Comiençan las canciones glosadas y motetes a seys (Cabezón, Antonio de)

Movements/SectionsMov'ts/Sec's	4 motetes and 2 canciones
Genre Categories	Pieces; Motets; For keyboard; Scores featuring keyboard soloists; For 1 player; For harp; Scores featuring the harp; For vihuela; Scores featuring the vihuela; For 6 recorders (arr); For 6 players (arr); Scores featuring the recorder (arr); For 6 instruments (arr); Scores with open instrumentation

Sheet Music

Scores

Complete Score
*#507047 - 1.28MB, 68 pp. - 0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 995×⇩ - Adenteuling

PDF typeset by Arnold den Teul...
Adenteuling (2018/1/1)

Source file (Sibelius)
*#507048 - 1.08MB, ? pp. - 0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 118×⇩ - Adenteuling

ZIP typeset by Arnold den Teul...
Adenteuling (2018/1/1)

Editor	Arnold den Teuling (b. 1944)
Publisher. Info.	Arnold den Teuling, 2017.
Copyright	Creative Commons Attribution-NonCommercial-ShareAlike 4.0 [tag/del]
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Arrangements and Transcriptions

For 6 recorders or other instruments (Teuling)

Complete score with separate parts
*#507049 - 3.42MB, 158 pp. - 0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 320×⇩ - Adenteuling

PDF typeset by Arnold den Teul...
Adenteuling (2018/1/1)

Arranger	Arnold den Teuling (b. 1944)
Publisher. Info.	Arnold den Teuling, 2017.
Copyright	Creative Commons Attribution-NonCommercial-ShareAlike 4.0 [tag/del]
Purchase	Javascript is required for this feature.

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General Information

Work Title	Comiençan las canciones glosadas y motetes a seys
Alternative. Title
Composer	Cabezón, Antonio de
I-Catalogue NumberI-Cat. No.	IAC 56
Movements/SectionsMov'ts/Sec's	4 motetes and 2 canciones
First Performance.	1578 in Obras de musica para tecla, arpa y vihuela
Composer Time PeriodComp. Period	Renaissance
Piece Style	Renaissance
Instrumentation	keyboard instrument (or harp or vihuela)

Navigation etc.

Content: Josquin Desprez, Benedicta es caelorum regina: a partial and a complete version, and Ave Maria (second part of Pater noster), Philippe Verdelot, Sancta Maria virgo virginum, Ultimi miei sospiri and Ardenti miei sospiri, the latter two with an extra simultaneous edition of Verdelot’s original compared to Cabeçon’s version in the keyboard edition.