Luis de Narváez

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Luis de Narváez (* around 1505 in Granada ; † after 1549), also Luys de Narváez , was a Spanish composer and vihuela player of the Renaissance .

Live and act

The high reputation of Luis de Narváez in his time is evident from the publication Declaración de instrumentos musicales (1555) by the composer Juan Bermudo , who describes him as one of the leading vihuela players. However, there are no reliable data on his biography until 1537. In sources from the early 17th century, Granada is mentioned as his birthplace. There are some indications for his connection to the then famous Vihuela player Luis Guzman († 1528). The earliest references to his activity come from the year 1526, namely that he has been in the service of Francisco de los Cobos y Molina (1477–1547), Commander of León and secretary to Emperor Charles V since the 1520s ; he most likely lived in Valladolid with his employer until his death in 1547. This coincides with the period in which Luis Zapata (1526–1594), Page at the royal court, reported on the composer's unusual improvisations on polyphonic models. During this time, Narváez also published his main work, the large music collection Los seys libros del Delphin ("Six Books of the Dolphin"), which is dedicated to his employer and patron Francisco de los Cobos.

With great certainty Narváez traveled with Cobos in 1529/30 to Mantua and to Bologna for the coronation of Charles V as emperor and also to Rome for diplomatic meetings with Pope Paul III. ; Here he probably also got to know the music of Francesco Canova da Milano (1497–1543), which is also suggested by entries in his Vihuela book. To publish this work he received the royal printing privilege in 1537. From 1548 Narváez served as a member of the chapel and teacher of the choirboys to Prince Philip of Spain, who later became King Philip II ; His colleagues here included the famous Antonio de Cabezón , composer for keyboard instruments. Together with other musicians, Narváez traveled with his employer from the end of 1548 through Italy, Germany and the Netherlands. His name appears for the last time in 1549 when traveling through Flanders ; after this year no more documentary evidence is known about him. His son Andrés also became a skilled vihuelist.

It is very likely that Narváez is identical to Ludovicus Narbays , of whom a four- and a five-part motet are contained in two motet books that the French printer Jacques Moderne († 1561 in Lyon ) published in 1539 and 1542.

meaning

Narváez enjoyed an important reputation as a composer and vihuelist during his lifetime. His main work Los seys libros del Delphin in six books contains the first diferencias ( variations ) on sacred and secular songs ( choral themes and villancicos ) that were published in Spain and Europe, as well as fantasies , intabulations of works by Josquin des Préz ( e.g. the four-part Variations on the favorite song of Emperor Charles V "Mille Regretz": Canción del Emperador , published 1538), Nicolas Gombert , Jean Richafort and others as well as two motet movements and individual pieces from other musical genres. This also confirms that Narváez was recognized as an experienced composer of polyphonic vocal music. His fantasies are mostly imitative and polythematic and are also the first of their kind in Spain. The compositions are preceded by poems of praise, a dedication to Francisco de los Cobos and an explanation of the tablature and symbols used to indicate the meter and tempo.

Five of the fantasies were transferred in 1557 by the composer Luis Venegas de Henestrosa (~ 1505− ~ 1560) for keyboard instruments. Further compositions from Narváez 'work have been included in various printed collections published before 1600 by the music publisher Pierre Phalèse and the lutenist Guillaume Morlaye (* around 1515; † after 1560), and a fantasy of these was in turn made for the Copied English publication Willoughby Lute Book .

Works

"Los seys libros del Dolphin de música de cifras para tañer Vihuela".
  • Los seys libros del Delphín de música de cifras para tañer Vihuela , Valladolid 1538
    • Book 1: Fantasia I to VIII in the 1st to 8th tone
    • Book 2: Ay en el fantasias por algunos tonos que no son tan dificultosas de tañer como las del primer libro : Fantasia IX to XIV in the 1st, 4th and 5th tone
    • Book 3: Ay en obras compuestas de Josquin y canciones Francescas de diversos autores : Intavolations from masses by Josquin des Préz: Sanctus and Osanna from the mass “Ercules dux ferrarie”, Sanctus and Osanna from the mass “Faissan regres”, the Cum santo spirito from the “Missa sine nomine”, furthermore the chanson d'Émpereur del quarto tono “Mille regres” by Josquin, the chanson “Jamais je n'eus tant de soulas” by Nicolas Gombert, the chanson “Si par souffrir” by Jean Courtois and the chanson “Je veulx laysser melancolie” by Jean Richafort
    • Book 4: Y en el diferencias de contrapuntos sobre el igno del nuestra Señora o gloriosa Domina, y de Pange lingua y Sacris solenniis : Six variations on "O gloriosa Domina" and five variations on "Sacris solenniis"
    • Book 5: Ay en el romances y villancicos para tañer y cantar y contrapuntos sobre algunos villancicos : “Ya se asienta el rey Ramiro”, “Paseavase el rey Moro”, “Si tantos halcones” (three variations), “Y la mi cinta dorada "(six variations)," La bella mal maridada "," Con que la lavare "and" Ay arde coraçon "
    • Book 6: Ay en el veynte y dos diferencias de Conde claros para discantar y siete diferencias de guardame las varcas, y una baxa de contrapunto : "Conde claros" (22 variations), "Guardame las vacas" (7 variations) and the four-part ones Dance "Baxa de contrapunto"
  • Motet “De profundis clamavi” in Quartus Liber […] Motetti del Fiore , Lyon 1539
  • Motet “O salutaris hostia” in Quintus Liber Motettorum , Lyon 1542

