Antonio de Cabeçon (Castrillo Mota de Judíos 1510 Madrid 1566) Comiençan las canciones glosadas y motetes a seys Fol. 159-184v. from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 4 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 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 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, 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! 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
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 2017. 3
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
Discantus/ Descant Recorder Contratenor/ Tenor Recorder Quinta/ Tenor Recorder Tenor/ Tenor Recorder Sexta/ Bass Recorder Bassus Bass Recorder 1 Benedicta es regina celorum Fo. 159. Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 8 15
21 Cabezon/Josquin - Benedicta es fo.159v. 347 28 34
348 40 Cabezon/Josquin - Benedicta es 45 fo.160 # 50
56 Cabezon/Josquin - Benedicta es 349 62 fo. 160v. 3 3 68
350 74 Cabezon/Josquin - Benedicta es 79 85 fo.161
92 Cabezon/Josquin - Benedicta es 351 98 103
352 Cabezon/Josquin - Benedicta es 108 fo.161v. 114 120
Cabezon/Josquin - Benedicta es 126 fo.162 353 133 140 3 3 3 3 3 3 3 3 3
354 Cabezon/Josquin - Benedicta es 147 fo. 162v. 153 158 # #
165 Cabezon/Josquin - Benedicta es 355 171 fo.163 178
356 183 Cabezon/Josquin - Benedicta es 189 fo.163v. 194 #
200 Cabezon/Josquin - Benedicta es 357 206 209
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.
8 13 25 32 40 44 48 59 76 83 85 Discantus/Descant Recorder 1 Benedicta es regina celorum Fo. 159. Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 #
2 91 102 124 130 139 3 3 3 146 177 183 188 195 201 98 108 Discantus/Descant Recorder
206 208 Discantus/Descant Recorder 3
Quinta/Tenor Recorder 1 22 32 39 47 53 57 62 79 87 94 101 Benedicta es regina celorum Fo. 159. Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017
2 105 Quinta/Tenor Recorder 110 115 125 133 141 147 3 3 3 180 189 196 204 209
Contratenor/Tenor Recorder 1 7 19 26 32 41 49 66 72 79 89 97 Benedicta es regina celorum Fo. 159. Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017
2 113 Contratenor/Tenor Recorder 120 126 135 141 3 3 147 174 181 189 194 # 201 206
15 20 36 48 54 63 82 90 100 117 122 Tenor/Tenor Recorder 1 Benedicta es regina celorum Fo. 159. Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017
2 131 148 Tenor/Tenor Recorder 155 160 166 171 178 188 201 207
Sexta/Bass Recorder 1 14 Benedicta es regina celorum Fo. 159. Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 24 31 46 70 75 80 89 97 116 123
2 134 Sexta/Bass Recorder 3 142 152 159 166 174 181 187 195 204 208
Bassus/Bass Recorder 1 21 27 35 46 55 64 68 80 88 106 Benedicta es regina celorum Fo. 159. Josquin Desprez, Benedicta es caelorum regina A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 3 3 113
2 122 131 139 147 155 Bassus/Bass Recorder 161 # # 167 171 179 184 190 196 203 208
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. 164. Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 12
360 18 Cabezon / Josquin - Benedicta es, complete 24 fo.164v. 30
36 Cabezon / Josquin - Benedicta es, complete 361 41 fo. 165 3 3 48 3
362 56 Cabezon / Josquin - Benedicta es, complete 63 69 fo.165v.
75 Cabezon / Josquin - Benedicta es, complete 363 81 87
364 94 fo.166 Cabezon / Josquin - Benedicta es, complete 101 107
114 Cabezon / Josquin - Benedicta es, complete 365 121 fo.166v. 127
366 134 Cabezon / Josquin - Benedicta es, complete 141 fo.167 147
153 Cabezon / Josquin - Benedicta es, complete 367 159 166 fo.167v.
368 172 Cabezon / Josquin - Benedicta es, complete 178 # 184
190 fo.168 Cabezon / Josquin - Benedicta es, complete 369 196 203
370 207 Cabezon / Josquin - Benedicta es, complete DVO 211 fo.168v. 218
224 Cabezon / Josquin - Benedicta es, complete 371 229 235 fo.169
372 241 Cabezon / Josquin - Benedicta es, complete 247 253
259 fo. 169v. Cabezon / Josquin - Benedicta es, complete 373 264 269
374 273 Cabezon / Josquin - Benedicta es, complete Tercera parte de Benedicta. 278 fo.170 283
287 Cabezon / Josquin - Benedicta es, complete 375 292 296
376 301 fo.170v. Cabezon / Josquin - Benedicta es, complete 305 308
Cabezon / Josquin - Benedicta es, complete 377 313 318 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 178-179 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.
