Antonio de Cabeçon. (Castrillo Mota de Judíos 1510 Madrid 1566) 4 motets and 2 madrigals
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- Solomon Bishop
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1 Antonio de Cabeçon (Castrillo Mota de Judíos 1510 Madrid 1566) Comiençan las canciones glosadas y motetes a seys Fol v. from : Obras de Musica para Tecla, Arpa y Vihuela Madrid motets and 2 madrigals transcribed for keyboard instrument and harp and arranged for instruments with introduction and critical notes by Arnold den Teuling Recorders or other instruments
2 Introduction to the edition of the remaining part of Antonio de Cabezón s Obras de Musica para Tecla, Arpa y Vihuela, Madrid 1578 Hernando de Cabeçon (Madrid 1541-Valladolid 1602), as he spelled his name, published his father s works in 1578, despite the year 1570 on the title page. The royal privilege for publication bears the date 1578 in the page which also contains the erratas. The Obras contain an extensive and very useful introduction, followed by 200 folio s of printed music. The notes are represented by numbers on a line, each line being one voice. Cabeçon explains in his introduction how this tablature works. A facsimile is in IMSLP. My project concerns an edition of the three sections of Cabeçon s work meant for keyboard instruments or (diatonic) harp, omitted by the editors Pedrell and Anglès since For the details on other editions and on my choice I refer to my edition for keyboard instrument and harp. As by-products I will separately give arrangements for 3-6 instruments, especially recorders, facilitated by Cabeçon s way of music notation: tablature with each line bearing one voice. If you play other instruments than recorders you should play the treble recorder part one octave down, and read the other parts with clefs an octave down. In cases where real arrangement of the recorder parts was necessary, due to the compass of recorders, I made a separate edition for other instruments. The page numbers only refer to the scores. Cabeçon maintained in his intabulations of existing pieces the composer s original note values and represented the original pitches, come stà, so without correcting them for chiavetti or high clefs. But he allowed himself liberties especially in final bars. He broke up long notes and applied multiple diminutions and ornaments. In the table of contents I put an * with pieces the originals of which may be found in IMSLP or CPLD. So you can compare Cabeçon s version with the original. You may consult the original source if possible, for instance at Early music Online, The originals are playable on recorders too. I follow the Grove Music Online for the authorship of the original vocal pieces. Cabeçon applied accidentals independently for every voice and repeated them for every note, as usual in the period. Though not usual any more I maintained that, and I did not correct Cabeçon s inconsistencies. But to be clear I had to add a natural or a flat sign where the signs were not repeated within the same bar and in places where voices cross. The performer should decide where he respects or corrects the inconsistencies. Many seeming inconsistencies are too consistent to be errors! But I put editorial accidentals in obvious places. Other editors and most performers, from Pedrell on, adapt modern use as to the accidentals. Pedrell and his followers do not give the details of their editorial accidentals. It is, however, very easy to add them oneself in this edition. But every voice should be played as an independent melody and clashes between, for instance, B flat and B natural may be regular and should not always be repaired. But evident errors should of course be corrected, and I mentioned them in my 2
3 critical notes; in this part of my edition I corrected the evident errors in superscript editorial accidentals; I added critical remarks where relevant. Horizontal brackets above one or more notes indicate that I put the marked notes one octave up, and horizontal brackets under a staff indicate any other change to make the voice playable on recorders. In some cases I indicated the original notes by cue notes. This fourth part of my edition is in the content list (Tabla): Comiençan los motetes y canciones a seys, Here begin the motets and songs in six voices. It contains 6 works in six voices. On fo. 158v. the section starts with: Des de a qui se da principio a los motets y canciones de a seys y discantes., From here begin the motets and songs in six voices and the discantes. The discantes or diferencias, diminutions of polyphonic songs and grounds, have been included in all older editions, so I did not. Arnold den Teuling, Assen, Netherlands, December
