Antonio de Cabeçon. (Castrillo Mota de Judíos 1510 Madrid 1566)

Antonio de Cabeçon (Castrillo Mota de Judíos 1510 Madrid 1566) Comiençan los motetes de a cinco y canciones glosados Fol. 105-136 from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 First part: 10 motets in 5 voices transcribed for keyboard instrument and harp and arranged for instruments by Arnold den Teuling Recorders or other instruments 2016-2017 1

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 1895. For the details on other editions and on my choice I refer to my edition for keyboard instrument. As by-products I 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. I included separate parts where the number of pages of the score exceeded 3. 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, https://repository.royalholloway.ac.uk/access/searching.do. 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! 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. 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 critical notes; beginning with this part of my edition I corrected the evident errors in superscript editorial accidentals; I added critical remarks where 2

relevant, sometimes referring to the edition for keyboard instrument. 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. Please consult the keyboard edition if you wish to eliminate recorder adaptations unnecessary for other instruments. This second part of my edition is the first half of the section in the content list (Tabla) Comiençan los motetes de a cinco y canciones glosados, Here begin the motets in five voices and songs with diminutions. On fo. 104v the section begins with: Des de a qui se da principio a los motets y canciones de a cinco glosados, This is the beginning the motets and songs in five voices. It contains 24 works in five voices, from which this part contains the 10 motets, folionumbers 105-136. The chansons will follow. Arnold den Teuling, Assen, Netherlands, January 2017. 3

Contents of Comiençan los motetes de a cinco y canciones glosados transcribed for recorders or other instruments Cabeçon s TABLA with corrected folio numbers This edition with page numbers (separate parts after their score, without continuing numbers) Stabat mater &c. con 2. parte. Iusquin105 Josquin Desprez, Stabat mater dolorosa 107* Inviolata. Iusquin. con 2. y 3. parte 110v Josquin Desprez, Inviolata, integra et casta es 129* Si bona suscepimus Verdeloth 114v Philippe Verdelot, Si bona suscepimus 145* Aspice domine Iaqueth 118 Jacquet de Mantua, Aspice Domine quia facta est 159 Saname domine. Clemens non papa 121 Jacob Clemens non Papa, Sana me Domine, abridged, 171 In te domine speravi con segunda Lupus Hellinck, In te Domine speravi, come parte 123v stà 182 alla quinta bassa 201 Tercera parte de virgo salutifera 128v Josquin Desprez, Virgo salutiferi, third part 220 Hierusalem luget. Ricafort 129 Jean Richafort or Lupus Hellinck, Jerusalem luge 224* Stabat mater, Iusquin con diferente Josquin Desprez, Stabat mater dolorosa glosa 131 with other diminutions (first part only) 231* Inviolata Iusquin con differente glosa134 Josquin, Inviolata, with other diminutions (first part only) 244* 4

Soprano Recorder Superius Treble Recorder Contra Tenor Recorder Tenor Tenor Recorder Vacans Bass Recorder Bassus 5 Stabat mater &c. con 2. parte Iusquin 1 Fo. 105. Stabat mater dolorosa, Josquin Desprez. A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 11

108 16 Cabezon/Josquin - Stabat mater 21 27

33 Cabezon/Josquin - Stabat mater 109 40 fo. 105v 46

110 51 Cabezon/Josquin - Stabat mater 57 62

68 Cabezon/Josquin - Stabat mater 111 73 78

112 Cabezon/Josquin - Stabat mater 83 89 95

101 Cabezon/Josquin - Stabat mater 113 107fo. 106v 113

114 119 Cabezon/Josquin - Stabat mater 125 131 #

Cabezon/Josquin - Stabat mater 136 fo.107 115 142 148

Cabezon/Josquin - Stabat mater 116 155 160 166

Cabezon/Josquin - Stabat mater 117 171 175

118 179 Segunda parte Cabezon/Josquin - Stabat mater 185 191

197 Cabezon/Josquin - Stabat mater 119 202fo. 108 208

Cabezon/Josquin - Stabat mater 120 214 220 226

234 Cabezon/Josquin - Stabat mater 121 240 245

Cabezon/Josquin - Stabat mater 122 250 256 262 fo. 109

267 Cabezon/Josquin - Stabat mater 123 273 278

124 283 Cabezon/Josquin - Stabat mater 289 294 fo. 109v

Cabezon/Josquin - Stabat mater 299 125 304 310

126 317 3 3 Cabezon/Josquin - Stabat mater 3 3 3 323 328 3 3 3 3 3 3 3 3 3 3

334 Cabezon/Josquin - Stabat mater 127 340 3 3 3 3 3 346

Cabezon/Josquin - Stabat mater 128 353 358 The arrangement has been made from Cabeçon's keyboard piece elsewhere in this site. Josquin's original is in the Chigi codex, included in IMSLP fo. CCXXXIIIv-CCXXXVII, in the pdf format part 6 pdf pages 59-66. Josquin used Binchois's chanson Comme femme as cantus firmus. His parts are: unnamed upper part (superius), Contra, Tenor (cantus firmus),vacans (meaning: unnamed too), and Bassus. The original clefs are in this order G2, C3, C3, C4 and F3 in the first part, and G2, C3, C2, C4 and F4 in the second part. So they are high clefs or chiavetti, and Josquin's piece should presumably be performed a fourth down, with an extremely low bass voice. The original compass of Cabeçon's voices is as follows: Superius: a-a flat", Contra: c-d", Tenor: e-c",vacans (= unnamed): b flat-b'flat, Bass: F- d'. Attribution to recorders in the original pitches would result in treble, tenor, tenor, bass and bass, with many, though not unplayable, high notes. I prevented the use of the highest recorder register: changing the attribution to the voices and by changing low notes where that was not possible. The adaptations concern the following bars: 5, 22-23, 43, 70, 181, 200-201, 217, 244, 282-283, 292-293, 301 and 308. Of course everybody is free to make other choices. And you may contact me for an instrumention of the original score.