Discantus/ Descant Recorder 9 22 28 33 43 54 59 74 81 87 97 1 Benedicta es caelorum regina Fo. 164. Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017
2 106 111 126 135 140 144 175 183 191 200 209 DVO 217 222 227 Discantus/ Descant Recorder
232 239 243 248 257 261 265 270 274 278 283 289 Tercera parte de Benedicta. 252 Discantus/ Descant Recorder 3
4 293 297 304 309 316 Discantus/ Descant Recorder
Contratenor Tenor Recorder 6 11 24 31 40 48 56 71 78 86 95 1 Benedicta es caelorum regina Fo. 164. Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 3 3 3
2 109 117 123 130 140 146 150 179 186 191 196 203 # Contratenor Tenor Recorder 211 DVO
216 Contratenor Tenor Recorder 3 221 226 231 235 240 247 253 257 263 268 272 274
4 Contratenor Tenor Recorder 278 282 287 Tercera parte de Benedicta. 291 296 299 305 310 317
Tenor/ Tenor Recorder 16 32 41 53 62 66 84 92 102 118 129 1 Benedicta es caelorum regina Fo. 164. Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017
2 135 152 156 162 168 173 181 188 197 206 DVO Tenor/ Tenor Recorder 278 284 287 Tercera parte de Benedicta.
292 296 302 306 Tenor/ Tenor Recorder 3 312 318
Quinta Tenor Recorder 1 20 30 35 41 47 54 60 78 85 91 97 Benedicta es caelorum regina Fo. 164. Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017
2 101 106 113 119 127 134 140 147 180 189 198 207 DVO Quinta Tenor Recorder 278 Tercera parte de Benedicta.
286 290 295 301 Quinta Tenor Recorder 3 305 311 318
Quinta Tenor Recorder 1 20 30 35 41 47 54 60 78 85 91 97 Benedicta es caelorum regina Fo. 164. Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017
2 101 106 113 119 127 134 140 147 180 189 198 207 DVO Quinta Tenor Recorder 278 Tercera parte de Benedicta.
286 290 295 301 Quinta Tenor Recorder 3 305 311 318
Bassus/ Bass Recorder 21 Benedicta es caelorum regina Fo. 164. Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 1 27 36 48 57 68 80 87 97 110 119
2 126 134 143 152 160 167 175 182 193 Bassus/ Bass Recorder 199 206 211 DVO Tercera parte de Benedicta. 280
284 Bassus/ Bass Recorder 3 291 297 304 308 317
Sexta/ Bass Recorder 13 19 29 44 69 74 81 90 Benedicta es caelorum regina Fo. 164. Josquin Desprez, Benedicta es caelorum regina, complete A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 1 98 117 130
2 139 Sexta/ Bass Recorder 150 158 165 172 178 185 192 200 207 DVO 278 287 295 Tercera parte de Benedicta.
302 306 313 317 Sexta/ Bass Recorder 3
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. 171. Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 6 12
19 fo.171v. Cabezon / Verdelot - Sancta Maria 379 25 31
380 Cabezon / Verdelot - Sancta Maria 38 44 fo.172 # # 50
Cabezon / Verdelot - Sancta Maria 381 56 63 fo.172v. 69
382 Cabezon / Verdelot - Sancta Maria 77 83 90 fo.173
98 Cabezon / Verdelot - Sancta Maria 383 104 110 fo.173v.
384 116 Cabezon / Verdelot - Sancta Maria 122 128
Cabezon / Verdelot - Sancta Maria 385 133 fo.174 138 145
386 Cabezon / Verdelot - Sancta Maria 150 fo.174v. 157 163
169 Cabezon / Verdelot - Sancta Maria 387 fo.175 175 182
388 188 Cabezon / Verdelot - Sancta Maria 193 fo.175v. Philippe Verdelot's (Les Loges, Seine-et-Marne, France 1480 to 1485 c. 1530 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.