4 Contents of Comiençan los motetes y canciones a seys transcribed for recorders or other instruments Cabeçon s TABLA with corrected folio numbers; the spelling of the titles in the music pages are slightly different in some cases This edition with my subtitles and page numbers Benedicta es cęlorum regina jusquin.159 Josquin Desprez, Benedicta es caelorum regina* 346 Benedicta es caelorum regina, con Josquin Desprez, Benedicta es caelorum regina,* segunda y tercera parte, jusquin. 164 complete 359 Sancta Maria Verdeloth. 171 Philippe Verdelot, Sancta Maria, virgo virginum 378 Avemaria, jusquin. 175v. Josquin Desprez, Ave Maria* (second part of Pater noster) 389 Ultimi mei suspiri, Verdeloth. 178v. Philippe Verdelot, Ultimi miei sospiri* 398 Ardente mei suspiri, Verdeloth. 181v. Philipe Verdelot, Ardenti miei sospiri* 406 4
5 Discantus/ Descant Recorder Contratenor/ Tenor Recorder Quinta/ Tenor Recorder Tenor/ Tenor Recorder Sexta/ Bass Recorder Bassus Bass Recorder 1 Benedicta es regina celorum Fo Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon ( ) Arrangement Arnold den Teuling
6 21 Cabezon/Josquin - Benedicta es fo.159v
7 Cabezon/Josquin - Benedicta es 45 fo.160 # 50
8 56 Cabezon/Josquin - Benedicta es fo. 160v
9 Cabezon/Josquin - Benedicta es fo.161
10 92 Cabezon/Josquin - Benedicta es
11 352 Cabezon/Josquin - Benedicta es 108 fo.161v
12 Cabezon/Josquin - Benedicta es 126 fo
13 354 Cabezon/Josquin - Benedicta es 147 fo. 162v # #
14 165 Cabezon/Josquin - Benedicta es fo
15 Cabezon/Josquin - Benedicta es 189 fo.163v. 194 #
16 200 Cabezon/Josquin - Benedicta es
17 358 Cabezon/Josquin - Benedicta es This is the first part only of Josquin's original motet in three parts. It is in NJE 23.3 and in Smijers's edition Motetten III 35 nr. 46. There is a transposed version in CPDL. The original voices with their clefs are Discantus C1, Contratenor C3, Quinta C4, Tenor C4, Sexta F4 and Bassus F4. Cabeçon put them on his six lines in this order; in the next version he switched the Sexta and the Bassus. Bar 18-19: no duration signs, other solutions possible; Bar 82: tenor g: duration sign wrongly in bar 81; but there is no rest sign in 82; this solution agrees with Josquin's original. Bar 136 quinta note 2: position of the number suggests fusa, but there is no change of duration sign after the semiminima placed above bar 134.
18 Discantus/Descant Recorder 1 Benedicta es regina celorum Fo Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017 #
19 Discantus/Descant Recorder
20 Discantus/Descant Recorder 3
21 Quinta/Tenor Recorder Benedicta es regina celorum Fo Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017
22 2 105 Quinta/Tenor Recorder
23 Contratenor/Tenor Recorder Benedicta es regina celorum Fo Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017
24 2 113 Contratenor/Tenor Recorder #
25 Tenor/Tenor Recorder 1 Benedicta es regina celorum Fo Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017
26 Tenor/Tenor Recorder
27 Sexta/Bass Recorder 1 14 Benedicta es regina celorum Fo Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon ( ) Arrangement Arnold den Teuling
28 2 134 Sexta/Bass Recorder
29 Bassus/Bass Recorder Benedicta es regina celorum Fo Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon ( ) Arrangement Arnold den Teuling
30 Bassus/Bass Recorder 161 # #
31 Discantus/ Descant Recorder Contratenor Tenor Recorder Quinta Tenor Recorder Tenor/ Tenor Recorder Bassus/ Bass Recorder Sexta/ Bass Recorder 7 1 Benedicta es caelorum regina Fo Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon ( ) Arrangement Arnold den Teuling
32 Cabezon / Josquin - Benedicta es, complete 24 fo.164v. 30
33 36 Cabezon / Josquin - Benedicta es, complete fo
34 Cabezon / Josquin - Benedicta es, complete fo.165v.
35 75 Cabezon / Josquin - Benedicta es, complete
36 fo.166 Cabezon / Josquin - Benedicta es, complete
37 114 Cabezon / Josquin - Benedicta es, complete fo.166v. 127
38 Cabezon / Josquin - Benedicta es, complete 141 fo
39 153 Cabezon / Josquin - Benedicta es, complete fo.167v.
