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Cabezon: Obras De Musica / Harmonices Mundi, La Moranda


Release Date: 11/13/2012 
Label:  Brilliant Classics   Catalog #: 94346  
Composer:  Antonio De Cabezón
Performer:  Claudio Astronio
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La MorandaHarmonices MundiLa Moranda Wind Ensemble,   ... 
Number of Discs: 7 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews



CABEZÓN Obras de música para tecla, arpa y vihuela Claudio Astronio (org, hpd, regal, cond); Harmonices Mundi; La Moranda; Quartetto Italiano di Viole da Gamba BRILLIANT 94346 (7 CDs: 454:45)


Antonio de Cabezón (1510-1566) was the first Spanish composer of international stature, and a member of the extraordinary historical lineage of blind organ virtuosos. Born to a noble family in Castrillo de Matajudio, he studied in Palencia with Garcia de Baeza, organist of the cathedral in nearby Read more Burgos, and lived with a relative who was a canon at that cathedral. In 1526 he was employed as principal organist in the royal chapel of Queen Isabella, who had married Emperor Charles V the previous year, and remained in the service of the royal family throughout his life. In 1538 he was elevated to the position of chamber musician to the emperor, and upon the early death of Isabella in 1539 was entrusted with the musical education of their three children, Philip (Felipe), Maria (who would later become a major patron of Tomás Luis de Victoria), and Joan. When Philip became regent of Spain in 1543, he made Cabezón the court organist, and in 1546 also appointed the composer’s brother, Juan, as a musician to the royal chapel. In these capacities the two brothers accompanied Philip (later Philip II of Spain, 1555–1598) on the travels of the royal entourage to Milan, Naples, Germany, the Netherlands, and England, where Cabezón met other important composers of the era and influenced them through the compositions he brought with him. Upon his death in Madrid he left a widow and five children, one of whom, Hernando de Cabezón (1541–1602), also a composer, was primarily responsible for the preservation of his father’s works. Most of these were published in the 1578 Obras de música para tecla, arpa y vihuela (Works of Music for Keyboard, Harp, and Vihuela) that is presented in this set; virtually all of the others previously appeared in a 1557 collection of some 200 pieces compiled by the composer Luis Venegas de Henestrosa (c.1510–1570), the Libro de cifra nueva para tecla, harpa y vihuela (Book of New Numbers for Keyboard, Harp, and Vihuela).


With the exception of a single vocal piece (not forming part of this collection), Cabezón’s surviving original works are all instrumental, mostly for keyboard. They are classified into four different types: liturgical pieces, tientos, variations (glosados), and intabulations of sacred and secular works by Crequillon, Desprez, Gombert, Clemens non Papa, Richafort, and Verdelot, among others. The liturgical works consist of brief settings of the Kyrie, Magnificat, psalm excerpts, and hymns. The tiento is a form of polyphonic instrumental music that is the Spanish counterpart to the Italian ricercar; originally derived from liturgical plainchant, it is highly improvisatory in style but highly structured in layout, with sections of imitative counterpoint alternating with non-imitative ones. Of Cabezón’s 29 surviving examples of the genre, 12 were published in the Obras , in two sets of six believed to date respectively from earlier and later in the composer’s career. By contrast, the Obras preserves all nine sets of Cabezon’s variations, which display some of the composer’s most original work; his distinctive practice of shifting the cantus firmus to different voices from variation to variation would later be utilized by William Byrd. As transcriptions of works by other composers, the intabulations are necessarily not original in content, but they do demonstrate the composer’s formidable keyboard skills and resourcefulness in making the adaptations.


Regarding this edition, I will first note that while it is advertised as being “complete,” various sources I have consulted state that the Obras comprises about 275 works, whereas this set contains 127 tracks, with the titles seldom indicating any multiple items combined on a single track. Obviously, without access to the extremely rare original volume, I have no way to account for this discrepancy. Second, the performances here variously feature organ, harpsichord, a brass ensemble (La Moranda), a viol ensemble (Quartetto Italiano), and an early violin ensemble (Harmonices Mundi)—a variety which is all to the good—but somewhat puzzlingly no harp or vihuela. I’m naïve enough to suppose that a collection specifically mentioning those instruments should have some of its pieces performed on them.


Despite his great historical importance to 16th-century music, Cabezón has had very few previous releases devoted solely or primarily to his art, and so this set is most welcome indeed. (A side note for those seeking out recordings: On the ArkivMusic website, the composer is listed under “D” as “de Cabezón,” but his son Hernando is listed under “C” as “Cabezón.”) The first four discs in this set are from a series originally recorded for the Stradivarius label as far back as 1995, though the actual release dates I find for them are from about a decade later. (Brilliant provides absolutely no information on this point except for a single minuscule line of type on the back of the box: “Licensed from Stradivarius (CDs 1-4)”.) The final three discs are original recordings made in 2012 for Brilliant Classics to complete the series.