Descant Recorder/ Cantus 6 12 31 37 42 55 60 77 83 88 100 1 Sancta Maria. Verdelot Fo. 171. Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017
2 109 118 Descant Recorder/ Cantus 124 129 133 139 148 152 159 166 171 178 185
191 194 Descant Recorder/ Cantus 3
Treble Recorder/ Altus 1 8 15 28 34 50 57 65 70 77 88 102 Sancta Maria. Verdelot Fo. 171. Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017
2 108 Treble Recorder/ Altus 115 121 133 144 153 161 167 176 183 190 195
Tenor Recorder 2/ Quinta 17 23 31 44 53 62 70 84 92 99 109 1 Sancta Maria. Verdelot Fo. 171. Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017
2 116 Tenor Recorder 2/ Quinta 124 130 136 143 152 161 170 180 188 194
Bass Recorder 1/ Sexta 20 27 1 Sancta Maria. Verdelot Fo. 171. Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 44 55 66 72 80 86 94 103 117
2 122 Bass Recorder 1/ Sexta 132 139 149 158 164 172 180 186 192
Tenor Recorder 1/ Tenor 13 21 27 39 45 55 64 70 78 89 96 Sancta Maria. Verdelot Fo. 171. Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 1 # #
2 104 110 117 126 134 143 151 157 165 173 180 189 194 Tenor Recorder 1/ Tenor
Bass Recorder 2/ Bassus 24 29 45 1 Sancta Maria. Verdelot Fo. 171. Philippe Verdelot, Sancta Maria, virgo virginum A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 50 60 67 77 86 95 107 115
2 133 141 151 160 167 176 184 191 Bass Recorder 2/ Bassus
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 (1510-1566) Arrangement Arnold den Teuling 2017 13
390 Cabezon / Josquin - Ave Maria 20 fo.176 27 34
Cabezon / Josquin - Ave Maria 391 41 47 fo.176v. # 54
392 Cabezon / Josquin - Ave Maria 60 66 72 fo.177 3 3 3 3 3 3 3 3 3 3 3 3
Cabezon / Josquin - Ave Maria 393 79 85 92 #
394 Cabezon / Josquin - Ave Maria 99 fo.177v. 107 113
Cabezon / Josquin - Ave Maria 395 119 126 fo.178 132
396 138 Cabezon / Josquin - Ave Maria 143 147 b
Cabezon / Josquin - Ave Maria 397 154 Josquin Desprez's (ca 1440-1521 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.
16 24 29 36 41 47 52 58 63 71 Descant Recorder/ Discantus Ave Maria. Jusquin Fo. 175v. Josquin Desprez, Ave Maria A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 # 82
2 88 92 103 109 114 118 126 131 138 Descant Recorder/ Discantus 144 149 154
7 18 27 35 42 50 57 64 70 78 89 Tenor Recorder/ Contratenor Ave Maria. Jusquin Fo. 175v. Josquin Desprez, Ave Maria A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 3 3
2 96 106 117 129 142 152 Tenor Recorder/ Contratenor 156
Tenor Recorder/ Quinta vox Ave Maria. Jusquin Fo. 175v. Josquin Desprez, Ave Maria A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 13 26 35 43 63 78 85 3 3 3 96 # 102
2 108 Tenor Recorder/ Quinta vox 115 122 133 144 152
13 21 32 44 55 63 75 86 98 111 122 Tenor Recorder/ Sexta vox Ave Maria. Jusquin Fo. 175v. Josquin Desprez, Ave Maria A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017
2 134 145 Tenor Recorder/ Sexta vox 154
Tenor Recorder/ Tenor 7 14 25 41 53 67 77 86 99 111 123 Ave Maria. Jusquin Fo. 175v. Josquin Desprez, Ave Maria A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 3 3 3 3
2 131 141 152 b Tenor Recorder/ Tenor
Bass Recorder/ Bassus 13 18 Ave Maria. Jusquin Fo. 175v. Josquin Desprez, Ave Maria A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 23 30 38 46 53 61 72 79 85 3 3 3
2 95 Bass Recorder/ Bassus 107 119 127 133 139 147 154
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 (1510-1566) 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
D Tr Cabezon / Verdelot - Ultimi miei sospiri 399 20 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
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
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 # # #
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
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 1 108 fo.181 B 2
404 Cabezon / Verdelot - Ultimi miei sospiri D Tr 114 T 1 T 2 B 1 B 2 D Tr T 1 120 T 2 B 1 B 2 D Tr T 1 126 T 2 B 1 B 2
D Tr 133 fo.181v. Cabezon / Verdelot - Ultimi miei sospiri 405 T 1 T 2 B 1 B 2 D Tr T 1 T 2 138 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.
