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24-565: Cabezón was born in Castrillo Mota de Judíos , a municipality near Burgos , in the north of Spain . Nothing is known about his formative years. He became blind in early childhood, and he may have been educated at the Palencia Cathedral by the organist there, García de Baeza. At the time, the country was slowly entering its Golden Age . On 14 March 1516, Charles V was proclaimed King of Castile and of Aragon jointly with his mother,

48-510: A portative organ for Felipe on his journeys. On 19 July 1546 Cabezón's brother Juan, also an organist and composer, was appointed musician in the royal chapel of Prince Felipe. Since the late 1540s Antonio and Juan both accompanied Felipe on his various trips, and visited Italy , the Netherlands , Germany (in 1548–49), and England (in 1554–56), where Antonio's variations may have influenced William Byrd and Thomas Tallis , who later took up

72-472: A la letanía , in the Cancionero de la Casa de Medinaceli . A mention of a mass by Cabezón is contained in a 1611 inventory of music from Cuenca Cathedral , but the actual music is lost, as are, presumably, many other works by the composer. A good keyboard improviser, many works by Antonio de Cabezón transcribed by his son Hernando were "mere crumbs from my father's table". While French and Italian organists of

96-604: A period of religious persecution of non-Christians in Spain (the Jews had been expelled from Spain in 1492 during the Spanish Inquisition ). In June 2015 the name was changed back to Castrillo Mota de Judíos following a campaign led by mayor Lorenzo Rodríguez leading to a vote among the villagers in May 2014. There have been several anti-Jewish incidents since the name change. In 2022,

120-577: A tendency towards longer and more characteristic subjects, and many of their features anticipate the music of the Baroque period. Nine sets of variations (in Spanish tradition called discantes , diferencias , or glosas ) are included in Obras de musica : Cabezón's variations are one of the earliest high points of the genre, and presumably influenced English composers such as Thomas Tallis and William Byrd . All of

144-470: Is a classic example of the so-called alternatim practice, a term which indicates a type of liturgy when alternate sections of liturgical items (such as a Mass or a Magnificat ) were performed by different forces. In organ alternatim practice—and so, in the French Organ Mass—the organist plays when texts would otherwise have been sung. The tradition stemmed from the antiphonal psalmody of

168-714: The Offertory : this time there is no alternation and the music does not replace the chant as earlier (while there are texts for the Offertory, they are not for the choir). After the Offertory comes the Sanctus , followed by the Elevation , a high point in the liturgy. The Sanctus begins with an organ verse and proceeds in any of the following three ways: This is followed by the Agnus Dei , which consists of three parts. The organ begins this part of

192-733: The psalms and for the Magnificats : The tiento was a polyphonic form of instrumental music that originated in the Iberian peninsula, and has been linked to both tastar de corde (an improvisatory prelude) and the ricercar (an improvisatory prelude or, at a later stage of development, a strict imitative composition). Twenty-nine tientos by Cabezón survive. Fourteen appeared in Libro de cifra nueva : these works are all written out in long note values , alternating between imitative counterpoint and non-imitative sections. Usually there are three or four themes, and

216-409: The bulk of his compositions was published posthumously by his son Hernando in a volume titled Obras de música para tecla, arpa y vihuela (Madrid, 1578). Together these collections contain some 275 pieces, most for organ or other keyboard instruments. Cabezón also composed instrumental music for plucked string instruments and ensembles, and vocal music, but only a single vocal piece survives: Invocación

240-504: The early Western church. In France, organ playing was regulated by printed "ceremonials", which specified precisely when the organist should play. The surviving ceremonials are all similar in outline, but differ widely in details. A typical organ Mass comprised versets for the ordinary of the Mass except for the Credo (which was to be sung in its entirety). One of the most important extant ceremonials

264-578: The first time the crowns of Castile and Aragon were united under the same king. After the death of his paternal grandfather, Maximilian , in 1519, Charles also inherited the Habsburg lands in Austria , and later went on to become Emperor of the Holy Roman Empire and one of the most powerful monarchs in the world. In 1525, Charles married Isabella of Portugal , further strengthening his position in Spain. It

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288-507: The first to be presented is also the most developed. The non-imitative parts frequently employ techniques unusual for the genre at the time: extended duets, motifs transforming into ostinato patterns. Twelve more tientos appear in Obras de música : six from an earlier period in Cabezón's career, and six late works. While the earlier pieces are similar in many respects to the Libro de cifra pieces, Cabezón's late tientos use smaller note values, have