Soprano Recorder Superius Stabat mater &c. con 2. parte Iusquin 1 Fo. 105. Stabat mater dolorosa, Josquin Desprez. A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 6 16 23 30 39 fo. 105v 46 53 61 69 77 101

2 107fo. 106v Soprano Recorder Superius 119 128 137 fo.107 147 162 169 174

179 Segunda parte Soprano Recorder Superius 3 189 199 fo. 108 207 214 220 226 236 244 257 263 fo. 109 269 283

4 305 Soprano Recorder Superius 3 314 321 3 3 328 334 340 3 348 355 359

2 105 fo. 106v Treble Recorder Contra 117 126 137 fo.107 145 153 158 165 172

179 Segunda parte Treble Recorder Contra 3 186 196 fo. 108 204 223 232 239 247 260 fo. 109 269 276 284 291

4 297 Treble Recorder Contra 303 312 3 320 328 3 3 3 336 343 351 358

Tenor Recorder Tenor Stabat mater &c. con 2. parte Iusquin 1 Fo. 105. Stabat mater dolorosa, Josquin Desprez. A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 8 17 28 39 fo. 105v 48 58 70 81 92 104 fo. 106v 116

2 127 Tenor Recorder Tenor # 137 fo.107 148 160 169

179 Segunda parte Tenor Recorder Tenor 3 191 202fo. 108 211 222 233 245 257 fo. 109 268 279 289 300 311 3

4 320 Tenor Recorder Tenor 3 329 3 339 3 349 357

Tenor Recorder Vacans Stabat mater &c. con 2. parte Iusquin 1 Fo. 105. Stabat mater dolorosa, Josquin Desprez. A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 11 19 27 36 fo. 105v 45 53 64 72 80 89 99 fo. 106v

2 112 Tenor Recorder Vacans 123 129 fo.107 143 151 161 170

179 Segunda parte Tenor Recorder Vacans 3 189 198 fo. 108 209 217 226 240 250 258 fo. 109 271 279 286 295

4 303 Tenor Recorder Vacans 311 3 318 3 3 326 335 3 344 352 357

Bass Recorder Bassus Stabat mater &c. con 2. parte Iusquin 1 Fo. 105. Stabat mater dolorosa, Josquin Desprez. A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 8 17 32 fo. 105v 42 50 58 68 76 85 96 106 fo. 106v

2 114 Bass Recorder Bassus 126 140 fo.107 150 161 169 174

179 Segunda parte Bass Recorder Bassus 3 193 fo. 108 203 210 225 233 243 252 266fo. 109 279 288 301 310 3

4 318 Bass Recorder Bassus 326 3 3 333 3 342 350 357

Alto Recorder Superius Alto Recorder Tenor secundus Tenor Recorder Altus Tenor Recorder Tenor primus Bass Recorder Bassus Inviolata. Iusquin. con 2. y 3. parte Fo. 110v. Inviolata, integra et casta es, Josquin Desprez 1 A. de Cabeçon ( 1510-1566) Arrangement Arnold den Teuling 2016 6 12

130 18 Cabezón / Josquin - Inviolata 23 29

Cabezón / Josquin - Inviolata 131 35 fo.111 42 49

132 55 Cabezón / Josquin - Inviolata 61 67

Cabezón / Josquin - Inviolata 133 72 fo. 111v. 78 84

134 90 Cabezón / Josquin - Inviolata 96 101 fo.112

108 Cabezón / Josquin - Inviolata 135 114 120

136 126 Segunda parte de Inviolata. Iusquin. Cabezón / Josquin - Inviolata 133 141 fo. 112v.

148 Cabezón / Josquin - Inviolata 137 153 159 3 3 3

138 166 Cabezón / Josquin - Inviolata 172 177 fo. 113

183 Cabezón / Josquin - Inviolata 139 189 195

140 200 Cabezón / Josquin - Inviolata 205 211 Tercera parte de Inviolata. fo. 113v.

219 Cabezón / Josquin - Inviolata 141 225 231

142 236 Cabezón / Josquin - Inviolata 242 fo. 114 247 # # 3 3

254 Cabezón / Josquin - Inviolata 143 3 262 269

144 276 Cabezón / Josquin - Inviolata 281 fo. 114v. Tenor primus bar 63 note 6: x not notated; other solutions possible. Tenor primus bar 277: rest or lengthening sign not notated, it may be a semibrevis f, tied to the semibrevis f in bar 276. Cabeçon handles the canon too free to decide. According to Petrucci's edition 1519: Motetti de la corona Liber quartus, nr. VI (in IMSLP), the tenors are a fuga in diapente, a canon on the fifth. The two tenors start in bar 19, and bar 25 in the first part, bar 150 and 154 in the second, and bar 211 and 213 in the third part. Josquin's original clefs in Petrucci's edition are C2 in the first part, C1 in the other parts, C3, C4 (tenor), and F4. Cabeçon composed a second set of glosas on this motet.