Descant Recorder Canto Ultimi mei suspiri. Verdelot Fo. 178v. Philippe Verdelot, Ultimi miei sospiri A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 8 17 23 33 39 49 54 65 69 77
2 89 95 101 111 117 Descant Recorder Canto 124 130 135 139
15 Treble Recorder Quinto Ultimi mei suspiri. Verdelot Fo. 178v. Philippe Verdelot, Ultimi miei sospiri A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 27 34 47 # 58 69 80 87 94 105
2 112 123 132 Treble Recorder Quinto 137
9 Tenor Recorder 1 Alto Ultimi mei suspiri. Verdelot Fo. 178v. Philippe Verdelot, Ultimi miei sospiri A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 23 32 39 54 64 # # # 72 78 87 95
2 100 104 Tenor Recorder 1 Alto 114 121 128 138
8 Tenor Recorder 2 Tenore Ultimi mei suspiri. Verdelot Fo. 178v. Philippe Verdelot, Ultimi miei sospiri A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 14 20 29 36 43 48 60 68 81
2 94 Tenor Recorder 2 Tenore 104 112 118 125 133 138
15 24 34 Bass Recorder 1 Sesto Ultimi mei suspiri. Verdelot Fo. 178v. Philippe Verdelot, Ultimi miei sospiri A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 45 53 63 72 81 87 94 104
2 111 122 130 Bass Recorder 1 Sesto 137
16 29 42 Bass Recorder 2 Basso Ultimi mei suspiri. Verdelot Fo. 178v. Philippe Verdelot, Ultimi miei sospiri A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 54 60 68 78 86 93 103 110
2 117 Bass Recorder 2 Basso 126 134
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 (1510-1566) Arrangement Arnold den Teuling 2017 12 fo.182
Cabezon / Verdelot - Ardenti mei suspiri 407 18 24 31
408 38 fo.182v. Cabezon / Verdelot - Ardenti mei suspiri 44 50
57 Cabezon / Verdelot - Ardenti mei suspiri 409 # # 63 # fo.183 69 # #
410 75 Cabezon / Verdelot - Ardenti mei suspiri # # 81 87 fo183v.
94 Cabezon / Verdelot - Ardenti mei suspiri 411 101 107
412 114 fo.184 Cabezon / Verdelot - Ardenti mei suspiri 121 127
134 Cabezon / Verdelot - Ardenti mei suspiri 413 140 fo.184v. 147
414 Cabezon / Verdelot - Ardenti mei suspiri 153 158 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 60-61 and 64-65 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 68-70 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 134-139 Sesto: no rest or lengthening sign.
Descant Recorder Canto 13 21 26 35 40 54 64 73 Ardenti mei suspiri. Verdelot Fo.181v. Philippe Verdelot, Ardenti miei sospiri 79 # # 83 91 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 #
2 100 106 113 125 133 138 147 Descant Recorder Canto 151
Treble Recorder 1 Alto 9 15 19 27 35 42 49 56 66 76 84 Ardenti mei suspiri. Verdelot Fo.181v. Philippe Verdelot, Ardenti miei sospiri A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017
2 93 104 Treble Recorder 1 Alto 112 119 128 136 143 151 158
Tenor Recorder1 Quinto 16 23 30 38 45 52 63 70 78 87 93 Ardenti mei suspiri. Verdelot Fo.181v. Philippe Verdelot, Ardenti miei sospiri A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 # #
2 102 112 123 132 139 148 156 159 Tenor Recorder1 Quinto
Ardenti mei suspiri. Verdelot Fo.181v. Philippe Verdelot, Ardenti miei sospiri Tenor Recorder 2 Tenore 6 17 30 38 45 53 59 64 71 77 86 A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 # #
2 94 103 113 120 127 134 Tenor Recorder 2 Tenore 140 147 156 160
Tenor Recorder 3 Sesto 11 19 26 33 41 49 59 68 76 83 89 Ardenti mei suspiri. Verdelot Fo.181v. Philippe Verdelot, Ardenti miei sospiri A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017
2 98 104 114 120 130 141 149 156 Tenor Recorder 3 Sesto
Bass Recorder Basso 19 32 Ardenti mei suspiri. Verdelot Fo.181v. Philippe Verdelot, Ardenti miei sospiri A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2017 40 48 60 70 78 87 98 105 114
2 126 Bass Recorder Basso 133 145 152 158