Expenses for guitar

  • Luys de Narváez: Los seys libros del Delphin de música de cifra tañer vihuela , (Monumentos de la Música Española No. 3), transcripción y estudio por Emilio Pujol. Instituto Español de Musicología, Barcelona 1945.
  • Luys de Narváez: Vihuela music for guitar. Edited by Stefan Nesyba. Edition HH, Bicester 2012, ISBN 978-1-905779-76-5 .

Literature (selection)

  • H. Anglès: La música en la corte de Carlos V , Barcelona 1944, new edition there in 1965 (= Monumentos de la Música Española, Madrid / Barcelona 1941 ff., No. 2)
  • John Ward: The Editorial Methods of Venegas de Henestrosa. In: Musica disciplina No. 6, 1952, pages 105-113
  • The same: The Vihuela de mano and Its Music (1536−76) , dissertation at New York University 1953
  • KG Fellerer: Josquin's Missa “Faisant regretz” in the Vihuela transcription of Mudarra and Narváez. In: Spanish Research of the Görres Society No. I / 16, 1960
  • C. Jacobs: Tempo Notation in Renaissance Spain , Brooklyn / New York 1964
  • John Griffiths: The Vihuela Fantasia: A Comparative Study of Forms and Styles , PhD at Monash University 1983
  • JM Ruiz Jiménez: Insights into Luis de Narváez and Music Publishing in 16th-Century Spain. In: Journal of the Lute Society of America No. 24, 1991, pp. 1-12
  • G. Braun: The Spanish Vihuela Songs in the 16th Century , Dissertation at the University of Heidelberg 1993
  • John Griffiths: The Vihuela: Performance Practice, Style and Context. In: Performance on Lute, Guitar, and Vihuela: Historical Performance and Modern Interpretation, edited by V. Coelho, Cambridge 1997, pages 158–179 (= Cambridge Studies in Performance Practice No. 6)
  • O. Schoener: The Vihuela de mano in Spain in the 16th century , Frankfurt am Main 1999 (= European University Papers No. 198)
  • John Griffiths, Hopkinson Smith: Luis de Narváez. In: Grove Dictionary of Music and Musicians . London 2001.
  • John Griffiths: Luis de Narváez. In: Diccionario de la música española e hispanoamericana, edited by Emilio Casares Rodicio and others, Madrid 2001

Web links

Remarks

  1. ↑ The Music in Past and Present (MGG), Person Part Volume 12, Bärenreiter Verlag Kassel and Basel 2004, ISBN 3-7618-1122-5
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 6: Nabakov - Rampal. Herder, Freiburg im Breisgau a. a. 1981, ISBN 3-451-18056-1 .
  3. ^ Répertoire International des Sources Musicales, Series AI: Individual pieces before 1800, Kassel 1971 and following
  4. ↑ See Emilio Pujol (ed.): Hispanae Citharae Ars Viva. A collection of selected guitar music from old tabs, edited by Emilio Pujol. (Spanish, French, English and German) Schott, Mainz 1956 (= guitar archive. Volume 176), pp. VI and 12 f.
  5. ^ Konrad Ragossnig : Handbook of the guitar and lute. Schott, Mainz 1978, ISBN 3-7957-2329-9 , p. 38.
  6. ↑ Also Alonso Mudarra wrote a four-part variations on "[El] Conde claros". See for example Emilio Pujol (Ed.): Hispanae Citharae Ars Viva. A collection of selected guitar music from old tabs, edited by Emilio Pujol. (Spanish, French, English and German) Schott, Mainz 1956 (= guitar archive. Volume 176), pp. VI and 8 ( Diferencias sobre el Conde Claros ).
  7. ^ Emilio Pujol (ed.): Hispanae Citharae Ars Viva. A collection of selected guitar music from old tabs, edited by Emilio Pujol. (Spanish, French, English and German) Schott, Mainz 1956 (= guitar archive . Volume 176), pp. VI and 15 ( Diferencias sobre “Guárdame las vacas”) .
  8. ↑ See Emilio Pujol (ed.): Hispanae Citharae Ars Viva. A collection of selected guitar music from old tabs, edited by Emilio Pujol. 1956, pp. VI and 14.
personal data
SURNAME Narváez, Luis de
ALTERNATIVE NAMES Narváez, Luys de; Narbais, Luis de; Narbaez, Luys de; Narbais, Luys de; Narváez, Lluis de; Narbaez, Luis de
BRIEF DESCRIPTION Spanish composer and vihuelist of the Renaissance
DATE OF BIRTH around 1505
PLACE OF BIRTH Granada
DATE OF DEATH after 1549