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Navarro, Juan

List of works

Source: E-GU 1
Work ID Title Ascription MS / Print Date
E-GU 1 (111v-114r) Vidi aquam Navarro MS 17/1-3
E-GU 1 (15v-17r) Lauda Jerusalem Navarro MS 17/1-3
E-GU 1 (18v-20r) Lauda Jerusalem Navarro MS 17/1-3
E-GU 1 (20v-21r) Laudate Dominum Navarro MS 17/1-3
E-GU 1 (23v-24r) Laudate Dominum Navarro MS 17/1-3
E-GU 1 (24v-27r) Lauda Jerusalem Navarro MS 17/1-3
E-GU 1 (28v-30r) Lauda Jerusalem Navarro MS 17/1-3
E-GU 1 (30v-31r) Laudate Dominum Navarro MS 17/1-3
E-GU 1 (37v-41r) Domine probasti me Navarro MS 17/1-3
E-GU 1 (42v-48r) In exitu Israel Navarro MS 17/1-3
E-GU 1 (60v-61r) Lauda Mater Juan Navarro MS 17/1-3
E-GU 1 (61v-62r) Quicumque Christum Navarro MS 17/1-3
E-GU 1 (62v-64r) Tibi Christi Navarro MS 17/1-3
E-GU 1 (64v-66r) Christe Redemptor Juan Navarro MS 17/1-3
E-GU 1 (65v-66r) Te lucis ante terminum Navarro MS 17/1-3
E-GU 1 (66v-70r) Vexilla Regis Navarro MS 17/1-3
E-GU 1 (74v-75r) Iste Confessor Navarro MS 17/1-3
E-GU 1 (77v-79r) Ave maris stella Navarro MS 17/1-3
E-GU 1 (79v-81r) Ave maris stella Navarro MS 17/1-3
E-GU 1 (7v-10r) Lauda Jerusalem Navarro MS 17/1-3
E-GU 1 (83v-84r) O lux beata Navarro MS 17/1-3
E-GU 1 (9v-12r) Lauda Jerusalem Navarro MS 17/1-3
E-GU 1 [1v-4r] [Lauda Jerusalem] Juan Navarro MS 17/1-3
E-GU 1 [4v-5r] [Laudate Dominum] Juan Navarro MS 17/1-3
Source: E-GU 2
Work ID Title Ascription MS / Print Date
E-GU 2 (281v-282r) Te lucis ante terminum Navarro MS 17/1-3
Source: E-MA 08
Work ID Title Ascription MS / Print Date
E-MA 08 (84v-86r) Beatus es Juanes Navarrus MS 17/2?
Source: E-SA 04
Work ID Title Ascription MS / Print Date
E-SA 04 Gloria Patri ingenito MS 18/1 (1717-1726)
E-SA 04 Gloria tibi Domine MS 18/1 (1717-1726)
E-SA 04 Gloria tibi Domine MS 18/1 (1717-1726)
E-SA 04 (104r-105v) Te Deum MS 18/1 (1717-1726)
E-SA 04 (105v-) Magnificat 8 tono MS 18/1 (1717-1726)
E-SA 04 (11v-15r) Memento Domine David MS 18/1 (1717-1726)
E-SA 04 (15v-18r) Conditor alme siderum MS 18/1 (1717-1726)
E-SA 04 (18v-20r) Ave maris stella MS 18/1 (1717-1726)
E-SA 04 (20v-) Christe redemptor omnium MS 18/1 (1717-1726)
E-SA 04 (22v-) Hostis Herodes impie MS 18/1 (1717-1726)
E-SA 04 (24v-26r) lesu, nostra redemptio MS 18/1 (1717-1726)
E-SA 04 (26v-29r) Veni Creator Spiritus MS 18/1 (1717-1726)
E-SA 04 (29v-30r) Te mane laudum carmine MS 18/1 (1717-1726)
E-SA 04 (2v-) Dixit Dominus Ioannis Navarro MS 18/1 (1717-1726)
E-SA 04 (30v-34r) Pange lingua gloriosi MS 18/1 (1717-1726)
E-SA 04 (34v-36r) Ut queant laxis MS 18/1 (1717-1726)
E-SA 04 (36v-) Aurea luce et decore MS 18/1 (1717-1726)
E-SA 04 (39v-41r) Santiago Defensor almae Hispaniae MS 18/1 (1717-1726)
E-SA 04 (41v-43r) Quicumque Christum quaeritis MS 18/1 (1717-1726)
E-SA 04 (43v-45r) Gloria tibi Domine MS 18/1 (1717-1726)
E-SA 04 (45v-) Christe redemptor omnium MS 18/1 (1717-1726)
E-SA 04 (47v-49r) Exultet caelum laudibus MS 18/1 (1717-1726)
E-SA 04 (48v-49r) Deus tuorum militum MS 18/1 (1717-1726)
E-SA 04 (49v-50r) Sanctorum meritis inclita gaudia MS 18/1 (1717-1726)

