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)
DOI:
https://doi.org/10.3989/anuariomusical.2014.69.162Keywords:
Antonio de Cabezón, Tomás de Santa María, Melchior Franck, fugue, fuga a quatro, canon, tiento, analysis, Da pacem DomineAbstract
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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