 No. 278 1:03 16 No. 286 1:01 17 No. 261 partido de dos bajos 1:32 18 No. 276 0:54 19 No. 231 1:29 2 JOAN CABANILLES Keyboard Music, Volume Two 20 Tiento No. 42 partido de dos tiples, de cuarto tono* ** 8:46 21 Tiento No. 16 lleno, de quinto tono 2:47 22 Tiento No. 24 lleno, de octavo tono 5:34 1 Tiento No. 65 lleno, de quinto tono 6:14 23 Passacalles No. 4, de cuarto tono 2:21 2 Tiento No. 109 de contras, de octavo tono 4:08 24 3 Tiento No. 126 de clarines de sexto tono [partido de mano derecha, y de dos tiples]* ** 7:42 Tiento No. 10 lleno, de tercero tono 4:47 4 Verso No. 61 sobre Ave Maris Stella, de primero tono 1:40 TT: 78:44 5 Tiento No. 4 partido de mano derecha sobre Ave Maris Stella, de primero tono* ** 8:28 6 Verso No. 62 sobre Ave Maris Stella, de primero tono 0:57 Timothy Roberts *FIRST RECORDINGS 7 Tiento No. 15 de falsas, de quinto tono 4:10 organ of the Church of Sant Jaume, Vila-real, **NEW RECONSTRUCTIONS 8 Tiento No. 97 partido de mano izquierda, de tercero tono* ** 6:30 Valencia 1 – 20 11 versos de cuarto tono* organ in seventeenth-century style by Gerhard 9 No. 230 1:23 Grenzing for the Church of San José, Navalcarnero, 10 No. 232 0:56 Madrid 21 – 22 11 No. 257** 1:04 harpsichord in seventeenth-century Flemish style 12 No. 233 1:26 by Michael Johnson 23 – 24 13 No. 262 partido de dos bajos 2:25 14 No. 277 de ecos 1:24 15 No. 278 1:03 Te numbering used here for works other than versos is that of the as yet incomplete 16 No. 286 1:01 Opera omnia, Biblioteca de Catalunya, Barcelona: Vols. 1–4, ed. Higini Anglès, 1927–56; 17 No. 261 partido de dos bajos 1:32 Vols. 5–9, ed. Josep Climent, 1986–2008; that of the versos follows Nelson Lee’s edition, 18 No. 276 0:54 also ongoing: Keyboard Music from the Felanitx Manuscripts, Corpus of Early Keyboard 19 No. 231 1:29 Music, Vol. 48, fasc. 1–5, American Institute of Musicology, Münster and Madison, 1999–. 3 JOAN CABANILLES: A PERSONAL ‘CASTLE IN SPAIN’ by Timothy Roberts build castles in the air (or in Spain) have a visionary and unattainable scheme; daydream. [...] Te form of the saying in Old French, known from the 13th century, may refer to the fact that much of Spain in the Middle Ages was under Moorish control, so any scheme to build castles there was clearly unlikely to succeed.1 Te Pyrenees are not only a geological barrier but also an enduring cultural one, and over the centuries it has been all too easy for northern Europeans to approach the music of Spain through a kind of romantic haze. Even though this is the second volume in my series of recordings of Cabanilles’ works for organ and harpsichord, I, too, remain very much aware of how little I still know about the early keyboard music of the Iberian peninsula. A player hoping to do reasonable justice to Cabanilles and also to the music of other composers, times and places can feel daunted by the very abundance and thoroughness of Hispanic scholarship;2 although on the other hand the relatively selective information that is accessible in English3 can enlighten, but also reinforce a sort of stereotype of national diference. Mythic fgures such as St John of the Cross, El Greco and Teresa of Avila merely add to the northerner’s fear 1 J. Ayto (ed.), Oxford Dictionary of English Idioms, Oxford University Press, 2009, online. 2 For example, the richly informative doctoral theses of M. Bernal Ripoll (Procedimientos constructivos en la música para órgano de Joan Cabanilles, Universidad Autonóma de Madrid, 2003) and Andrés Cea Galán (La cifra hispana: música, tañedores e instrumentos (siglos XVI–XVIII), Universidad Complutense de Madrid, 2014), as available online, run to 666 and 1,185 pages respectively. 3 In, for example, B. Sachs and B. Ife (ed. and transl.), Anthology of Early Keyboard Methods, Gamut Press, Cambridge, 1981; B. Ife and R. Truby (eds.), Early Spanish Keyboard Music, 3 vols., Oxford University Press, London, 1986; J. Dalton (ed.), Faber Early Organ Series, Vols. 4–6, Faber Music, London, 1987; M. Bernal and G. Doderer, J. Cabanilles, Selected Works for Organ, 3 vols., Bärenreiter, Kassel, 2017–. For an overview of the repertory cf. John Collins’s online articles at www.johncollinsworthing. org.uk/articles.shtml. A standard work on the instruments is in German: Rudolf Reuter, Orgeln in Spanien, Bärenreiter, Kassel, 1986; for Spanish harpsichords, cf. Luisa Morales, Claves y pianos españoles: Interpretación y repertorio hasta 1830 , Instituto de Estudios Almerienses, Almería, 2003. 