Pages

Documentation

Document ID (Date) Title of the document
17/2 (1632-05-24) Inventario del Archivo de Música de la Catedral de Valladolid de Michoacán, 1632
17/2 (1626-05-18b) Inventari dels llibres de cant que se sont trobats en una caxa que estava en la casa hont es mort lo senyor Joan Pujol, mestre de cant de la Seu, las quals son propis de la Iglesia
17/1 (1613-03-02) Inventarium confectum per adm. Rdos. Marchum Anthonium de Navel archidiaconum Beatae Mariae de Mari et Petrum Font, canonicos Ecclesiae Barcinonensis, operarios majores dictae ecclesiae, de libris cantus reconditis intus quoddam scrinium scholae cantus dictae Ecc. [Inventario de los libros que Jaume Àngel Tàpies, maestro de canto de la Catedral de Barcelona, legó a su muerte a Joan Pau Pujol]

Bibliography

Details

Range of pages: 
vol. 1, 189-287
Type of publication: 
Abstract: 

This article presents a list of works and sources for the following composers: Sebastián Aguilera de Heredia, Pere Alberch Vila, Jerónimo de Aliseda, Santos de Aliseda, Luis de Aranda, Ginés de Boluda, Joan Brudieu, Rodrigo de Ceballos, Bernardo Clavijo del Castillo, Ambrosio Cotes, Juan Esquivel de Barahona, Mateo Flecha, "el Joven", Francisco Guerrero, Pedro Guerrero, Fernando de las Infantas, Alfonso Lobo de Borja, Francisco de Montanos, Juan Navarro, Diego Ortiz, Ginés Pérez, Sebastián Raval, Melchor Robledo, Felipe Rogier, Pedro Rimonte, Alonso de Tejeda, Juan Vázquez, Tomás Luis de Victoria, Andrés de Villalar y Nicasio Zorita, así como de "El 'Cançoner' de Gandía del siglo XVI. There are other lists of instrumental works and contents of music treatises. 

1987

Details

Subject genre: 
Type of publication: 
Abstract: 

Spanish composers working during the second half of the sixteenth century capitalized on the generic parameters of the motet to make it an important and persuasive medium for the expression of orthodox Spanish religiosity. A survey of the motet collections printed between 1555 and 1610 by such peninsular composers as Francisco Guerrero, Sebastian de Vivanco, and Juan Esquivel de Barrahona, together with manuscripts containing motets by Rodrigo de Ceballos and Juan Navarro, reveals several unique characteristics of the Spanish motet repertory. Nearly every composer included a cycle of motets for the Sundays of Lent and Sundays of Septuagesima, and several texts addressing the Virgin Mary were important as well. Spanish motet collections all follow Guerrero's distinction between devotional and liturgical motets, where motets on New Testament texts were composed for four voices, while motets praising the saints, the Virgin Mary, or addressing other devotional topics, used larger textures. Newly consulted archival sources from Spanish cathedrals show that the motet was performed in a wide variety of public ritual contexts, including the Mass, processions, and the Salve Service, so that it became an important voice in the development of Spanish religiosity during the second half of the sixteenth-century. Close readings of motets for Lent and the Virgin Mary reveal that composers used a wide array of musical conventions in order to express the important doctrinal issues embedded in motet texts. Sixteenth century sermons, theological treatises, religious paintings and sacred poetry, when read alongside motets, support the view that the motet took part in an orthodox and uniquely Spanish expression of Catholicism. In the case of motets for Septuagesima and Lent, composers looked to texts which sixteenth century preachers explicated as warnings against vice, and lessons in virtue. Marian motets, on the other hand, used texts that symbolically expressed the Spanish enthusiasm for the controversial doctrine of the Immaculate Conception. With music that highlighted exegetically important portions of the text with clear, affective gestures, Spanish composers joined in a tradition of religious rhetoric and oratory that arose in the orthodox religious climate of Counter Reformation Spain.

1997

Details

Range of pages: 
vol. 7, 992-994
Subject composer: 
Type of publication: 
1999-2002
Last modified: Javier Marín-López - 13 Nov 2017

How to cite

Emilio Ros-Fábregas, , Javier Marín-López, "Navarro, Juan", Books of Hispanic Polyphony, ed. E. Ros-Fábregas (accession date: 27 Mar 2019), https://hispanicpolyphony.eu/person/13472