40 Cabezon / Josquin - Benedicta es, complete 178 # 184
41 190 fo.168 Cabezon / Josquin - Benedicta es, complete
42 Cabezon / Josquin - Benedicta es, complete DVO 211 fo.168v. 218
43 224 Cabezon / Josquin - Benedicta es, complete fo.169
44 Cabezon / Josquin - Benedicta es, complete
45 259 fo. 169v. Cabezon / Josquin - Benedicta es, complete
46 Cabezon / Josquin - Benedicta es, complete Tercera parte de Benedicta. 278 fo
47 287 Cabezon / Josquin - Benedicta es, complete
48 fo.170v. Cabezon / Josquin - Benedicta es, complete
49 Cabezon / Josquin - Benedicta es, complete This work contains all the three parts of Josquin's original motet. It is in NJE 23.3 and in Smijers's edition Motetten III 35 nr. 46. There is a transposed version in CPDL. The original voices with their clefs are Discantus C1, Contratenor C3, Quinta C4, Tenor C4, Bassus F4 and Sexta F4. Cabeçon put them on his six lines in this order in this version (in the former the Bassus and Sexta have been switched). The contratenor is on the third line in the Duo, I moved it to the second line. In his page errata Cabeçon called the Contratenor and Quinta: Contraltos (plural, see below). He rather freely handles the Duo, a.o. adding a cadens of 6 breves. Bar 22 Tenor: no lengthening or rest sign; rest confirmed by Josquin's original. Bar 128 Quinta: f confirmed by Josquin's original, but, for instance, Smijers does not put musica ficta at the Superius, as Cabeçon does indeed. Bar first half, Bassus (=middle part): no rest, lengthening or note sign; Josquin's original gives semibrevis + minima rest. Bar 187 Quinta: no rest, lengthening or note sign; Josquin's original gives semibrevis b, but Cabeçon makes the texture thinner, leaving out the bass part in the preceding bars too. Bar 227 Quinta: b positioned beneath preceding xf '#. Bar 283 Altus: 7=e', Quinta 2=g; according to Cabeçon's errata they should be switched and I did so; however, Josquin's original gives e' in both voices, harmonically making no difference; this part too has been rather freely handled, so any educated guess would be doubtful. Bar 287 first notes: duration sign w. doubles with succeeding h, making the bar a minima too long; this solution confirmed by Josquin's original.
50 Discantus/ Descant Recorder Benedicta es caelorum regina Fo Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017
51 DVO Discantus/ Descant Recorder
52 Tercera parte de Benedicta. 252 Discantus/ Descant Recorder 3
53 Discantus/ Descant Recorder
54 Contratenor Tenor Recorder Benedicta es caelorum regina Fo Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon ( ) Arrangement Arnold den Teuling
55 # Contratenor Tenor Recorder 211 DVO
56 216 Contratenor Tenor Recorder
57 4 Contratenor Tenor Recorder Tercera parte de Benedicta
58 Tenor/ Tenor Recorder Benedicta es caelorum regina Fo Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017
59 DVO Tenor/ Tenor Recorder Tercera parte de Benedicta.
60 Tenor/ Tenor Recorder
61 Quinta Tenor Recorder Benedicta es caelorum regina Fo Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017
62 DVO Quinta Tenor Recorder 278 Tercera parte de Benedicta.
63 Quinta Tenor Recorder
64 Quinta Tenor Recorder Benedicta es caelorum regina Fo Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017
65 DVO Quinta Tenor Recorder 278 Tercera parte de Benedicta.
66 Quinta Tenor Recorder
67 Bassus/ Bass Recorder 21 Benedicta es caelorum regina Fo Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon ( ) Arrangement Arnold den Teuling
68 Bassus/ Bass Recorder DVO Tercera parte de Benedicta. 280
69 284 Bassus/ Bass Recorder
70 Sexta/ Bass Recorder Benedicta es caelorum regina Fo Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon ( ) Arrangement Arnold den Teuling
71 2 139 Sexta/ Bass Recorder DVO Tercera parte de Benedicta.
72 Sexta/ Bass Recorder 3
73 Descant Recorder/ Cantus Treble Recorder/ Altus Tenor Recorder 1/ Tenor Tenor Recorder 2/ Quinta Bass Recorder 1/ Sexta Bass Recorder 2/ Bassus 1 Sancta Maria. Verdelot Fo Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon ( ) Arrangement Arnold den Teuling
74 19 fo.171v. Cabezon / Verdelot - Sancta Maria
75 380 Cabezon / Verdelot - Sancta Maria fo.172 # # 50
76 Cabezon / Verdelot - Sancta Maria fo.172v. 69
77 382 Cabezon / Verdelot - Sancta Maria fo.173
78 98 Cabezon / Verdelot - Sancta Maria fo.173v.