Alto Recorder Superius Alto Recorder Superius 1 Inviolata. Iusquin. con 2. y 3. parte Fo. 110v. Inviolata, integra et casta es, Josquin Desprez A. de Cabeçon ( 1510-1566) Arrangement Arnold den Teuling 2016 6 13 20 26 35 45 53 69 76 87 98

2 106 117 Alto Recorder Superius 121 Segunda parte de Inviolata. Iusquin. 126 156 165 171 177 186 196 203 Tercera parte de Inviolata. 211 221

228 Alto Recorder Superius 3 235 243 254 263 270 278 281

Alto Recorder Tenor secundus Alto Recorder Tenor secundus Inviolata. Iusquin. con 2. y 3. parte Fo. 110v. Inviolata, integra et casta es, Josquin Desprez 1 A. de Cabeçon ( 1510-1566) Arrangement Arnold den Teuling 2016 32 41 51 65 80 87 98 110 120 Segunda parte de Inviolata. Iusquin. 126 161

2 173 Alto Recorder Tenor secundus 182 189 198 205 Tercera parte de Inviolata. 211 224 236 248 259 271 279

Tenor Recorder Tenor primus Tenor Recorder Tenor primus 26 Inviolata. Iusquin. con 2. y 3. parte Fo. 110v. Inviolata, integra et casta es, Josquin Desprez 1 A. de Cabeçon ( 1510-1566) Arrangement Arnold den Teuling 2016 37 52 61 74 86 94 111 118 Segunda parte de Inviolata. Iusquin. 126 158 3

2 168 178 Tenor Recorder Tenor primus 191 200 211 Tercera parte de Inviolata. 223 234 244 255 267 277

Tenor Recorder Altus Tenor Recorder Altus Inviolata. Iusquin. con 2. y 3. parte Fo. 110v. Inviolata, integra et casta es, Josquin Desprez 1 A. de Cabeçon ( 1510-1566) Arrangement Arnold den Teuling 2016 20 29 37 45 53 62 71 79 89 99 112

2 118 Tenor Recorder Altus 126Segunda parte de Inviolata. Iusquin. 140 148 157 3 3 165 174 188 196 203 211 Tercera parte de Inviolata. 221 230

Tenor Recorder Altus 3 240 249 # # 3 3 3 256 266 275 281

Bass Recorder Bassus Bass Recorder Bassus Inviolata. Iusquin. con 2. y 3. parte Fo. 110v. Inviolata, integra et casta es, Josquin Desprez 1 A. de Cabeçon ( 1510-1566) Arrangement Arnold den Teuling 2016 13 21 29 39 49 60 67 76 86 95 104

2 115 Bass Recorder Bassus 126 Segunda parte de Inviolata. Iusquin. 133 141 148 158 169 179 187 196 203 211Tercera parte de Inviolata. 223

233 Bass Recorder Bassus 3 243 251 261 270 278

Treble Recorder Discantus Tenor Recorder Quintus Tenor Recorder Contratenor Tenor Recorder Tenor Bass Recorder Bassus 1 Si bona suscepimus Verdelot Fo. 114v. Philippe Verdelot A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 6 11

146 17 Cabezon/Verdelot - Si bona suscepimus 22 fo. 115 27

33 Cabezon/Verdelot - Si bona suscepimus 147 38 44

148 50 Cabezon/Verdelot - Si bona suscepimus 56 fo. 115v. 62

67 Cabezon/Verdelot - Si bona suscepimus 149 72 78

150 83 Cabezon/Verdelot - Si bona suscepimus 88 fo. 116 93

98 Cabezon/Verdelot - Si bona suscepimus 151 103 109

152 114 Cabezon/Verdelot - Si bona suscepimus 120 fo. 116v. 127

133 Cabezon/Verdelot - Si bona suscepimus 153 139 145

154 Cabezon/Verdelot - Si bona suscepimus 151 fo. 117 157 163

Cabezon/Verdelot - Si bona suscepimus 155 169 # 175 180 #

156 Cabezon/Verdelot - Si bona suscepimus 185 fo. 117v. 191 197 #

202 Cabezon/Verdelot - Si bona suscepimus 157 207 212 fo. 118

158 218 Cabezon/Verdelot - Si bona suscepimus 224 The original clefs of Verdelot's piece, as published by Joh. Formschneider, Novum et insigne opus musicum, Nürnberg 1539, nr. 17, accessible in IMSLP, are C2, C4, C4, C4 and F4, with part names discantus, contratenor, tenor, quintus and bassus. Cabeçon placed the voices in another order: discantus, quintus, contratenor, tenor, bassus, so placing the quintus on his line 4. The original piece by Verdelot is accessible in CPLD. Verdelot's compass of the contratenor (Cabeçon's line 3, here the middle voice) is b-flat-f', tenor (line 2, here voice 4) c-d' and quintus (line 4, here voice 2) c-e'. Cabeçon may have made his own choice, but possibly he used a source with this disposition. Some transpositions in this recorder arrangement were necessary. I marked octavated or otherwise raised notes with brackets above, and notes moved to other voices with brackets below the staves. Bar 79 (C.'s line 4, staff 2) quintus note 2 a and (line 1) bassus note 2 f# are notated one quaver position too far to the right, I changed # at quintus note 2 a to discantus note 6 f '#; Bar 145 (line and staff 3) contratenor and (line 1) bassus contains 7 quavers only; I prefer lengthening the first note supposing that the duration signs q and e are missing; Bar 192 bassus: lengthening sign missing; Bar 221 (line 4, staff 2) quintus: rest sign missing.

Treble Recorder Discantus 1 Si bona suscepimus Verdelot Fo. 114v. Philippe Verdelot A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 20 25 32 37 42 48 56 62 67 71

2 78 Treble Recorder Discantus 83 89 95 100 104 109 114 120 126 135 145

153 Treble Recorder Discantus 3 159 167 # 173 178 183 189 195 201 206 211 216

4 221 Treble Recorder Discantus 225

Tenor Recorder Contratenor 11 17 1 Si bona suscepimus Verdelot Fo. 114v. Philippe Verdelot A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 26 32 38 47 54 62 69 75 86

2 93 102 Tenor Recorder Contratenor 110 118 127 132 139 146 152 158 167 173 180 #

186 Tenor Recorder Contratenor 3 197 # 204 213 220 225

Tenor Recorder Tenor 7 13 22 29 1 Si bona suscepimus Verdelot Fo. 114v. Philippe Verdelot A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 40 45 53 60 71 80 89

