9 diferencias (variations)
A large number of smaller-scale pieces with liturgical connections: 36 hymns with adapted cantus firmus, versets, organ interludes for alternatim playing
Small compositions: duets, finales, arrangements of Gregorian melodies
These works appear in the following 3 original sources:20
Libro de cifra nueva para tecla, harpa y vihuela, en el qual se enseña.. published in 1557 (compiled 1547) by Luis Venegas de Henestrosa, which contains 138 mostly anonymous pieces in Spanish number tablature, of which 14 tientos and several hymns and glosados by Cabezón are simply attributed as “Antonio”21
Obras de musica … published in 1578 (printing license given 1575) published posthumously by Antonio’s son Hernando, which contains 73 free liturgically related pieces, 44 intabulations (whether of Cabezón is uncertain) of works by other composers, of which 5 pieces by Hernando himself including an “Ave Maris stella”
Manuscripts Ms 48 and Ms 242 of Coimbra University Library, of which 10 pieces, mostly tientos are attributed to Cabezón by M.S. Kastner
Attempts to bring the works of Cabezón have been carried out by the following people and publications:
Felip Pedrell, 1885-98, 1971.
Higinio Anglès, 1944 (author of La música en la corte de Carlos V)
Collected Works, Charles Jacobs and Macario Santiago Kastner, 1950, 197722
John Ward, 1952 from Libro (Henestrosa)
Maria Asunción Ester-Sala, 1974 (including extensive sections of intabulations)
Barry Ife & Roy Truby, 1986 (anthology of Iberian keyboard music)
Doderer & Ripoll, 2010.
Cabezón’s work was largely influenced by Franco-Flemish masters such as Josquin des Prez, Nicolas Gombert and Thomas Crecquillon.23 Doderer and Ripoll point out that his variations on popular tunes and dances remain still close to the forms of early vihuelists. As a charismatic performer, he was venerated amongst his contemporaries in Italy, Germany, and England. He had “already a mature and independent musical personality at the time,” which also clearly influenced subsequent Iberian keyboard music.24 Doderer and Ripoll continue, “In his self-assured mastery, embodying the consummation of the conservative trends of his time, he however always remained obliged to tradition.”25