79 Cabezon / Verdelot - Sancta Maria
80 Cabezon / Verdelot - Sancta Maria fo
81 386 Cabezon / Verdelot - Sancta Maria 150 fo.174v
82 169 Cabezon / Verdelot - Sancta Maria 387 fo
83 Cabezon / Verdelot - Sancta Maria 193 fo.175v. Philippe Verdelot's (Les Loges, Seine-et-Marne, France 1480 to 1485 c to 1532? Florence? but before 1552) original Sancta Maria virgo virginum is in CMM XXVIII vol. 2 pages 42-47; his part names and clefs according to this edition are: Cantus C1, Altus C2, Tenor C4, Quinta C3, Sexta F4 and Bassus F4; Cabeçon put them on the lines in this order, naming the Quinta: Tenor in the page Erratas. Bar 45 Bassus: no duration sign, this is the most probable solution; Bar 86 Quinta: 3=a corrected from 2=g on page erratas; Bar 135 Altus: no rest or lengthening sign, Verdelot's original suggests a rest.
84 Descant Recorder/ Cantus Sancta Maria. Verdelot Fo Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017
85 Descant Recorder/ Cantus
86 Descant Recorder/ Cantus 3
87 Treble Recorder/ Altus Sancta Maria. Verdelot Fo Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017
88 2 108 Treble Recorder/ Altus
89 Tenor Recorder 2/ Quinta Sancta Maria. Verdelot Fo Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017
90 2 116 Tenor Recorder 2/ Quinta
91 Bass Recorder 1/ Sexta Sancta Maria. Verdelot Fo Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon ( ) Arrangement Arnold den Teuling
92 2 122 Bass Recorder 1/ Sexta
93 Tenor Recorder 1/ Tenor Sancta Maria. Verdelot Fo Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon ( ) Arrangement Arnold den Teuling # #
94 Tenor Recorder 1/ Tenor
95 Bass Recorder 2/ Bassus Sancta Maria. Verdelot Fo Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon ( ) Arrangement Arnold den Teuling
96 Bass Recorder 2/ Bassus
97 Descant Recorder/ Discantus Tenor Recorder/ Sexta vox Tenor Recorder/ Quinta vox Tenor Recorder/ Contratenor Tenor Recorder/ Tenor Bass Recorder/ Bassus Ave Maria. Jusquin Fo. 175v. Josquin Desprez, Ave Maria 7 A. de Cabeçon ( ) Arrangement Arnold den Teuling
98 390 Cabezon / Josquin - Ave Maria 20 fo
99 Cabezon / Josquin - Ave Maria fo.176v. # 54
100 392 Cabezon / Josquin - Ave Maria fo
101 Cabezon / Josquin - Ave Maria #
102 394 Cabezon / Josquin - Ave Maria 99 fo.177v
103 Cabezon / Josquin - Ave Maria fo
104 Cabezon / Josquin - Ave Maria b
105 Cabezon / Josquin - Ave Maria Josquin Desprez's (ca Condé-sur-l'Escaut) original Ave Maria is the second part of the motet Pater noster. It has been included in the editions of Josquin's Werken, Motetten III, 36 nr. 50 and the New Josquin Edition vol. 20 nr 9. In the edition Hans Ott and Hieronymus Formschneider, Novum et insigne opus musicum, Nürnberg 1537 (in IMSLP, except the Sexta vox) it is number II. The part names and clefs in this edition are: Discantus C1, Sexta vox (presumably C4, I had no access to this part), Quinta vox C4, Contratenor C4, Tenor C4 and Bassus F4. Cabeçon put them on his lines in this order. Cabeçon handled his material rather freely, as in the other six part pieces. Bar 94 Sexta vox: no lengthening sign or rest; Josquin's original did not give a clue for the choice between a rest and the lengthening of d' of bar 93; you might try to tie another d' to the d' from bar 93. Bar 158 Bassus note 3 d: sign x placed above note 5.