Previous releases on other labels that are still in print include:


- a Naxos CD from 2001 of tientos and glosados with Thomas Wimmer and the Accentus ensemble;


- a Naxos two-CD set from 2011 of the complete tientos and variations with harpsichordist Glen Wilson;


- a two-CD Motette release from 1998 of organ works with Jose Luis González Uriol;


- a Discantica CD from 2010 of organ works, also with Uriol;


- a Glossa disc from 1998 of keyboard works with Enrico Bassano;


- a Lindoro CD from 2009 of organ works with Andres Cea;


- an Arcana CD from 2012 with harpsichordist Paola Erdas, reviewed in 34:3 by Barry Brenesal (the only review of a disc devoted to Cabezón that appears in the Fanfare Archive).


Older items, all originally issued on LPs and long out of print, include:


- an MHS release of keyboard works with Hans Kann and Leo Witoszy?skyi;


- a Harmonia Mundi disc of organ works with Gertrud Mersiovsky;


- a Hispavox release of organ works with Paulino Ortiz;


- a Hispavox series of 15 discs of the composer’s complete organ works with Antonio Baciero;


- an EMI release in its Reflexe series of instrumental pieces performed by Jordi Savall and fellow instrumentalists.


Regarding the caliber of the performances presented here, my reaction is one of qualified approbation. In his review of the Arcana disc, Brenesal rightly observed: “If Cabezón’s music may be said to embody any expressive characteristic, it is the somber magnificence of Spanish theater, not just literally from the stage, but from the drama embedded in its music.” There is throughout an almost severe degree of stateliness and emotional restraint, reflecting a culture very self-conscious of the qualities of dignity and elegance. While these performances are technically faultless and stylistically conscientious, they tend to be somewhat cautious and short on character, particularly those by the brass ensemble La Moranda. When I turn instead to the aforementioned Naxos and Motette recordings, the spirit and colorfulness of these pieces is captured to a palpably greater degree (and the arrangements by Thomas Wimmer and Accentus are far more varied and brilliant). However, I don’t wish to look a gift horse in the mouth; the performances are still estimable overall, and at the Brilliant Classics super-budget price, anyone interested in the music of Cabezón should snatch up this set without delay before it disappears. All the discs are well filled (though I cannot discern a particular order to the contents of the set); the recorded sound is perfectly fine if not exceptional; and the accompanying booklet provides a detailed table of contents, list of all the performers, and extensive and informative notes on the composer, music, and keyboardist Claudio Astronio (though not the various ensembles). Despite my caveat, definitely recommended.


FANFARE: James A. Altena
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Works on This Recording

