La “Fuga a quatro todas las bozes por vna sexto tono” de Antonio de Cabezón y su textualidad parcial en Melchior Franck (<em>Da pacem Domine</em>)

Stephan Schmitt

doi:10.3989/anuariomusical.2014.69.162

The “Fuga a quatro todas las bozes por vna sexto tono” by Antonio de Cabezón and its partial textualisation by Melchior Franck (Da pacem Domine)

Authors

Stephan Schmitt Hochschule für Musik und Theater, München

DOI:

https://doi.org/10.3989/anuariomusical.2014.69.162

Keywords:

Antonio de Cabezón, Tomás de Santa María, Melchior Franck, fugue, fuga a quatro, canon, tiento, analysis, Da pacem Domine

Abstract

The fuga a quatro by Antonio de Cabezón is a four-voice canon. It is one of the most extraordinary pieces of the collection Obras de música para tecla, arpa y vihuela… because of its complex structure. Its characteristic feature lies in the partial interdependence of the subjects. In addition, we can glimpse a principle of variation which foresees a distant future: The continuously developing variation. The canon Da pacem Domine of Melchior Franck (well-known in German speaking countries) is a textualisation of the beginning of Cabezón’s Fuga a quatro, yet without any indication of this origin on the part of the composer Franck.

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Published

2014-12-30

How to Cite

Schmitt, S. (2014). The “Fuga a quatro todas las bozes por vna sexto tono” by Antonio de Cabezón and its partial textualisation by Melchior Franck (Da pacem Domine). Anuario Musical, (69), 73–82. https://doi.org/10.3989/anuariomusical.2014.69.162

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Issue

No. 69 (2014)

Section

Articles

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