2 99 Tenor Recorder Tenor 109 117 125 133 138 144 151 159 167 175 186 195

205 214 222 Tenor Recorder Tenor 3

Tenor Recorder Quintus 16 1 Si bona suscepimus Verdelot Fo. 114v. Philippe Verdelot A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 25 31 38 47 56 68 78 84 92 100

2 110 118 126 137 146 153 161 174 181 191 199 207 Tenor Recorder Quintus 216

223 Tenor Recorder Quintus 3

Bass Recorder Bassus 7 17 23 34 1 Si bona suscepimus Verdelot Fo. 114v. Philippe Verdelot A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 47 53 59 71 78 87 95

2 104 112 120 134 144 152 160 166 174 183 190 199 208 216 Bass Recorder Bassus

223 Bass Recorder Bassus 3

Descant Recorder Cantus Treble Recorder Altus Tenor Recorder Tenor Tenor Recorder Quintus Bass Recorder Bassus Aspice Domine Iaquet Fo. 118 Jacquet de Mantua, Aspice Domine quia facta est A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 1 6 12

160 Cabezon/Jacquet - Aspice Domine 19 fo. 118v. 24 30

37 Cabezon/Jacquet - Aspice Domine 161 43 48

162 Cabezon/Jacquet - Aspice Domine 54 fo. 119 60 66

71 Cabezon/Jacquet - Aspice Domine 163 76 82

164 87 Cabezon/Jacquet - Aspice Domine fo.119v. 92 100

108 Cabezon/Jacquet - Aspice Domine 165 114 # 120

166 Cabezon/Jacquet - Aspice Domine 126 fo.120 131 136

143 Cabezon/Jacquet - Aspice Domine 167 150 157

168 Cabezon/Jacquet - Aspice Domine 165 fo.120v # 170 177

185 Cabezon/Jacquet - Aspice Domine 169 190 196 fo.121

170 Cabezon/Jacquet - Aspice Domine 201 206 211 See critical comment in the keyboard edition, especially for bar 86.

Descant Recorder Cantus 15 1 Aspice Domine Iaquet Fo. 118 Jacquet de Mantua, Aspice Domine quia facta est A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 31 37 43 49 56 66 71 78 87

2 95 102 110 Descant Recorder Cantus # 114 120 128 133 138 152 159 170 176

185 190 196 204 Descant Recorder Cantus 3 208 211

Treble Recorder Altus 6 1 Aspice Domine Iaquet Fo. 118 Jacquet de Mantua, Aspice Domine quia facta est A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 11 19 26 33 41 48 56 63 71 78

2 84 90 99 107 115 123 129 Treble Recorder Altus 138 145 153 163 170 177 184

191 Treble Recorder Altus 3 198 205 210

Tenor Recorder Tenor 1 9 Aspice Domine Iaquet Fo. 118 Jacquet de Mantua, Aspice Domine quia facta est A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 18 28 39 45 53 62 69 77 84 90

2 95 105 113 Tenor Recorder Tenor 122 128 133 141 151 160 167 # 174 183 189

197 204 Tenor Recorder Tenor 3 211

Tenor Recorder Quintus 1 14 20 30 39 48 57 64 Aspice Domine Iaquet Fo. 118 Jacquet de Mantua, Aspice Domine quia facta est A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 75 84 93 103

2 110 Tenor Recorder Quintus 118 125 133 142 151 160 168 174 183 192 199

205 Tenor Recorder Quintus 3 210

Bass Recorder Bassus 18 1 Aspice Domine Iaquet Fo. 118 Jacquet de Mantua, Aspice Domine quia facta est A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 24 30 39 53 59 67 73 77 85 95

2 106 Bass Recorder Bassus 113 121 131 140 149 163 172 181 190 199 208

Superius Descant Recorder Contratenor Treble Recorder Quintus Treble Recorder Tenor Tenor Recorder Bassus Bass Recorder Sana me Domine. Clemens non Papa Fo. 121 Jacob Clemens non Papa, Sana me Domine, abridged 1 Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 7 12

172 18 Cabezon/Clemens - Sana me 24 fo.121v. 31 #

37 Cabezon/Clemens - Sana me 173 42 # 47 #

174 52 Cabezon/Clemens - Sana me 57 fo.122 # 63

70 Cabezon/Clemens - Sana me 175 77 83 # #

176 88 Cabezon/Clemens - Sana me fo.122v. 93 99

105 Cabezon/Clemens - Sana me 177 110 115

178 120 Cabezon/Clemens - Sana me 125 131

138 Cabezon/Clemens - Sana me 179 146 152

180 158 Cabezon/Clemens - Sana me 163 168

172 Cabezon/Clemens - Sana me 181 Bar 104 Bassus: both g's notated an octave down; bar 145 Tenor: d notated 1 octave up. Bar 154 Tenor n.1: 3=a, in page erratas however: "el 3 del tenor ligatura", so tied to the previous note b. Cabeçon did not arrange the whole piece, but left out the second stanza, bars 76-138 in the edition by K.P. Bernet Kempers of Jacob Clemens non Papa in CMM, vol. IV nr. 15 pp. 66-72. In bar 151-152 of this edition Cabeçon proceeds to the refrain "Quoniam in te spes mea recumbit", "Because my hope rests in thee". Original clefs: C1,C3,C3,C4,F4.