106 Descant Recorder/ Discantus Ave Maria. Jusquin Fo. 175v. Josquin Desprez, Ave Maria A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017 # 82
107 Descant Recorder/ Discantus
108 Tenor Recorder/ Contratenor Ave Maria. Jusquin Fo. 175v. Josquin Desprez, Ave Maria A. de Cabeçon ( ) Arrangement Arnold den Teuling
109 Tenor Recorder/ Contratenor 156
110 Tenor Recorder/ Quinta vox Ave Maria. Jusquin Fo. 175v. Josquin Desprez, Ave Maria A. de Cabeçon ( ) Arrangement Arnold den Teuling # 102
111 2 108 Tenor Recorder/ Quinta vox
112 Tenor Recorder/ Sexta vox Ave Maria. Jusquin Fo. 175v. Josquin Desprez, Ave Maria A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017
113 Tenor Recorder/ Sexta vox 154
114 Tenor Recorder/ Tenor Ave Maria. Jusquin Fo. 175v. Josquin Desprez, Ave Maria A. de Cabeçon ( ) Arrangement Arnold den Teuling
115 b Tenor Recorder/ Tenor
116 Bass Recorder/ Bassus Ave Maria. Jusquin Fo. 175v. Josquin Desprez, Ave Maria A. de Cabeçon ( ) Arrangement Arnold den Teuling
117 2 95 Bass Recorder/ Bassus
118 Descant Recorder Canto Treble Recorder Quinto Tenor Recorder 1 Alto Tenor Recorder 2 Tenore Bass Recorder 1 Sesto Bass Recorder 2 Basso Ultimi mei suspiri. Verdelot Fo. 178v. Philippe Verdelot, Ultimi miei sospiri A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017 D Tr T 1 7 T 2 B 1 B 2 D 13 Tr T 1 T 2 B 1 B 2
119 D Tr Cabezon / Verdelot - Ultimi miei sospiri fo.179 T 1 T 2 B 1 B 2 D 27 Tr T 1 T 2 B 1 B 2 D 33 Tr T 1 T 2 B 1 B 2
120 400 Cabezon / Verdelot - Ultimi miei sospiri D 39 Tr T 1 T 2 B 1 B 2 D Tr 45 fo.179v. # T 1 T 2 B 1 B 2 D Tr T 1 T 2 B 1 53 B 2
121 D 59 Cabezon / Verdelot - Ultimi miei sospiri 401 Tr T 1 T 2 B 1 B 2 D Tr T 1 65 fo.180 T 2 B 1 B 2 D Tr T 1 T 2 B 1 B 2 70 # # #
122 402 Cabezon / Verdelot - Ultimi miei sospiri D 77 Tr T 1 T 2 B 1 B 2 D Tr T 1 T 2 B 1 84 fo.180v. B 2 D Tr T 1 90 T 2 B 1 B 2
123 D 96 Cabezon / Verdelot - Ultimi miei sospiri 403 Tr T 1 T 2 B 1 B 2 D 102 Tr T 1 T 2 B 1 B 2 D Tr T 1 T 2 B fo.181 B 2
124 404 Cabezon / Verdelot - Ultimi miei sospiri D Tr 114 T 1 T 2 B 1 B 2 D Tr T T 2 B 1 B 2 D Tr T T 2 B 1 B 2
125 D Tr 133 fo.181v. Cabezon / Verdelot - Ultimi miei sospiri 405 T 1 T 2 B 1 B 2 D Tr T 1 T B 1 B 2 The original by Philippe Verdelot has the following part names and clefs: Canto C1, Quinto C3, Alto C3, Tenore C3, Sesto F4 and Basso F4. I made a transcription and a keyboard edition of this piece, elsewhere in this website. An edition for voices is in CPDL. Bar 53 Canto note 3: f' notated for f"; Bar 55 Sesto: no rest or lengthening sign; Bar 119 Quinto: no rest or lengthening sign; d notated for d'; Bar 122 Sesto: D notated for d.
