Surname
Naich
Given Name
Robert
Variant Name
Rohert
Robertus
Hubert
Huberto
Hubertus
Naixh
Naxhe
Role
Composer
Musician
Singer
Active period
circa 1539 - circa 1539
Biography
Oeuvres. Le quatrième livre de Motteti del Fiore à quatre voix édité par Jacques Moderne ([1539]/11) conserve deux motets de « Robert (ou Rohert) Naich » : « Ave regina caelorum » (no.3) et « Cantantibus organis » (no.28).
Duchamp propose que Moderne édita ce recueil non pas en 1539 mais en 1542, en accompagnement au cinquième livre de motets à cinq, six et sept voix.
Bibliographie:
Samuel F. Pogue. Jacques Moderne : Lyons music printer of the sixteenth century. Travaux d'humanisme et Renaissance 101. Genève : Librairie Droz, 1969.
Jean Duchamp. "Motteti del Fiore : une étude des huit livres de motets édités à Lyon par Jacques Moderne (1532-1543) avec la transcription des pièces inédites". Thèse de doctorat (Université de Tours), 2000.
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NG online:
Naich [Naixh, Naxhe], Hubert [Huberto, Hubertus, Robertus]
(b ? Liège, c1513; d ?Rome, c1546). Several musicians bearing variants of this name were active at the collegiate church of St Martin in Liège from the early to late 16th century. One was an acolyte about 1501, and chaplain and cantor from 1516 until about 1550. Another was duodenus in 1553 and 1561 and was still appearing in the church records in 1598. The Naich who was active as a madrigalist in Rome in the years c1540–56, however, was probably a third figure, ‘Hubertus Naxhe junior’, who was duodenus from 1529 until 1532.
Whether the composer was ‘Ubretto’ in a lost painting by Sebastiano del Piombo, described by Vasari, is uncertain, as is his possible identification with the ‘Bruett’ cited by Doni (I marmi) as a companion of Verdelot in Florence; both seem unlikely on chronological grounds. Naich’s one solo publication, Exercitium seraficum, a volume of madrigals published by Antonio Blado in Rome about 1540 (and, according to Gesner, reprinted in Venice), identifies him as a member of an ‘accademia degli amici’ gathered around the Florentine expatriate banker Bindo Altoviti in Rome. This academy may have been an informal group of musicians and poets. It seems likely that Arcadelt, whose Quinto libro of 1544 includes seven pieces by Naich, was a member as well. Six of these pieces are also in the Exercitium; a seventh, Spargi tebro di fior, refers to ‘Margherita’, possibly Margaret of Austria who married Ottavio Farnese in Rome in 1538.
Arcadelt had published six note nere madrigals in Veggio’s Madrigali of 1540; Naich may have learnt about the new madrigal type at that time. He contributed a number of pieces in this subgenre to Gardane’s Primo libro … a misura di breve (RISM 154217). He is represented by seven madrigals in Rore’s Secondo libro a 5vv (154417); but no clear musical relationship to Rore is evident. Naich’s note nere madrigals are perhaps his most characteristic work. They tend to begin with comparatively broad declamatory gestures followed by the quick and sometimes syncopated patter characteristic of the type. One of them, Proverb'ama chi t'ama, setting a truncated stanza of a Petrarchan canzone (cv), is closely modelled on a setting by Nola (published 1545 but clearly written earlier).
WORKS
Editions:Huberti Naich opera omnia, ed. D. Harrán, CMM, xciv (1983) [N]The Anthologies of Black-Note Madrigals, ed. D. Harrán, CMM lxxiii/1 (1978) [H]
Exercitium seraficum (Rome, c1540), N
12 other madrigals, 4 in N, 8 in H
4 doubtful madrigals, H
2 motets, N
1 chanson, N
BIBLIOGRAPHY
EinsteinIM
E. Rodocanachi: Rome au temps de Jules II et de Léon X (Paris, 1912)
J. Quitin: ‘A propos des Hubert Naich de Liège et d’un tableau de la Galleria Pitti à Florence’, RBM, xi (1957), 134–40
E. Sindona: ‘È Hubert Naich e non Jacob Hobrecht il compagno cantore del Verdelot nel quadro della Galleria Pitti’, AcM, xxix (1957), 1–9
J. Haar: ‘The note nere Madrigal’, JAMS, xviii (1965), 22–41
H.C. Slim: A Gift of Madrigals and Motets (Chicago, 1972)
L. Bernstein: ‘The Bibliography of Music in Conrad Gesner's Pandectae (1548)’, AcM, xlv (1973), 119–63
D. Harrán: ‘Hubert Naich, musicien, académicien’, FAM, xxviii (1981), 177–94
James Haar
Duchamp propose que Moderne édita ce recueil non pas en 1539 mais en 1542, en accompagnement au cinquième livre de motets à cinq, six et sept voix.
