Nabokov, Nicolas [Nikolay]
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- Bu səhifədəki naviqasiya:
- BIBLIOGRAPHY
- Navarrus, Martinus.
- WORKS
Navarro, Juan (ii)(b Cádiz, c1550; d ?Mexico, c1610). Mexican composer of Spanish birth. He worked in the Mexican province of Michoacán as a Franciscan priest, confessor and choir singer. In 1572 the Bishop of Michoacán, Juan Diego de Rinćon, took possession of 100 copies of a Passionario, elaborately printed in Mexico City, which contained plainsong music for the St John Passion. Somewhat later, Navarro set out to compose plainsong settings for all the Passion narratives and various other readings, thus providing music for the entire Holy Week. He completed his work in 1601, and was granted a printing licence with exclusive privileges for 12 years, but his book, Liber in quo quatuor Passiones Christi Domini continentur … octo Lamentationes, oratioque Hieremie Prophete, was not published until 1604 (by Diego López Davalos, Mexico City). The earliest book of music both composed and printed in America, it contains, as the title shows, music for the four Passions, eight Lamentations and the Prayer of Jeremiah, on 105 numbered leaves. Navarro’s settings are responsorial and resemble a somewhat individualized plainchant; they are largely syllabic but use occasional melismas for dramatic emphasis. In an effort to secure the financial success of his book among clergy of the various orders, Navarro added letters of approval from Dominican and Augustinian authorities, as well as from the archbishop and from the viceroy, to the printed Franciscan recommendations. The book used to be attributed to Juan Navarro (i); the correct attribution was established by Chase. BIBLIOGRAPHYJ.M. Beristaín de Souza: Biblioteca hispano-americana septentrional, ii (Amecameca, 1883, 3/1947) J.T. Medina: La imprenta en México, 1539–1821 (Santiago, 1907–12/R), ii L.M. Spell: ‘The First Music-Books Printed in America’, MQ, xv (1929), 50–54 H.R. Wagner: Nueva bibliografia mexicana del siglo XVI (Mexico City, 1940–46) G. Chase: ‘Juan Navarro Hispalensis and Juan Navarro Gaditamus’, MQ, xxxi (1945), 188–92 R. Stevenson: Music in Mexico (New York, 1952/R) ALICE RAY CATALYNE/MARK BRILL Navarrus, Martinus.See Azpilcueta, Martín de. Navas, Juan Francisco de(b c1650; d Madrid, 1719). Spanish harpist and composer. His father, Juan Gómez de Navas, was from 1654 a singer (and in 1684 temporary maestro de capilla) in the Spanish royal chapel; his brother Ignacio de Navas, was also a musician in the royal service. Juan Francisco began his service in the royal chapel in 1669 and was a pupil of the harpist and composer Juan Hidalgo. After Hidalgo’s death in 1685 he became principal harpist at court for both sacred and secular music. According to archival documents (E-Mp), Navas was selected by Hidalgo himself. He was a natural choice because his abilities as harpist and continuo player were matched by his talent as a composer. As a composer of theatrical songs, tonos and tonadas for the court and villancicos, Navas was said by contemporaries to have preserved the precepts of musical style and text setting developed by Hidalgo. In fact, his music shows slightly more modern traits, with longer and more ornamented vocal phrases and the incorporation of obbligato instrumental lines that interact with the vocal line. By 1694, not quite ten years after Hidalgo’s death, Navas had composed music for at least nine court plays and described himself as the principal composer of theatrical music at court. By 1700 he had composed for four more court plays, making a total of 13. His songs and musical scenes for five comedias and zarzuelas survive as a significant contribution to the extant repertory. By far his most important extant work is the score to the three-act zarzuela Destinos vencen finezas (text by Lorenzo de las Llamosas), performed on 6 November 1698, with nearly 50 musical numbers, including solo songs, three sections of recitative, ensemble songs, choruses and valuable instrumental parts for violins, ‘viola de amor’, viols, oboes, bassoon, clarines and basso continuo. Two exemplars of the printed score survive (in E-Mn and F-Dm). This was the first zarzuela to be printed as a musical score, issued in a luxury edition in 1699 by Imprenta de Música in Madrid, under the auspices of Miguel Martín (a singer in the royal chapel), Pedro París (also of the royal chapel) and the composer Joseph de Torres. WORKS
BIBLIOGRAPHYF. Pedrell, ed.: Teatro lírico español anterior al siglo XIX (La Coruña, 1897–8) E. Cotarelo y Mori: Historia de la zarzuela, ó sea el drama lírico en España (Madrid, 1934) L.K. Stein: Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain (Oxford, 1993) J.J. Carreras: ‘“Conducir a Madrid estos moldes”: producción, dramaturgia y recepción de la fiesta teatral Destinos vencen finezas (1698/99)’, RdMc, xvii (1995), 113–43 L.K. Stein: ‘Las convenciones del teatro musical y la herencia de Juan Hidalgo’, Bances Candamo y el teatro musical de su tiempo (1662–1704), ed. José Antonio Gómez (Oviedo, 1995) L.K. Stein: ‘“Este nada dichoso género”: la zarzuela y sus convenciones’, Música y literatura en la península ibérica 1600–1750 (Valladolid, 1997), 185–217 J. Koegel: ‘New Sources of Music from Spain and Colonial Mexico at the Sutro Library’, Notes: Quarterly Journal of the Music Library Association, lv/3 (1999), 583–613 LOUISE K. STEIN Yüklə 10,2 Mb. Dostları ilə paylaş:
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