1. Benedicta es coelorum Regina con segunda y tercera parte (after Josquin) by Antonio De Cabezón
Performer:  Claudio Astronio (Harpsichord), Claudio Astronio (Organ)
Conductor:  Claudio Astronio
Period: Renaissance 
Venue:  Convento delle Clarisse di San Salvatore 
Length: 7 Minutes 1 Secs. 
2. Sancta Maria Verdelot (after Verdelot) by Antonio De Cabezón
Performer:  Claudio Astronio (Organ), Claudio Astronio (Harpsichord)
Period: Renaissance 
Venue:  Convento delle Clarisse di San Salvatore 
Length: 6 Minutes 59 Secs. 
3. Ave Maria Jusquin (after Josquin) by Antonio De Cabezón
Performer:  Claudio Astronio (Organ), Claudio Astronio (Harpsichord)
Period: Renaissance 
Venue:  Convento delle Clarisse di San Salvatore 
Length: 6 Minutes 22 Secs. 
4. Ultimi miei suspiri (after Verdelot) by Antonio De Cabezón
Performer:  Claudio Astronio (Organ), Claudio Astronio (Harpsichord)
Period: Renaissance 
Venue:  Convento delle Clarisse di San Salvatore 
Length: 5 Minutes 42 Secs. 
5. Ardenti miei sospiri by Antonio De Cabezón
Performer:  Claudio Astronio (Harpsichord), Claudio Astronio (Organ)
Period: Renaissance 
Venue:  Convento delle Clarisse di San Salvatore 
Length: 6 Minutes 26 Secs. 
6. Diferencias sobre "Las Vacas" by Antonio De Cabezón
Performer:  Claudio Astronio (Harpsichord), Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
Venue:  Convento delle Clarisse di San Salvatore 
Length: 3 Minutes 44 Secs. 
7. Diferencias sobre el canto llano del "Caballero" by Antonio De Cabezón
Performer:  Claudio Astronio (Organ), Claudio Astronio (Harpsichord)
Period: Renaissance 
Written: 16th Century; Spain 
Venue:  Convento delle Clarisse di San Salvatore 
Length: 3 Minutes 6 Secs. 
8. Discante sobre la pavana italiana by Antonio De Cabezón
Performer:  Claudio Astronio (Organ), Claudio Astronio (Harpsichord)
Period: Renaissance 
Written: circa 1550 
Venue:  Convento delle Clarisse di San Salvatore 
Length: 3 Minutes 40 Secs. 
9. Diferencias sobre "La dama le demanda" by Antonio De Cabezón
Performer:  Claudio Astronio (Organ), Claudio Astronio (Harpsichord)
Period: Renaissance 
Written: 16th Century; Spain 
Venue:  Convento delle Clarisse di San Salvatore 
Length: 3 Minutes 4 Secs. 
10. Diferencias sobre el canto "De quien teme enojo Isabel", for keyboard by Antonio De Cabezón
Performer:  Claudio Astronio (Harpsichord), Claudio Astronio (Organ)
Period: Renaissance 
Venue:  Convento delle Clarisse di San Salvatore 
Length: 7 Minutes 14 Secs. 
11. Duuiensela by Antonio De Cabezón
Performer:  Claudio Astronio (Organ), Claudio Astronio (Harpsichord)
Period: Renaissance 
Written: 16th Century; Spain 
Venue:  Convento delle Clarisse di San Salvatore 
Length: 3 Minutes 26 Secs. 
12. Tres dúos para principiantes para mostrar a llevar el compas by Antonio De Cabezón
Performer:  Claudio Astronio (Regal), Claudio Astronio (Harpsichord)
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La Moranda
Period: Renaissance 
Venue:  Chiesa Evangelica di Bolzano / Museo del 
Length: 1 Minutes 49 Secs. 
13. Dos Ave maris stellas. Lleva el canto llano el contrabajo by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La Moranda
Period: Renaissance 
Venue:  Chiesa evangelica di Bolzano 
Length: 1 Minutes 31 Secs. 
14. Dos Ave maris stellas. Lleva el canto llano el triple by Antonio De Cabezón
Performer:  Claudio Astronio (Regal)
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La Moranda
Period: Renaissance 
Venue:  Chiesa Evangelica di Bolzano / Museo del 
Length: 2 Minutes 9 Secs. 
15. Te lucis ante terminum by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
Venue:  Convento di S. Magno, Amelia, Terni, Ita 
Length: 1 Minutes 9 Secs. 
16. Duo by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Venue:  Convento di S. Magno, Amelia, Terni, Ita 
Length: 1 Minutes 1 Secs. 
17. Tres Kiryes sobre el canto llano de Rex Virginum by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Venue:  Convento di S. Magno, Amelia, Terni, Ita 
Length: 3 Minutes 26 Secs. 
18. Ave maris stella, de Hernando de Cabeçon. Lleva el canto llano el contrabaxo by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La Moranda
Period: Renaissance 
Venue:  Chiesa evangelica di Bolzano 
Length: 1 Minutes 23 Secs. 
19. Otra Ave maris stella. Canto llano, el tenor by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Venue:  Convento di S. Magno, Amelia, Terni, Ita 
Length: 1 Minutes 45 Secs. 
20. Pange lingua. Canto llano tenor by Antonio De Cabezón
Performer:  Claudio Astronio (Regal)
Period: Renaissance 
Venue:  Museo del Convento di S. Giuseppe da Cop 
Length: 1 Minutes 50 Secs. 
21. Otra pange lingua by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Venue:  Convento di S. Magno, Amelia, Terni, Ita 
Length: 1 Minutes 58 Secs. 
22. Queramus. Moton con 2 y 3 parte by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La Moranda
Period: Renaissance 
Venue:  Chiesa evangelica di Bolzano 
Length: 8 Minutes 38 Secs. 
23. Queramus. Moton con differente glosa con segundo parte by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Venue:  Convento di S. Magno, Amelia, Terni, Ita 
