Irene Roldán
In 1554, the Spanish court organist Antonio de Cabezón travelled to England. We do not know whether the young William Byrd met him there. However, similarities between their compositions give us food for thought. In variations, dance forms, and counterpoint, the same questions are asked and comparable solutions found. Irene Roldán proposes a possible encounter – not as a historical fact, but as a thought experiment and listening exercise: what if you place their music side by side and take the similarities seriously?
Harpsichord: Boccalari 1699
Programme
-
Antonio de Cabezón
Tiento de Primer Tono (LX)
Diferencias sobre el Villancico ‘Quién te me enojó, Ysabel?’ (reconstructie: Andrés Cea Galán, 2022)
(from: Obras de música para tecla, arpa y vihuela, Madrid 1578)c1510-1566 -
William Byrd
John, Come Kiss Me Now, MB 81
c1540-1623 -
Antonio de Cabezón
Discante sobre la Pavana Italiana
Diferencias sobre la Gallarda Milanesa
(from: Obras de música) -
William Byrd
Pavan MB 52a
Galliard MB 52b
Voluntary: for my Lady Nevell MB 61 -
Antonio de Cabezón
Tiento de Quinto Tono (LXVI)
Diferencias sobre el Canto Llano del Caballero
(from: Obras de música) -
William Byrd
Prelude, MB 12
Fantasia, MB 13
Programme subject to change
Musicians
- Irene Roldán harpsichord
