Luys de Narváez "Siete Diferencias sobre Guárdame las vacas" скачать в хорошем качестве

Luys de Narváez "Siete Diferencias sobre Guárdame las vacas"

Luys de Narváez (Granada, c. 1500 -- ¿1555/1560?) was a Spanish composer, primarily of polyphonic vocal music, and only secondarily of music for the vihuela, for which he is far better remembered today. The vihuela was a plucked instrument that flourished primarily in Spain in the 15th through 17th centuries; it was somewhat larger than a present-day guitar, was tuned like a lute and, in Spain, largely took the place of the lute. Luis de Narváez was born in Granada. His name first appears as a member of the household of the secretary to Carlos I and the comendadoratipo of the province of León, one Francisco de los Cobos, to whom his publication, Los seys libros del Delphin de música de cifra para tañer vihuela, was dedicated. In 1548 Narváez was in the service of Philip II, taught the choirboys in Phillip's chapel and went with him on trips to Italy and Northern Europe. Luis de Narváez's Los seys libros del Delphin de música de cifra para tañer vihuela were volumes of tablatures published at Valladolid in 1538. Tablature is musical notation based on symbols other than those used in conventional staff notation, usually tailored to a specific instrument, in this case to the vihuela. The volumes of Los seys libros del Delphin de música de cifra para tañer vihuela contained a collection of music for the vihuela. The collection includes a large number of instrumental fantasias on the Italian model, which were highly influential in the following decades; of romances, villancicos, and sets of diferencias, or variations, on songs already familiar to his hearers, such as Diferencias sobre Guárdame las vacas as well as the first published transcriptions for vihuela of polyphonic songs. His most familiar pieces are his transcription of Josquin des Pres' work for four voices Mille regretz, also known as La Canción del Emperador (being a favourite song of Charles V), which maintains remarkable fidelity to the original; and for the song Paseavase el rey Moro, with its vihuela accompaniment. Two of his motets were published in 1539 and 1543 in Lyon, France. Vihuela playing: Dolores Costoyas