Juan Navarro of Seville, hence the

epithet An epithet (, ), also byname, is a descriptive term (word or phrase) known for accompanying or occurring in place of a name and having entered common usage. It has various shades of meaning when applied to seemingly real or fictitious people, di ...

''Hispalensis'' (

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c. 1530 – Palencia 25 September 1580) was a Spanish composer. He is not related to the Mexican composer Juan Navarro Gaditanus, (i.e. Juan Navarro of Cadiz, c. 1550 – c. 1610). Navarro gave his place of birth as Marchena when inducted as chapel-master at Ciudad Rodrigo. Marchena is some 30 miles (50km) from Seville, but in its province and geographically near enough to justify the epiphet ''Hispalensis'', which appears on the title page of his 1590 Roman publication (below). Navarro sang as a tenor in the choir of the Duke of Arcos in Marchena (by 1549, when Cristóbal de Morales was chapel-master), then in the cathedrals of Jaén and

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. In 1553 he competed for the position of ''maestro de capilla'' in

left vacant by the death of

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, a competition won by Francisco Guerrero. In 1563 he was appointed ''maestro de capilla'' of the

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, then in 1566 of Salamanca where he was appointed without being required to compete for the post. Avila offered to double his salary to keep him, but the position at Salamanca was more attractive. He left Salamanca after striking the chaplain and succentor, Juan Sanchez, in the face during Vespers on New Year's Eve 1573, and became chapel-master in 1574 at Ciudad Rodrigo and then Palencia in 1578, where he remained till his death and where he was buried. Navarro's compositions include two hymn cycles, one written in Avila (1565) and preserved in manuscript there, the second published posthumously in Rome (1590) as part of the 350-page collection of "Psalmi, Hymni ac Magnificat totius anni ... , for four, five, and six voices." This contained 12 vesper psalms, 18 vesper hymns, and a set of Magnificats in each of the eight tones (plus a ninth setting), plus 4 Marian antiphons - a formula closely following that of Guerrero's similar 1584 ''Liber vesperarum''. The only works printed in his lifetime were a villancico and two villanescas, in

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's 1576 ''El Parnaso''. His works include a number of motets preserved in manuscript, but no mass settings. Among his works two settings of hymns ("Vexilla regis" and "Pange lingua"), two settings of antiphons ("Regina caeli" and "Ave Regina caelorum") and a "Te Deum" are based on uniquely Spanish chant melodies rather than the Roman melodies more commonly used by Renaissance composers.Thomas, Timothy, ''The Music of Juan Navarro Based on Pre-Existent Musical Materials'', Ph.D. Dissertation, The University of Texas at Austin, 1990, p. 219

Works

* ''Psalmi, hymni, ac Magnificat totius anni, secundum ritum Sanctae Romanae Ecclesiae, quatuor, quinque, ac sex vocibus concinendi'', Rome 1590 (posthumous) *

References

{{DEFAULTSORT:Navarro Hispalensis, Juan 1530 births 1580 deaths Spanish classical composers Spanish male classical composers Renaissance composers