126 Descant Recorder Canto Ultimi mei suspiri. Verdelot Fo. 178v. Philippe Verdelot, Ultimi miei sospiri A. de Cabeçon ( ) Arrangement Arnold den Teuling
127 Descant Recorder Canto
128 15 Treble Recorder Quinto Ultimi mei suspiri. Verdelot Fo. 178v. Philippe Verdelot, Ultimi miei sospiri A. de Cabeçon ( ) Arrangement Arnold den Teuling #
129 Treble Recorder Quinto 137
130 9 Tenor Recorder 1 Alto Ultimi mei suspiri. Verdelot Fo. 178v. Philippe Verdelot, Ultimi miei sospiri A. de Cabeçon ( ) Arrangement Arnold den Teuling # # #
131 Tenor Recorder 1 Alto
132 8 Tenor Recorder 2 Tenore Ultimi mei suspiri. Verdelot Fo. 178v. Philippe Verdelot, Ultimi miei sospiri A. de Cabeçon ( ) Arrangement Arnold den Teuling
133 2 94 Tenor Recorder 2 Tenore
134 Bass Recorder 1 Sesto Ultimi mei suspiri. Verdelot Fo. 178v. Philippe Verdelot, Ultimi miei sospiri A. de Cabeçon ( ) Arrangement Arnold den Teuling
135 Bass Recorder 1 Sesto 137
136 Bass Recorder 2 Basso Ultimi mei suspiri. Verdelot Fo. 178v. Philippe Verdelot, Ultimi miei sospiri A. de Cabeçon ( ) Arrangement Arnold den Teuling
137 2 117 Bass Recorder 2 Basso
138 6 Descant Recorder Canto Treble Recorder 1 Alto Tenor Recorder 2 Quinto Tenor Recorder 1 Tenore Tenor Recorder 2 Sesto Bass Recorder Basso Ardenti mei suspiri. Verdelot Fo.181v. Philippe Verdelot, Ardenti miei sospiri A. de Cabeçon ( ) Arrangement Arnold den Teuling fo.182
139 Cabezon / Verdelot - Ardenti mei suspiri
140 fo.182v. Cabezon / Verdelot - Ardenti mei suspiri 44 50
141 57 Cabezon / Verdelot - Ardenti mei suspiri 409 # # 63 # fo # #
142 Cabezon / Verdelot - Ardenti mei suspiri # # fo183v.
143 94 Cabezon / Verdelot - Ardenti mei suspiri
144 fo.184 Cabezon / Verdelot - Ardenti mei suspiri
145 134 Cabezon / Verdelot - Ardenti mei suspiri fo.184v. 147
146 414 Cabezon / Verdelot - Ardenti mei suspiri The original by Philippe Verdelot has the following part names and clefs: Canto C1, Alto C3, Quinto C3, Tenore C3, Sesto C4 and Basso F4. I made a transcription of the notes and a keyboard edition of this piece, elsewhere in this website. I could not find an edition for voices, except 16th century prints. Bar 11 Quinto: no rest or lengthening sign; Bar 41 Canto: no rest or lengthening sign; Bars and Quinto: no rest or lengthening sign; Bar 67: Cabeçon compressed this bar from its double length in Verdelot's original; Alto e' belonged to its first half, Tenor and Basso d and Sesto f to the second half; it seems the best to leave Alto e' out. Bars Canto and Alto: no rest or lengtheming sign; Bar 79 Sesto: no rest or lengthening sign, but in 80 lengthening sign; Bar 104 Quinto: no rest or lengthening sign; Bar 108 Canto: no rest or lengthening sign; Bar Sesto: no rest or lengthening sign.
147 Descant Recorder Canto Ardenti mei suspiri. Verdelot Fo.181v. Philippe Verdelot, Ardenti miei sospiri 79 # # A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017 #
148 Descant Recorder Canto 151
149 Treble Recorder 1 Alto Ardenti mei suspiri. Verdelot Fo.181v. Philippe Verdelot, Ardenti miei sospiri A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017
150 Treble Recorder 1 Alto
151 Tenor Recorder1 Quinto Ardenti mei suspiri. Verdelot Fo.181v. Philippe Verdelot, Ardenti miei sospiri A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017 # #
152 Tenor Recorder1 Quinto
153 Ardenti mei suspiri. Verdelot Fo.181v. Philippe Verdelot, Ardenti miei sospiri Tenor Recorder 2 Tenore A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017 # #
154 Tenor Recorder 2 Tenore
155 Tenor Recorder 3 Sesto Ardenti mei suspiri. Verdelot Fo.181v. Philippe Verdelot, Ardenti miei sospiri A. de Cabeçon ( ) Arrangement Arnold den Teuling 2017
156 Tenor Recorder 3 Sesto
157 Bass Recorder Basso Ardenti mei suspiri. Verdelot Fo.181v. Philippe Verdelot, Ardenti miei sospiri A. de Cabeçon ( ) Arrangement Arnold den Teuling
158 2 126 Bass Recorder Basso
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