Length: 4 Minutes 20 Secs. 
24. Clama neceses. Jusquin by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Conductor:  Claudio Astronio
Orchestra/Ensemble:  Harmonices Mundi
Period: Renaissance 
Venue:  Chiesa del Borgo di Presule, Bolzano, It 
Length: 5 Minutes 58 Secs. 
25. Fabordones del primer tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La Moranda
Period: Renaissance 
Written: 16th Century; Spain 
Venue:  Chiesa evangelica di Bolzano 
Length: 2 Minutes 48 Secs. 
26. Fabordones del segundo tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Conductor:  Claudio Astronio
Orchestra/Ensemble:  Harmonices Mundi
Period: Renaissance 
Written: 16th Century; Spain 
Venue:  Chiesa del Borgo di Presule, Bolzano, It 
Length: 2 Minutes 2 Secs. 
27. Quatro favordones del tercer tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Venue:  Convento di S. Magno, Amelia, Terni, Ita 
Length: 2 Minutes 1 Secs. 
28. Quatro favordones del quarto tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Conductor:  Claudio Astronio
Orchestra/Ensemble:  Harmonices Mundi
Period: Renaissance 
Venue:  Chiesa del Borgo di Presule, Bolzano, It 
Length: 1 Minutes 53 Secs. 
29. Quatro favordones del quinto tono by Antonio De Cabezón
Performer:  Claudio Astronio (Harpsichord)
Period: Renaissance 
Venue:  Chiesa evangelica di Bolzano 
Length: 1 Minutes 48 Secs. 
30. Fabordones del sexto tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Conductor:  Claudio Astronio
Orchestra/Ensemble:  Harmonices Mundi
Period: Renaissance 
Written: 16th Century; Spain 
Venue:  Chiesa del Borgo di Presule, Bolzano, It 
Length: 2 Minutes 41 Secs. 
31. Quatro favordones del septimo tono by Antonio De Cabezón
Performer:  Claudio Astronio (Regal)
Period: Renaissance 
Venue:  Museo del Convento di S. Giuseppe da Cop 
Length: 1 Minutes 49 Secs. 
32. Quatro favordones del octavo tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La Moranda
Period: Renaissance 
Venue:  Chiesa evangelica di Bolzano 
Length: 2 Minutes 24 Secs. 
33. Ave maris stella a 2 by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 1578; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 1 Minutes 16 Secs. 
34. Ave maris stella IV by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 2 Minutes 16 Secs. 
35. Veni creator spiritus by Antonio De Cabezón
Performer:  Claudio Astronio (Regal)
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 2 Minutes 37 Secs. 
36. Christe redemptor by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 2 Minutes 17 Secs. 
37. Ut queant laxis by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La Moranda Wind Ensemble
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 1 Minutes 56 Secs. 
38. Pange lingua by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  Harmonices Mundi String Ensemble
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 2 Minutes 18 Secs. 
39. Otra pange lingua by Antonio De Cabezón
Performer:  Claudio Astronio (Harpsichord)
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 2 Minutes 51 Secs. 
40. Missa del home arme: Osana by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 3 Minutes 28 Secs. 
41. Benedictus de la missa del home arme by Antonio De Cabezón
Performer:  Claudio Astronio (Regal)
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 2 Minutes 21 Secs. 
42. Canto Ilano Beata viscera Mariae Virginis by Antonio De Cabezón
Performer:  Claudio Astronio (Regal)
Period: Renaissance 
Written: Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 2 Minutes 10 Secs. 
43. Cum sancto spiritu de Beata Virgine by Antonio De Cabezón
Performer:  Claudio Astronio (Regal)
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 2 Minutes 34 Secs. 
44. Ave maris stella a 3 by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  Harmonices Mundi String Ensemble
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 2 Minutes 41 Secs. 
45. Kyries (4) de nuestra Seńora by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La Moranda Wind Ensemble
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 3 Minutes 25 Secs. 
46. Kyries (4) del primer tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 3 Minutes 2 Secs. 
47. Kyries (4) del segundo tono by Antonio De Cabezón
Performer:  Claudio Astronio (Regal)
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 3 Minutes 56 Secs. 
48. Kyries (4) del tercer tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 3 Minutes 4 Secs. 
49. Kyries (4) del cuarto tono by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  Harmonices Mundi String Ensemble
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 3 Minutes 0 Secs. 
50. Kyries (4) del sexto tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 4 Minutes 1 Secs. 
51. Kyries (4) del séptimo tono by Antonio De Cabezón
Performer:  Claudio Astronio (Regal)
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 3 Minutes 59 Secs. 
52. Kyries (4) del quinto tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
Date of Recording: 1997 
Venue:  Italy 