Superius Descant Recorder 1 Sana me Domine. Clemens non Papa Fo. 121 Jacob Clemens non Papa, Sana me Domine, abridged Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 8 14 21 28 35 40 # 44 # 48 55 60

2 Superius Descant Recorder 67 75 81 86 93 102 108 113 118 125 131 139

146 151 156 Superius Descant Recorder 3 161 165 169 172

Contratenor Treble Recorder 9 1 Sana me Domine. Clemens non Papa Fo. 121 Jacob Clemens non Papa, Sana me Domine, abridged Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 15 21 28 34 # 42 48 54 61 68 75

2 82 88 93 99 106 112 120 126 # # Contratenor Treble Recorder 134 144 153 159 166 170

Quintus Treble Recorder 1 Sana me Domine. Clemens non Papa Fo. 121 Jacob Clemens non Papa, Sana me Domine, abridged Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 22 30 37 45 55 # 62 70 78 85 92 100

2 107 Quintus Treble Recorder 115 122 129 136 143 150 160 168 171

Tenor Tenor Recorder 1 Sana me Domine. Clemens non Papa Fo. 121 Jacob Clemens non Papa, Sana me Domine, abridged Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 14 21 29 36 43 53 60 67 71

2 Tenor Tenor Recorder 77 85 92 98 108 114 119 127 134 141

Tenor Tenor Recorder 3 148 155 162 168

Bassus Bass Recorder 19 1 Sana me Domine. Clemens non Papa Fo. 121 Jacob Clemens non Papa, Sana me Domine, abridged Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 28 38 46 53 61 69 78 86 92 103

2 108 Bassus Bass Recorder 116 123 130 137 144 151 158 164 170

Descant Recorder Superius primus Descant Recorder Superius secundus Treble Recorder Contratenor Treble Recorder Tenor Tenor Recorder Bassus In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi 1 Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 6 13 fo.124

19 Cabezon/Lupus - In te Domine 183 26 32

184 38 Cabezon/Lupus - In te Domine 3 45 fo.124v. 51

57 Cabezon/Lupus - In te Domine 185 63 69

186 76 Cabezon/Lupus - In te Domine 83 fo.125 89

95 Cabezon/Lupus - In te Domine 187 100 106

188 111 Cabezon/Lupus - In te Domine 118 fo.125v. 124

Cabezon/Lupus - In te Domine 189 130 136 142

190 147 Cabezon/Lupus - In te Domine 153 fo.126 157

Cabezon/Lupus - In te Domine 191 161 Segunda parte de In te Domine speravi 167 172

192 Cabezon/Lupus - In te Domine 177 fo.126v. 183 188

193 Cabezon/Lupus - In te Domine 193 199 205

194 Cabezon/Lupus - In te Domine 211 fo.127 217 223

231 Cabezon/Lupus - In te Domine 195 238 243

196 Cabezon/Lupus - In te Domine 248 fo.127v. 254 259

265 Cabezon/Lupus - In te Domine 197 271 278

198 fo.128 284 Cabezon/Lupus - In te Domine 290 298

306 Cabezon/Lupus - In te Domine 199 311

200 316 Cabezon/Lupus - In te Domine Cabeçon displays the voices of Lupus Hellinck's original just as published in A. Smijers and T. Merrit, Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535, Monaco 1962, dl IX p. 55: resp. Primus superius, Secundus superius, Contratenor, Tenor and Bassus. Formschneider's 1537 edition where it is nr 16, (in partbooks, in IMSLP) calls the first two voices Quintus and Discantus. The original clefs are G2, G2, C3, C3 and F3, high clefs or chiavetti, indicating that the piece should be performed a fifth down, alla quinta bassa. Cabeçon arranged his version come stà, at the notated pitch. So is this recorder arrangement for 2 descant, 2 treble and tenor recorders. I made another arrangement a fifth down for 2 treble, 2 tenor and bass recorder. Bar 44 Superius secundus n.2: triplet number 3 missing; note value notation is: q. + x above d'; the alternative interpretation is normally notated as q above g' + lengthening sign under note value x; Bar 111 Tenor n.5: note value change missing; Bar 128 Tenor n.1: notated as c"; Bar 130 Superius primus n. 6: notated as e"; Bar 149 Bassus: G, exceding the compass of the Tenor or, after transposing down, Bass recorders. Lupus: g Bar 308 Bassus: semibrevis c confirmed by Lupus's original; vertical stroke in position of n. 2 neglected.

In te Domine speravi. Lupus. con segunda parte Descant Recorder Superius primus 26 32 38 47 56 65 72 82 88 100 108 1 Fo. 123v. Lupus Hellinck, In te Domine speravi Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016

2 120 129 134 141 147 153 161 Segunda parte de In te Domine speravi 167 174 179 206 216 222 Descant Recorder Superius primus

230 238 245 252 257 264 271 277 283 291 299 306 310 316 Descant Recorder Superius primus 3

In te Domine speravi. Lupus. con segunda parte Descant Recorder Superius secundus 10 16 22 32 40 46 52 60 69 75 85 1 Fo. 123v. Lupus Hellinck, In te Domine speravi Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 3

2 98 104 111 118 125 132 139 146 152 Descant Recorder Superius secundus 161 Segunda parte de In te Domine speravi 202 210 217

226 233 240 Descant Recorder Superius secundus 3 253 262 268 280 290 300 312 316

In te Domine speravi. Lupus. con segunda parte Treble Recorder Contratenor 7 13 23 29 35 43 51 58 66 73 81 1 Fo. 123v. Lupus Hellinck, In te Domine speravi Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016

2 89 96 105 110 118 124 130 138 145 152 156 161 Segunda parte de In te Domine speravi 170 176 Treble Recorder Contratenor

182 198 205 212 221 230 237 244 250 258 266 274 282 291 Treble Recorder Contratenor 3

4 299 Treble Recorder Contratenor 306 311 316

In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi Treble Recorder Tenor 17 23 33 41 49 57 64 73 81 89 96 1 Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016

2 101 108 Treble Recorder Tenor 115 123 129 137 151 155 161 181 Segunda parte de In te Domine speravi 188 193 200

208 215 222 230 239 246 253 261 268 276 285 295 303 310 Treble Recorder Tenor 3

4 316 Treble Recorder Tenor

In te Domine speravi. Lupus. con segunda parte Tenor Recorder Bassus 23 34 42 50 58 66 78 91 99 107 114 1 Fo. 123v. Lupus Hellinck, In te Domine speravi Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016

