Cabezón's tiento on Malheur me bat shows his interest in treatment of selected musical materials rather than an interest in adhering to the complete form of the chanson. The chanson itself is noteworthy for its formal symmetry, its four points of imitation, its descending hexachord, and its density of motives. In Cabezón's setting, he is interested in showing the thematic connections between the chanson's first subject and Psalm Tone 4, which is incorporated at the end of the tiento as a cantus firmus. Cabezón alters the first subject of the chanson before the entrance of the cantus firmus to orient the tiento to mode 4. In the tiento, Cabezón makes imitation a priority by modifying and setting the first subject of the chanson in points of imitation. Cabezón also takes a descending motive from the opening of chanson and exploits it for the climax of the tiento. Besides the imitative treatment of the first subject and the development of two motives, Cabezón makes no reference to the two most prominent features of the chanson: its formal symmetry and its greater variety of motives.

Works: Cabezón: Tiento Quarto tono sobre Malheur me bat (56-57); Josquin: Missa Malheur me bat (58).

Sources: Malcort or Martini: Malheur me Bat (54-55).

Index Classifications: 1500s

Contributed by: Jir Shin Boey