Length: 3 Minutes 19 Secs. 
53. Si bona susceptimus (after Verdelot) by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  Harmonices Mundi
Period: Renaissance 
Venue:  Chiesa del borgo di Presule 
Length: 6 Minutes 37 Secs. 
54. Aspice Domine (after Josquin) by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Venue:  Convento di S. Magno ad Amelia 
Length: 7 Minutes 35 Secs. 
55. Je file quand Dieu me donne de quoi by Antonio De Cabezón
Orchestra/Ensemble:  La Moranda
Period: Renaissance 
Venue:  Museo del convento di S. Giuseppe da Cop 
Length: 1 Minutes 15 Secs. 
56. Pisne me pulvenir (after Hernando de Cabezón) by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Venue:  Convento di S. Magno ad Amelia 
Length: 2 Minutes 54 Secs. 
57. Aiuli vous sola verdura, for keyboard (after Lupus) by Antonio De Cabezón
Performer:  Claudio Astronio (Harpsichord)
Period: Renaissance 
Venue:  Museo del convento di S. Giuseppe da Cop 
Length: 3 Minutes 5 Secs. 
58. Ayme qui Voldra (after Gomberth) by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  Harmonices Mundi
Period: Renaissance 
Venue:  Chiesa del borgo di Presule 
Length: 4 Minutes 13 Secs. 
59. Durmendo un jorno (after Verdelot) by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Venue:  Convento di S. Magno ad Amelia 
Length: 4 Minutes 14 Secs. 
60. Triste de par (after Gombert) by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  Harmonices Mundi
Period: Renaissance 
Venue:  Chiesa del borgo di Presule 
Length: 3 Minutes 24 Secs. 
61. Je suis ayme (after Criquillon) by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Venue:  Convento di S. Magno ad Amelia 
Length: 3 Minutes 14 Secs. 
62. Tiento no 1 by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
Venue:  Museo del convento di S. Giuseppe da Cop 
Length: 4 Minutes 6 Secs. 
63. Tiento del quarto tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
Venue:  Museo del convento di S. Giuseppe da Cop 
Length: 3 Minutes 50 Secs. 
64. Tiento del primer tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
Venue:  Museo del convento di S. Giuseppe da Cop 
Length: 5 Minutes 50 Secs. 
65. Tiento sobre "Qui la dira" by Antonio De Cabezón
Performer:  Claudio Astronio (Harpsichord)
Period: Renaissance 
Venue:  Museo del convento di S. Giuseppe da Cop 
Length: 3 Minutes 51 Secs. 
66. Tiento del 3 tono. Fugas al contrario by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Venue:  Convento di S. Magno ad Amelia 
Length: 5 Minutes 27 Secs. 
67. Tiento del quinto tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
68. Tiento del quarto tono by Antonio De Cabezón
Performer:  Claudio Astronio (Harpsichord)
Period: Renaissance 
Written: 16th Century; Spain 
69. Tiento del octavo tono by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La Moranda
Period: Renaissance 
Written: 16th Century; Spain 
70. Tiento del primer tono by Antonio De Cabezón
Performer:  Claudio Astronio (Regal)
Period: Renaissance 
Written: 16th Century; Spain 
71. Tiento del sexto tono by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
72. Tiento sobre "Cum sanctu spiritu" (after Josquin) by Antonio De Cabezón
Performer:  Claudio Astronio (Regal)
73. Stabat mater (after Josquin) by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
74. Inviolata (after Josquin) by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La Moranda
75. Pisne me pulvenir (after Hernando de Cabezón) by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  Harmonices Mundi
76. Susana un jur by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La Moranda
77. Susana by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  Harmonices Mundi
Period: Renaissance 
Written: Portugal 
78. Qui la dira by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
79. Ad Dominum cum tribularer by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  La Moranda
80. Pues a mi desconsolado by Antonio De Cabezón
Conductor:  Claudio Astronio
Orchestra/Ensemble:  Harmonices Mundi
Period: Renaissance 
Written: Spain 
81. Quien llamo al partir, partir? by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Period: Renaissance 
Written: 16th Century; Spain 
82. Comiençan las canciones glosadas a quatro by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Orchestra/Ensemble:  Italian Viola da Gamba Quartet
83. Comiençan los versos de Magnificat sobre todos los ocho tonos I by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Orchestra/Ensemble:  Italian Viola da Gamba Quartet
84. Comiençan las obras de a quatro by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Orchestra/Ensemble:  Italian Viola da Gamba Quartet
85. Motetes de a cinco III by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Orchestra/Ensemble:  Italian Viola da Gamba Quartet
86. Versos de Magnificat II by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Orchestra/Ensemble:  Italian Viola da Gamba Quartet
87. Discantes II by Antonio De Cabezón
Performer:  Claudio Astronio (Organ)
Orchestra/Ensemble:  Italian Viola da Gamba Quartet

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