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Mille Regretz was a melancholy French love song very popular in the first half of the 16th century. It was reputed to be a particular favourite of the Holy Roman Emperor, Charles V (1500-58).
The four-part a cappella version has been attributed to Josquin des Prez and the great Granada vihuelist Luis de Narváez made a beautifully ornate version of Josquin’s work.
Around 1997 I heard a concert by the magnificent José Miguel Moreno in the Cathedral of Jaén in Spain, where he performed a vihuela version of Josquin’s Mille Regretz followed by Narváez’s Canción del Emperador. It was like a wonderful revelation. Since then, I have often ” asked” my students “to make their own arrangement of Josquin and link the two pieces together. It was only last year 2022 that I decided to take the step of making my own version for guitar with coloured voices so that the correct voice-leading could be recognised. It also occurred to me to attach an ossia staff with the Canción del Emperador, also coloured, to serve as a comparative study between the two arrangements and to give a coherent sense to the polyphonic framework which the vihuela tablature cannot offer in any way.
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More than 25 years ago I watched a television documentary which suggested that Couperin’s “Mysterious Barricades” may contain an almost “erotic” meaning, that according to the story of the documentalist (whose name I no longer remember) suggested that the “Mysterious Barricades” were in fact women’s lace underwear, hence the “mystery” and the “barrier”. In the game of seduction, the give and take that occurs between the lovers can be represented in many ways. In this piece, the bass moves constantly and regularly, as if it were a heartbeat. The other voices move in continuous syncopation, showing a melody that almost wouldn´t exist if it were not for the interaction of the whole polyphonic framework. Perhaps it is this interaction between the “lovers” that keeps alive the flame of passion and obsession which, at least for me, this beautiful work produces.
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Sale!
10,99 € Original price was: 10,99 €.9,99 €Current price is: 9,99 €.
More than 25 years ago I watched a television documentary which suggested that Couperin’s “Mysterious Barricades” may contain an almost “erotic” meaning, that according to the story of the documentalist (whose name I no longer remember) suggested that the “Mysterious Barricades” were in fact women’s lace underwear, hence the “mystery” and the “barrier”. In the game of seduction, the give and take that occurs between the lovers can be represented in many ways. In this piece, the bass moves constantly and regularly, as if it were a heartbeat. The other voices move in continuous syncopation, showing a melody that almost wouldn´t exist if it were not for the interaction of the whole polyphonic framework. Perhaps it is this interaction between the “lovers” that keeps alive the flame of passion and obsession which, at least for me, this beautiful work produces.
Arranged at the Airport in Rome, Italy on July 23, 2001.
Recorded by Ricardo Gallen in his double Cd “Bach Complete Lute Works” released by Sunnyside Records, New York, 2013
Transcribed on Sibelius Ultimate on May 2023
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Sale!
10,99 € Original price was: 10,99 €.9,99 €Current price is: 9,99 €.
In connection with the publication of this arrangement for two guitars of Chopin’s Prelude no.4 op.28 I read in the wiki that the song “How Insensitive” by Jobim was inspired by it. During the years 2001-2005 I listened to Brazilian music very often: Jobim, Moraes, Gil, Monte, Veloso, and a long etcetera. It was at that time which I made this arrangement, perhaps unconsciously inspired by Jobim…
Chopin composed his series of 24 preludes which include this number 4 during his stay in Valldemosa, on the island of Palma in Spain. Many, surely, would criticise listening to Chopin on the guitar. Could he not also have been unconsciously influenced by the guitar during his stay on the island?
My dear Pedro Mateo González whom I deeply thank, provided me not long ago with a quotation from Chopin written in one of his missives:
“La nuit, on entend des chants et le son des guitares pendant des heures entières…”
Palma, le 15 novembre 1838
“At night, for hours, one hears singing and the sound of guitars…”
Palma, 15 November 1838
