Papers by Andrés Cea Galán
Revista de Musicología, XXXV, 2, 2011, p. 223-234., 2011
This article takes as a starting point a concordance for the "Tiento de tercer tono" from Antonio... more This article takes as a starting point a concordance for the "Tiento de tercer tono" from Antonio de Cabezón's Obras de musica (Madrid, 1578) to be found in manuscripts at Roma and Paris libraries. This matter serves us to discuss different aspects related to the problem of transmission of Cabezón's works, from its improvisation or composition to the process of edition carried out by his son Hernando in 1578.
Diferencias, Revista del Conservatorio Superior de Música de Sevilla, nº 1 (2ª epoca), 2010, p. 67-98.
Inspired by H. Ferguson's article "Corrupt passages in diferencias by Cabezón" from 1971, in this... more Inspired by H. Ferguson's article "Corrupt passages in diferencias by Cabezón" from 1971, in this text I try to categorize and analize some of the mistakes or missprints of the original printed edition of Cabezón's Obras de música (Madrid, 1578). Those "new corrupt passages" open new lines of investigation on tablature sources and point out some of the problems related to the dinamics of transmission of the Spanish keyboard repertory.
Cinco Siglos de Música Española de Tecla Española, Luisa Morales (ed.), Actas de los Symposia FIMTE 2002-2004, Garrucha, 2007, p. 169-194., 2007
The differencias on the Villancico “Quién te me enojó, Isabel?” have been considered by modern mu... more The differencias on the Villancico “Quién te me enojó, Isabel?” have been considered by modern musicology, especially after the comments by Macario Santiago Kastner, as a unique model in the landscape of the instrumental variation from the 16th century. Indeed, Kastner writes that “not only are they the longest differencias by Cabezón, but also the most complex with regards to shape, metamorphosis and structure known in the 16th century in this genre of musical composition”. In spite of their exceptional
nature, the “differencias Isabel” do not enjoy favour amongst present day performers, and are probably the least played of Cabezón’s differencias. In our paper we shall try to tackle succinctly the basic problem of this differencia cycle: in contrast to what happens in the remaining differencia and variation cycles of the 16th century, in the “differencias Isabel” there is no uniformity with regards to the number of bars and the metrical structure of each differencia, which makes its being understood considerably harder. Our analysis of the work commences naturally from a deep regard for the original text of the work of Cabezón. But it also stresses the fact that the original text is written in Spanish number tablature for keyboard instruments or
harp, and makes a deep study of the necessity of knowing the exact keys of this musical representational system and its relationship to tempo for learning to read it and play it correctly. Understood from this perspective, and applying opportune corrections to the original cifra, the “differencias Isabel” by Cabezón appear to be constructed in a form that is not only far more conventional…but also far more attractive. In this way we are seeking to restore the inclusion of this work in the repertoire of favourite by Cabezón. At the same time, we hope that the conclusions taken from this re-reading of the “differencias Isabel” may help with understanding a good part of the Iberian keyboard repertoire, over which hover numerous questions without answers.
« In Organo Pleno : Festschrift für Jean-Claude Zehnder zum 65. Geburstag », Luigi Colarile & Alexandra Nigito (Hrsg.), Peter Lang, 2007, p. 113-122., 2007
Fray Pablo Nassarre war einer der bemerkenswertesten Schüler des Organisten Pablo Bruna. Er kam u... more Fray Pablo Nassarre war einer der bemerkenswertesten Schüler des Organisten Pablo Bruna. Er kam um 1655 in der Nähe von Zaragoza blind zur Welt 1 . Sein Eintritt in den Franziskanerorden und die Übernahme des Organistenamtes im Kloster San Francisco in Zaragoza erfolgten vor 1683, das Jahr, in dem er ebendort seine theoretische Arbeit Fragmentos músicos herausgab. Eine zweite, erweiterte Ausgabe dieser Abhandlung erschien 1700. In Zaragoza veröffentlichte er 1723 und 1724 die beiden Bände der Escuela música según la práctica moderna, ein Werk, welches er gemäss eigenen Angaben um 1674 begonnen hatte. Von seinem musikalischen Oeuvre bekannt sind nur ein siebenstimmiges Villancico, welches in der Biblioteca de Catalunya auf das Jahr 1686 datiert ist, zwei Sanctus-Vertonungen, ein Tiento partido de mano derecha, überliefert von einem in der Kathedrale von Astorga, León, aufbewahrten Manuskript mit Orgelmusik, sowie drei Toccaten für Tasteninstrument, die in einer Abschrift im Manuskript M 1011 der Biblioteca de Catalunya erhalten sind.
« In Organo Pleno : Festschrift für Jean-Claude Zehnder zum 65. Geburstag », Luigi Colarile & Alexandra Nigito (Hrsg.), Peter Lang, 2007, p. 113-122., 2007
Cuestiones sobre tiempo y estilo en la Escuela Música de fray Pablo Nassarre.
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Papers by Andrés Cea Galán
nature, the “differencias Isabel” do not enjoy favour amongst present day performers, and are probably the least played of Cabezón’s differencias. In our paper we shall try to tackle succinctly the basic problem of this differencia cycle: in contrast to what happens in the remaining differencia and variation cycles of the 16th century, in the “differencias Isabel” there is no uniformity with regards to the number of bars and the metrical structure of each differencia, which makes its being understood considerably harder. Our analysis of the work commences naturally from a deep regard for the original text of the work of Cabezón. But it also stresses the fact that the original text is written in Spanish number tablature for keyboard instruments or
harp, and makes a deep study of the necessity of knowing the exact keys of this musical representational system and its relationship to tempo for learning to read it and play it correctly. Understood from this perspective, and applying opportune corrections to the original cifra, the “differencias Isabel” by Cabezón appear to be constructed in a form that is not only far more conventional…but also far more attractive. In this way we are seeking to restore the inclusion of this work in the repertoire of favourite by Cabezón. At the same time, we hope that the conclusions taken from this re-reading of the “differencias Isabel” may help with understanding a good part of the Iberian keyboard repertoire, over which hover numerous questions without answers.
nature, the “differencias Isabel” do not enjoy favour amongst present day performers, and are probably the least played of Cabezón’s differencias. In our paper we shall try to tackle succinctly the basic problem of this differencia cycle: in contrast to what happens in the remaining differencia and variation cycles of the 16th century, in the “differencias Isabel” there is no uniformity with regards to the number of bars and the metrical structure of each differencia, which makes its being understood considerably harder. Our analysis of the work commences naturally from a deep regard for the original text of the work of Cabezón. But it also stresses the fact that the original text is written in Spanish number tablature for keyboard instruments or
harp, and makes a deep study of the necessity of knowing the exact keys of this musical representational system and its relationship to tempo for learning to read it and play it correctly. Understood from this perspective, and applying opportune corrections to the original cifra, the “differencias Isabel” by Cabezón appear to be constructed in a form that is not only far more conventional…but also far more attractive. In this way we are seeking to restore the inclusion of this work in the repertoire of favourite by Cabezón. At the same time, we hope that the conclusions taken from this re-reading of the “differencias Isabel” may help with understanding a good part of the Iberian keyboard repertoire, over which hover numerous questions without answers.