Los glosados de Antonio de Cabezón: una interpretación desde el clave y el arpa ibérica de dos órdenes
As a keyboard and ancient harp instrumentalist, and a passionate performer of 16th century music, the works of Antonio de Cabezón have been among my main interests. His son, Hernando, published Obras de música para tecla, harpa y vihuela (Musical pieces for keyboard, harp and vihuela) in 1578. This compilation includes great variety of genres, among them the canciones glosadas – reelaborations of other composers' polyphonic pieces-, which are some of Antonio’s most beautifully crafted pieces. As the title suggests, the instrumental destination of the pieces is variable. In this paper, we will discuss the interpretation of these canciones glosadas on the harpsichord and on the harp, searching for new interpretative resources adapted to both instruments, taking as a point of departure the words written by Hernando himself: […] harp is so similar to keyboard that all that is to be played on it can be played on the harp without much difficulty.