2 123 131 140 148 155 Tenor Recorder Bassus 161 Segunda parte de In te Domine speravi 185 191 198 212 218 230 238

244 256 264 272 280 287 Tenor Recorder Bassus 3 294 302 306 316

Treble Recorder Superius primus Treble Recorder Superius secundus Tenor Recorder Contratenor Tenor Recorder Tenor 6 Bass Recorder Bassus In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi alla quinta bassa 1 Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 13 fo.124

202 19 Cabezon/Lupus - In te Domine 26 32

38 Cabezon/Lupus - In te Domine 203 44 fo.124v. 3 51

204 Cabezon/Lupus - In te Domine 57 63 69

76 Cabezon/Lupus - In te Domine 205 83 fo.125 89

206 95 Cabezon/Lupus - In te Domine 100 106

111 Cabezon/Lupus - In te Domine 207 118 fo.125v. 124

208 130 Cabezon/Lupus - In te Domine 136 142

147 Cabezon/Lupus - In te Domine 209 153 fo.126 157

210 Cabezon/Lupus - In te Domine 161 Segunda parte de In te Domine speravi 167 172

Cabezon/Lupus - In te Domine 211 177 fo.126v. 183 188

212 193 Cabezon/Lupus - In te Domine 199 205

Cabezon/Lupus - In te Domine 213 211 fo.127 217 223

214 231 Cabezon/Lupus - In te Domine 238 243

Cabezon/Lupus - In te Domine 215 248 fo.127v. 254 259

216 265 Cabezon/Lupus - In te Domine 271 278

284 fo.128 Cabezon/Lupus - In te Domine 217 290 298

218 306 Cabezon/Lupus - In te Domine 311

316 Cabezon/Lupus - In te Domine 219 Cabeçon displays the voices of Lupus Hellinck's original just as published in A. Smijers and T. Merrit, Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535, Monaco 1962, dl IX p. 55: resp. Primus superius, Secundus superius, Contratenor, Tenor and Bassus. Formschneider's 1537 edition where it is nr 16, (in partbooks, in IMSLP) calls the first two voices Quintus and Discantus. The original clefs are G2, G2, C3, C3 and F3, high clefs or chiavetti, indicating that the piece should be performed a fifth down, alla quinta bassa. Cabeçon arranged his version at the notated pitch. I transposed this recorder version a fifth down, for 2 treble, 2 tenor and bass recorders. I made another version come stà, at its notated pitch, for 2 descant, 2 treble and 1 tenor recorders. Bar 44 Superius secundus n.2: triplet number 3 missing; note value notation is: q. + x above d'; the alternative interpretation is normally notated as q above g' + lengthening sign under note value x; Bar 111 Tenor n.5: note value change missing; Bar 128 Tenor n.1: notated as c"; Bar 130 Superius primus n. 6: notated as e"; Bar 149 Bassus: G, exceding the compass of the Tenor or, after transposing down, Bass recorders. Lupus: g Bar 308 Bassus: semibrevis c confirmed by Lupus's original; vertical stroke in position of n. 2 neglected.

In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi alla quinta bassa Treble Recorder Superius primus 26 32 38 47 56 65 72 82 88 100 108 1 Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016

2 120 Treble Recorder Superius primus 129 134 141 147 153 161 Segunda parte de In te Domine speravi 167 174 179 206 216 222

230 238 245 252 257 264 271 277 283 291 299 306 310 316 Treble Recorder Superius primus 3

In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi alla quinta bassa Treble Recorder Superius secundus 1 9 16 22 32 40 46 52 60 69 75 85 Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 3

2 98 104 111 118 Treble Recorder Superius secundus 125 132 139 146 152 161 Segunda parte de In te Domine speravi 202 210 217

226 Treble Recorder Superius secundus 3 233 240 253 262 268 280 290 300 312 316

In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi alla quinta bassa Tenor Recorder Contratenor 7 13 23 29 35 43 51 58 66 73 81 1 Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016

2 89 96 Tenor Recorder Contratenor 105 110 118 124 130 138 145 152 156 161 Segunda parte de In te Domine speravi 170

176 182 198 205 212 221 230 237 244 250 258 266 274 282 Tenor Recorder Contratenor 3

4 291 Tenor Recorder Contratenor 299 306 311 316

In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi Tenor Recorder Tenor alla quinta bassa 16 23 34 42 50 58 65 74 82 90 97 1 Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016

2 102 110 117 125 132 140 153 Tenor Recorder Tenor 161 Segunda parte de In te Domine speravi 181 188 193 200 208

215 222 230 239 246 253 261 268 276 285 295 303 310 316 Tenor Recorder Tenor 3

In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi alla quinta bassa Bass Recorder Bassus 22 29 1 Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 37 45 53 61 70 81 94 102 110

2 117 127 Bass Recorder Bassus 136 143 152 156 161 Segunda parte de In te Domine speravi 185 191 198 212 218 230

238 Bass Recorder Bassus 3 244 256 264 272 280 287 294 302 306 316

Descant Recorder Superius Tenor Recorder Altus Treble/Tenor Recorder Secunda vox/tenor Tenor Recorder Tenor Bass Recorder Bassus Tercera parte de virgo salutifera. Iusquin 1 Fo.128v. Josquin Desprez, Virgo salutiferi, third part A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 8 16

Cabezon/Josquin - Virgo Salutiferi 221 24 32 40

222 48 Cabezon/Josquin - Virgo Salutiferi 56 fo.129 3 3 3 3 64

72 Cabezon/Josquin - Virgo Salutiferi 223 77 Cabeçon intabulated this piece without applying glosas; he halved the note values and added barlines and accidentals. In Petrucci's edition in Motetti de corona Book III nr IIII (in IMSLP) are the voices Superius, Altus, Secunda vox/ Tenor, Tenor and Bassus. The clefs are C1, C4, C4, C4 and F4 in most Josquin sources. The Superius and Secunda vox make a cantus firmus on the first part of the Gregorian plainchant Ave Maria, alleluia (4x), in canon starting at bar 17 and 19. In plainchant as sung today the e' in Secunda vox bar 21 and the e" in Superius bar 23 are flattened. Nor Josquin nor Cabeçon do so. In Gregorian plainchant the flattening of the si (or b) is and was not obligatory in all cases. The melody is not exactly the same as in the modern Graduale Romanum. The triplets in Altus bars 57-58 and 61-62 are different from all sources of Josquin's motet known to me. Bar 22 voice 4 n.3: sharp sign neglected after comparison with Josquin's score.