Bibliographie:
Samuel F. Pogue. Jacques Moderne : Lyons music printer of the sixteenth century. Travaux d'humanisme et Renaissance 101. Genève : Librairie Droz, 1969.
Jean Duchamp. "Motteti del Fiore : une étude des huit livres de motets édités à Lyon par Jacques Moderne (1532-1543) avec la transcription des pièces inédites". Thèse de doctorat (Université de Tours), 2000.
=========================
NG online:
Naich [Naixh, Naxhe], Hubert [Huberto, Hubertus, Robertus]
(b ? Liège, c1513; d ?Rome, c1546). Several musicians bearing variants of this name were active at the collegiate church of St Martin in Liège from the early to late 16th century. One was an acolyte about 1501, and chaplain and cantor from 1516 until about 1550. Another was duodenus in 1553 and 1561 and was still appearing in the church records in 1598. The Naich who was active as a madrigalist in Rome in the years c1540–56, however, was probably a third figure, ‘Hubertus Naxhe junior’, who was duodenus from 1529 until 1532.
Whether the composer was ‘Ubretto’ in a lost painting by Sebastiano del Piombo, described by Vasari, is uncertain, as is his possible identification with the ‘Bruett’ cited by Doni (I marmi) as a companion of Verdelot in Florence; both seem unlikely on chronological grounds. Naich’s one solo publication, Exercitium seraficum, a volume of madrigals published by Antonio Blado in Rome about 1540 (and, according to Gesner, reprinted in Venice), identifies him as a member of an ‘accademia degli amici’ gathered around the Florentine expatriate banker Bindo Altoviti in Rome. This academy may have been an informal group of musicians and poets. It seems likely that Arcadelt, whose Quinto libro of 1544 includes seven pieces by Naich, was a member as well. Six of these pieces are also in the Exercitium; a seventh, Spargi tebro di fior, refers to ‘Margherita’, possibly Margaret of Austria who married Ottavio Farnese in Rome in 1538.
Arcadelt had published six note nere madrigals in Veggio’s Madrigali of 1540; Naich may have learnt about the new madrigal type at that time. He contributed a number of pieces in this subgenre to Gardane’s Primo libro … a misura di breve (RISM 154217). He is represented by seven madrigals in Rore’s Secondo libro a 5vv (154417); but no clear musical relationship to Rore is evident. Naich’s note nere madrigals are perhaps his most characteristic work. They tend to begin with comparatively broad declamatory gestures followed by the quick and sometimes syncopated patter characteristic of the type. One of them, Proverb'ama chi t'ama, setting a truncated stanza of a Petrarchan canzone (cv), is closely modelled on a setting by Nola (published 1545 but clearly written earlier).
WORKS
Editions:Huberti Naich opera omnia, ed. D. Harrán, CMM, xciv (1983) [N]The Anthologies of Black-Note Madrigals, ed. D. Harrán, CMM lxxiii/1 (1978) [H]
Exercitium seraficum (Rome, c1540), N
12 other madrigals, 4 in N, 8 in H
4 doubtful madrigals, H
2 motets, N
1 chanson, N
BIBLIOGRAPHY
EinsteinIM
E. Rodocanachi: Rome au temps de Jules II et de Léon X (Paris, 1912)
J. Quitin: ‘A propos des Hubert Naich de Liège et d’un tableau de la Galleria Pitti à Florence’, RBM, xi (1957), 134–40
E. Sindona: ‘È Hubert Naich e non Jacob Hobrecht il compagno cantore del Verdelot nel quadro della Galleria Pitti’, AcM, xxix (1957), 1–9
J. Haar: ‘The note nere Madrigal’, JAMS, xviii (1965), 22–41
H.C. Slim: A Gift of Madrigals and Motets (Chicago, 1972)
L. Bernstein: ‘The Bibliography of Music in Conrad Gesner's Pandectae (1548)’, AcM, xlv (1973), 119–63
D. Harrán: ‘Hubert Naich, musicien, académicien’, FAM, xxviii (1981), 177–94
James Haar