Collected Works, Vol. 5 Cover Image

Collected Works, Vol. 5: Organ, Collections, Book

$10.95 USD
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Collected Works, Vol. 5 Cover Image
Collected Works, Vol. 5: Organ, Collections, Book

Collected Works, Vol. 5: Organ, Collections, Book

By Antonio de Cabezon, ed./arr. by Pedrell, Felipe/ Angles, Higinio

Item: 36-M188691
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Description
Spanish Renaissance composer and organist Antonio de Cabezón (1510-1566), blind from childhood, rose to prominence in Spain, employed by the royal family and becoming the first major Iberian keyboard composer. Writing predominantly for the organ, most of his music has been preserved through the efforts of his son, Hernando de Cabezón, who published a collection of his father's works. This present edition of his collected works for organ or other keyboard instruments is available in six volumes from the publisher, edited by Felipe Pedrell, with additional corrections by Higinio Anglés for this well-known collected edition.

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Additional Details
Series: Master Organ Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-892707-78-7
ISBN13: 979-8-892707-78-7
UPC: 659859276601
SKU: 36-M188691
Instrumentation: Organ or Other Keyboards

More about this title

About the Composer: Antonio de Cabezon

Antonio de Cabezon (1510-1566) was born blind yet became the most accomplished keyboard composer of the Spanish Renaissance. He served the royal family of Spain for decades, establishing himself as the first major Iberian voice in keyboard literature at a time when the organ was still finding its artistic voice beyond liturgical function.

Cabezon's works survived largely through the dedication of his son Hernando, who compiled and published his father's compositions after Antonio's death. These pieces reveal a composer deeply versed in counterpoint and structural invention, translating the idioms of vocal polyphony into a distinctly instrumental language that influenced keyboard music across Europe.

Why we love this

Cabezon's organ works offer organists direct access to Renaissance counterpoint written by someone who understood the instrument intimately. This collected edition preserves music rarely encountered in recital programs, providing both scholarly weight and genuine musical substance for players seeking repertoire beyond the Bach-to-Widor pipeline.

What to expect

Cabezon's music inhabits a space between vocal splendor and instrumental idiomatic writing, combining the architectural logic of Renaissance counterpoint with a keyboard composer's awareness of manual color and resonance. The works convey intellectual rigor without austerity, with moments of unexpected harmonic boldness that reveal a mind pushing against conventional boundaries.

Who it's for

This collection serves advanced organists seeking canonical Renaissance repertoire and scholars studying the development of keyboard composition in the sixteenth century. Organists preparing recital programs that emphasize pre-Baroque or historically informed performance will find substantial material here.

How to get the most out of it

  • Study the underlying vocal models in these pieces; even when Cabezon adapts instrumental genres, the clarity of his voice leading depends on articulating each line distinctly
  • Pay close attention to the editorial fingerings and registration suggestions, which reflect centuries of organological scholarship and shape how voices project across different manuals
  • Approach ornamentation conservatively at first; Renaissance keyboard music benefits from clear line definition over decorative excess, especially when the harmonic language is already complex

How to use it

Program selections from this volume as anchors for recitals exploring the keyboard music of the Renaissance or the development of Spanish musical thought. These pieces work equally well as context for contemporary works that engage with historical keyboard traditions, or as the foundation for a lecture-recital on the history of organ composition.

Skills your students will build

  • Reading Renaissance notation and tablature conventions
  • Interpreting editorial additions and historical sources
  • Counterpoint analysis and voice independence across multiple manuals
  • Period-appropriate ornamentation and articulation practices
  • Manual registration and tonal planning for clarity of individual lines

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