Descant Recorder Superius 25 35 Tercera parte de virgo salutifera. Iusquin Fo.128v. Josquin Desprez, Virgo salutiferi, third part 1 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 49 57 66 74 78

Tercera parte de virgo salutifera. Iusquin Fo.128v. Josquin Desprez, Virgo salutiferi, third part Treble/Tenor Recorder Secunda vox/tenor 1 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 24 34 48 56 64 72 77

Tenor Recorder Altus Tercera parte de virgo salutifera. Iusquin Fo.128v. Josquin Desprez, Virgo salutiferi, third part A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 1 10 17 24 32 40 48 56 63 3 3 3 3 70 77

Tenor Recorder Tenor 1 Tercera parte de virgo salutifera. Iusquin Fo.128v. Josquin Desprez, Virgo salutiferi, third part A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 8 16 24 32 40 47 55 63 71 77

Tercera parte de virgo salutifera. Iusquin Fo.128v. Josquin Desprez, Virgo salutiferi, third part Bass Recorder Bassus 1 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 9 17 25 33 41 49 57 66 73 78

Descant Recorder Superius Treble Recorder Contratenor Tenor Recorder Primus tenor Tenor Recorder Secundus tenor Bass Recorder Bassus Hierusalem luget. Ricafort Fo.129. Jean Richafort or Lupus Hellinck, Jerusalem luge 1 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 5 10

16 Cabezon / Richafort - Jerusalem luge 225 22 28

226 34 Cabezon / Richafort - Jerusalem luge 41 47

Cabezon / Richafort - Jerusalem luge 227 54 60 # 65

228 71 Cabezon / Richafort - Jerusalem luge 76 82

Cabezon / Richafort - Jerusalem luge 229 88 94 99

230 104 Cabezon / Richafort - Jerusalem luge Cabeçon glosased the first part of Lupus's or Richafort's work only. Its voices are Superius, Contratenor, Primus tenor, Secuncus tenor and Bassus, with clefs C1, C3, C4, C4 and F4 in the edition of Pierre Attaingnant, Motettorum liber octavus, Paris 1534. An edition of the original is in IMSLP as a work by Lupus Hellinck.

Descant Recorder Superius 1 19 26 38 51 59 67 Hierusalem luget. Ricafort Fo.129. Jean Richafort or Lupus Hellinck, Jerusalem luge A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 75 83 90 98 103

Treble Recorder Contratenor 1 Hierusalem luget. Ricafort Fo.129. Jean Richafort or Lupus Hellinck, Jerusalem luge A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 12 17 24 31 37 45 51 59 64 # 74 79

2 85 Treble Recorder Contratenor 91 97 103

Tenor Recorder Primus tenor 7 15 23 1 Hierusalem luget. Ricafort Fo.129. Jean Richafort or Lupus Hellinck, Jerusalem luge A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 35 43 52 59 65 76 88 94

2 102 Tenor Recorder Primus tenor

Tenor Recorder Secundus tenor 18 1 Hierusalem luget. Ricafort Fo.129. Jean Richafort or Lupus Hellinck, Jerusalem luge A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 29 35 45 53 63 70 78 86 95 102

Bass Recorder Bassus 1 Hierusalem luget. Ricafort Fo.129. Jean Richafort or Lupus Hellinck, Jerusalem luge A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 7 13 26 34 42 49 56 62

2 Bass Recorder Bassus 68 73 79 86 93 103

Descant Recorder Superius Treble Recorder Contra Treble Recorder Tenor Tenor Recorder Vacans Bass Recorder Bassus Stabat mater dolorosa. Iusquin con differente glosa Fo. 131 Josquin Desprez, Stabat mater dolorosa, first part, with different diminutions 1 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 5 10