4 that beyond the mountains musicians seem to have written and played in some arcane, mystically ‘Spanish’ way. Cabanilles himself was most active from the 1670s into the 1690s, the time when the ‘golden age’ of Spanish music4 was largely over. Te classic precepts of Iberian keyboard interpretation (principally regarding ornamentation, subtleties of rhythm, and mathematical tempo-relationships) may therefore be of limited relevance to him.5 Italian music was becoming the new lingua franca, and as he passed his entire life in Valencia, very near to Spain’s eastern coast, he was open both geographically and culturally to infuences from outside Spain. Cabanilles’ music seems like the manifestation of an assertive and confdent personality, well suited to his work in the massive acoustic space of Valencia Cathedral. Te mere scale of his structures is sometimes overwhelming, demanding a visceral energy in the performance if the music is to come to life. Furthermore, as Nelson Lee suggests below, the nature of the extant manuscripts of this music not only allows but positively invites an unusually creative approach, and I’ve found it both an enjoyable intellectual puzzle and an open-ended learning experience to come up with convincing performing versions for these recordings, especially with the partido works, those written for two simultaneous, contrasting registrations. Te musician-scholar Andrés Cea Galán has amassed convincing evidence6 that, as they have come down to posterity, those pieces are in efect mutilated versions for which detective work is needed to re-imagine the lost originals.7 In those works the double-manual Valencian organs enabled (inspired?) 4 As represented by fgures such as the choral composers Tomás Luis de Victoria (c. 1548–1611) and Francisco Guerrero (1528–99), and the organists Antonio de Cabezón (c. 1510–1566) and Francisco Correa de Arauxo (1584–1654). 5 For example, in his Facultad orgánica (Alcalá de Henaras, 1626) F. Correa de Arauxo remarks that in a Tiento every note longer than a quaver should typically have an ornament, where the fngering allows one. Te sparkling texture that results is typical of the late Renaissance and Mannerism, but may not be relevant to music composed between 40 and 90 years later. 6 Cf. his La mano derecha de Cabanilles: notas sobre el repertorio partido en la antigua Corona de Aragón, Instituto del Órgano Hispano, Seville, 2016. A further relevant dissertation is also forthcoming: Pablo Márquez Caraballo’s Los órganos de la catedral de Valencia durante los siglos XVI–XXI. Historia y evolución; a résumé is online at http://roderic.uv.es/handle/10550/61405?show=full. 7 On this album tracks 3 5 8 11 and 20 are heard in speculative reconstructions of their double-manual ‘originals’. 5 Cabanilles dramatically to reinvent the Iberian medio registro8 genre, composing in the process a type of rhapsodic and ornate keyboard music, where the range of the solo lines9 would be surpassed, I think, only by the piano music of Mozart's time.10 On a personal note, it was Oscar Laguna who frst suggested to me that, for a ‘Cabanilles organ’ I should visit Gerhard Grenzing’s reconstruction of the 1724 Salanova organ in Vila-real. It was a memorable experience in 2016 to sit at such an instrument, so ‘regional’ and specialised, and yet so universal in its expression. It was about 50 years ago that, afer a visit to my local music library, I was bowled over by the sound of Francis Chapelet playing the small seventeenth-century Castillian organ in Covarrubias near Burgos;11 from that day on, such instruments, such stunning music became for one London teenager a sort of exotic idée fxe, a veritable ‘castle in the air’. My frst visit to a real Spanish organ-lof came when I was still in my teens (afer Mass at La Seo, Zaragoza, August 1970), though it was only much later in life that I spent some years in Mallorca and was brought face-to-face with the everyday reality: there really are endless castles – and organs – in Spain! Relatively little is known of Cabanilles’ life.

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