312-724: The form. Practically nothing is known about Cabezón's personal life. He married one Luisa Nuñez de Mocos from Ávila , and the couple had five children. One of Antonio's sons, Hernando de Cabezón (1541–1602) became a composer, and it was through his efforts that the bulk of Antonio's oeuvre was preserved. Another son, Agustín de Cabezón (who died before 1564), became a chorister of the royal chapel. Cabezón died in Madrid on 26 March 1566. A few of Cabezón's works appeared in print during his lifetime in Luis Venegas de Henestrosa 's compilation Libro de cifra nueva (Alcalá de Henares, 1557). However,

336-556: The liturgy and alternates with the choir. At the Holy Communion the music either accompanies the distribution of the elements or at the antiphon played just before that. At the end of the Mass the priest sang the last words, "ite missa est", and the organist performed the response, "Deo gratias." A Psalm verse follows, and sometimes after it there is a "sortie", a procession. Altogether, an average Mass would comprise about 20 versets. Church contracts that survive from that time show that

360-613: The modern collection), which contained chant melodies. However, composers differed on how they treated these melodies in their works. The 1662 ceremonial specified that the original melodies had to be clearly audible in certain versets, and in cases when Missa cunctipotens was used, organists generally complied. The following is a list of composers of French organ masses, arranged chronologically by date of publication of their masses. Additionally, an anonymous manuscript (Paris Conservatoire Rés.746, formerly 24827) created around 1680 contains an organ mass by an unknown composer. The manuscript

384-469: The municipality had a population of 71 inhabitants. The town is located on a plain area, near the river Odra , 51 km (32 mi) west of Burgos and 54 km (34 mi) northeast of Palencia . It is crossed by the roads BU-400 and BU-403. The town was originally named Castrillo Motajudíos ("Jew hill camp") in 1035 when Jews fleeing from a nearby pogrom settled there; it was changed to Castrillo Matajudíos ("Jew-killer camp") in 1627 during

408-469: The organist played not only at every Mass, but also during various other offices and ceremonies. An organist may have been required to play at as many as 400 services a year, which means that much—if not all—of the music was improvised, and the surviving masses can be regarded as models for such improvisations. Musically, the majority of the organ Masses were modelled after the Missa cunctipotens genitor (Mass IV in

432-412: The simpler four-part pieces and culminating with six-part ones. They are based on works by composers such as Josquin des Prez and Orlande de Lassus and are more or less similar to most such compositions of the period. Castrillo Mota de Jud%C3%ADos Castrillo Mota de Judíos is a municipality located in the province of Burgos , Castile and León , Spain. The 2004 census ( INE ) indicated

456-551: The time frequently composed organ masses , in Spain this practice was limited to versos on the Kyrie . Consequently, most of Cabezón's liturgical music was intended for the Daily Offices —prescribed prayers of the daily round. Music for Mass is represented by the nine sets of Kyrie verses for organ. These fall into the following groups: Cabezón's music for the Daily Offices comprises 32 hymns and three collections of versets for

480-408: The town inaugurated a Sephardic Jewish memorial center to pay tribute to its history of Sephardic Jewry. Castrillo Mota de Judíos is twinned with: Organ mass The French Organ Mass is a type of Low Mass that came into use during the Baroque era. Essentially it is a Low Mass with organ music playing throughout: part of the so-called alternatim practice. The French Organ Mass

504-531: The variation sets begin with the first variation, assuming the theme is already known to the listener, and connects individual variations using free transitions, thus frequently making analysis of the structure complicated. Cabezón uses numerous techniques, such as a migrating and/or heavily ornamented cantus firmus . The models are taken from popular Spanish songs, dance forms, and established melodic-harmonic frameworks. The intabulations in Obras de música are ordered according to polyphonic complexity, starting with

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528-551: Was Isabella who employed Cabezón into her service in 1526. His duties included playing the clavichord and the organ, and he also assumed the position of organist at the chapel Isabella organized soon after her wedding. The composer remained with the royal family for the rest of his life. Through the court, he met such important composers as vihuelist Luis de Narváez , known today for his advanced polyphonic fantasias, and Tomás de Santa María , theorist and composer whose important treatise on instrumental music, Arte de tañer fantasía ,

552-537: Was examined and approved by Cabezón. In 1538, Cabezón was made músico de la cámara (chamber musician) to Charles (who as a child was educated in music by the noted organist Henry Bredemers ). After Isabella's death in 1539, Cabezón was appointed music teacher to her children: Prince Felipe and his sisters Maria and Joan (Maria would later become the most important patron of composer Tomás Luis de Victoria ). In 1543 Felipe became Regent of Spain, and he made Cabezón his court organist. Cabezón's duties included playing

576-570: Was written in 1662 and regulated the diocese of Paris . According to this ceremonial, the organ begins the Kyrie and alternates with the choir through ninefold repetitions (and so ends the Kyrie as well). After the priest intones the first line of the Gloria , the organ again begins the alternation with the choir. After the final verse of the Gloria (which began at "in gloria Dei Patris") the organist would accompany

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