232 Cabezon / Josquin - Stabat mater 14 19 24 fo.131v

30 Cabezon / Josquin - Stabat mater 233 36 42

234 48 Cabezon / Josquin - Stabat mater 54 60 fo.132

65 Cabezon / Josquin - Stabat mater 235 71 76

236 Cabezon / Josquin - Stabat mater 81 86 91 fo.132v 3 3

97 Cabezon / Josquin - Stabat mater 237 102 108

238 114 Cabezon / Josquin - Stabat mater 119 fo.133 124

Cabezon / Josquin - Stabat mater 239 129 134 139

240 145 Cabezon / Josquin - Stabat mater 150 fo.133v. 155

160 Cabezon / Josquin - Stabat mater 241 165 170

242 174 Cabezon / Josquin - Stabat mater The arrangement has been made from Cabeçon's keyboard piece elsewhere in this site. Josquin's original is in the Chigi codex, included in IMSLP fo. CCXXXIIIv-CCXXXVII, in the pdf format part 6 pdf pages 59-66. Josquin used Binchois's chanson Comme femme as cantus firmus. His parts are: unnamed upper part (superius), Contra, Tenor (cantus firmus),vacans (meaning: unnamed too), and Bassus. The original clefs are in this order G2, C3, C3, C4 and F3 in the first part, and G2, C3, C2, C4 and F4 in the second part. So they may be high clefs or chiavetti, and in that case Josquin's piece should be performed a fourth down, however, with an extremely low bass voice. The original compass of Cabeçon's voices is as follows: Superius: b-g", Contra: d-f", Tenor: d-f", Vacans (= unnamed): c-e', Bass: F- e' flat. Attribution to recorders at these pitches would result in treble, tenor, tenor, bass and bass, with many, and some unplayable, high notes. I kept the notated pitches and prevented the use of the highest recorder register by changing the attribution to the voices and by changing low notes where that was not possible. The changes are indicated by brackets. Of course everybody is free to make other choices. And you may contact me for an other instrumention of the score. Bar 27 Superius n.3: # not in Josquin, but there are no sharps in bar 29-30 either; after listening to different possibilities I concluded that normalising the sharps would sound very dull, though sharpening bar 27 note 4, the b' flat to b' natural, would be acceptable. Bar 125 Bassus n.1: d', missing a stroke, pitch confirmed by Josquin's original; Bar 168 Bassus n.1: d', missing a stroke, pitch confirmed by Josquin's original. Bar 177 This blank bar is Cabeçon's.

Stabat mater dolorosa. Iusquin con differente glosa Descant Recorder Superius 1 6 Fo. 131 Josquin Desprez, Stabat mater dolorosa, first part, with different diminutions A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 18 24 29 36 43 49 56 62 69

2 74 Descant Recorder Superius 99 104 110 119 123 130 137 142 153 165 172

Stabat mater dolorosa. Iusquin con differente glosa Treble Recorder Contra 1 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 15 23 30 37 45 52 59 68 76 81 88

2 92 98 107 116 122 3 3 Treble Recorder Contra 135 140 147 152 158 163 168 172

Stabat mater dolorosa. Iusquin con differente glosa Treble Recorder Tenor 1 Fo. 131 Josquin Desprez, Stabat mater dolorosa, first part, with different diminutions A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 8 16 23 31 39 48 58 68 78 88 98

2 108 Treble Recorder Tenor 118 128 133 140 146 154 164 171

Stabat mater dolorosa. Iusquin con differente glosa Tenor Recorder Vacans 1 7 Fo. 131 Josquin Desprez, Stabat mater dolorosa, first part, with different diminutions A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 13 20 27 37 45 52 61 68 74 83

2 89 Tenor Recorder Vacans 97 105 113 122 130 141 149 157 165 172

Bass Recorder Bassus 11 Stabat mater dolorosa. Iusquin con differente glosa 1 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 15 23 36 44 53 62 71 77 83 90

2 98 Bass Recorder Bassus 105 113 124 128 135 148 155 163 169 173

Treble Recorder Superius Treble Recorder Tenor II Tenor Recorder Tenor I Tenor Recorder Altus Bass Recorder Bassus Inviolata. Iusquin, con diferente glosa Fo. 134. Inviolata, integra et casta es, Josquin Desprez, with different diminutions, first part 1 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 5 11

244 16 Cabezon / Josquin - Inviolata 20 25 fo.134v.

30 Cabezon / Josquin - Inviolata 245 35 40

246 45 Cabezon / Josquin - Inviolata 51. 56 fo. 135

61 Cabezon / Josquin - Inviolata 247 66 71

248 76 Cabezon / Josquin - Inviolata 82 fo.135v. 88

94 Cabezon / Josquin - Inviolata 249 99 104

250 Cabezon / Josquin - Inviolata 109 fo.136 114 119

123 Cabezon / Josquin - Inviolata # 251 According to Petrucci's edition 1519: Motetti de la corona Liber quartus, nr. VI (in IMSLP), the tenors are a fuga in diapente, a canon on the fifth. The two tenors start in bar 19 and 25 in this first part. Josquin's original clefs in Petrucci's edition are C2 in this first part, C3, C4 (tenor), and F4. Cabeçon composed another set of glosas on the complete motet with a different disposition of the voices. Bar 19 Tenor II: c': error: no lengthening or rest sign in the subsequent bars, and does not fit in Josquin's canon in Inviolata, Tenor II starting in bar 25. Tenor I starts in bar 19. Bar 53 Tenor II: no lengthening or rest sign until bar 58; the canon requires rests, confirmed by comparison with Josquin's original. Bar 123 Superius n.3 # wrongly positioned, but c"sharp obviously meant.

Inviolata. Iusquin, con diferente glosa Fo. 134. Inviolata, integra et casta es, Josquin Desprez, with different diminutions, first part Treble Recorder Superius 5 1 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 11 16 20 25 31 42 48 53 61. 72

2 79 Treble Recorder Superius 91 100 107 114 123 #

Treble Recorder Tenor II 1 Inviolata. Iusquin, con diferente glosa Fo. 134. Inviolata, integra et casta es, Josquin Desprez, with different diminutions, first part A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 29 36 44 51. 61 67 75 85 95 101 110

2 120 Cabezon Treble Recorder / Josquin - Tenor Inviolata II

Tenor Recorder Tenor I 1 Inviolata. Iusquin, con diferente glosa Fo. 134. Inviolata, integra et casta es, Josquin Desprez, with different diminutions, first part 25 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 37 42 55 62 76 81 89 100 108 119.

Inviolata. Iusquin, con diferente glosa Fo. 134. Inviolata, integra et casta es, Josquin Desprez, with different diminutions, first part Tenor Recorder Altus 20 1 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 26 31 37 44 51. 58 65 71 76 84

2 91 99 Cabezon Tenor / Recorder Josquin - Altus Inviolata 111 117 121

Inviolata. Iusquin, con diferente glosa Fo. 134. Inviolata, integra et casta es, Josquin Desprez, with different diminutions, first part Bass Recorder Bassus 11 1 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 16 21 27 35 43 52. 60 67 75 83

2 92 Cabezon Bass Recorder / Josquin Bassus - Inviolata 98 104 111 116 121