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Engraving file MuseScore v. Engraving File MuseScore v. According to Grove Music, "There are fantasias, variation sets, intabulations of vocal pieces, songs and a baxa de contrapunto setting of a basse danse tenor.

Naxos Javascript not enabled. Creative Commons Attribution 4. Creative Commons Attribution-ShareAlike 4. Creative Commons Zero 1. Hechos por Luys de Narbaez. Misa de la fuga: Cum Sancto Spiritu. Mille regretz de Josquin. Nicolas Gombert. Primer tono Je veulx laysser melancolie. Jean Richafort. Primer tono Libro 4: O gloriosa Domina. Diferencia I. Primer tono O gloriosa Domina. Diferencia II, de los tiples sobre el tenor.

Diferencia III, a duo. Diferencia V O gloriosa Domina. Diferencia VI Sacris solenniis. Sesto tono Sacris solenniis.

Diferencia II. Diferencia IV, a duo. Diferencia V, de contrapunto, a duo. Sesto tono por otra parte Libro 5. Tres diferencias Y la mi cinta dorada. Primer tono Otras tres diferencias. Hechas por otra parte Baja de contrapunto. El canto llano lleva el tiple. Octavo tono First Pub lication. Fantasias ; Variations ; Songs ; Pieces ; For vihuela ; Scores featuring the vihuela ; For 1 player ; For voice, vihuela arr ; Scores featuring the voice arr ; Scores featuring the vihuela arr ; For voices with solo instruments arr ; For voice, lute arr ; Scores featuring the soprano voice arr ; Scores featuring the lute arr ; For keyboard arr ; Scores featuring keyboard soloists arr ; For guitar arr ; Scores featuring the guitar arr ; For 1 player arr.

Contents 1 Performances 1. Hechas por otra parte Libro 6, No. These file s are part of the Werner Icking Music Collection. Javascript is required for this feature. Pub lisher. Merge of superius voice from Mille regretz by Josquin Desprez and vihuela arr. Voice transposed for G size vihuela ca.

All transposed and arranged for soprano voice and 9c. Arranger Marieh Marieh. Octavo tono.


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He is also notable for being the earliest composer for vihuela to adapt the contemporary Italian style of lute music. He was born in Granada and the earliest surviving references to him indicate that as early as he was a member of the household of Francisco de los Cobos y Molina , a well-known and very successful patron of the arts who was the Secretary of State and commentator for the kingdom of Castile under Charles V. The collection begins with a preface, in which the composer dedicates the work to his patron Francisco de los Cobos. The first two volumes contain fourteen polyphonic fantasias, modelled after Italian pieces of the same kind. They are characterized by smooth, competent imitative writing in two and three voices. The second of the two songs is wrongly attributed to Gombert, it is a work of Jean Courtois. The intabulations are of high quality, but without any particular distinguishing features.


Luis de Narváez


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