Mille Regretz (‘A Thousand Regrets’) is a gorgeous and once popular song thought to be written by the Renaissance composer Josquin des Prez. Its fame is invariably linked to King Charles V, ruler of the Holy Roman Empire, who was said to be very fond of it, so much so that a good handful of contemporary composers wrote versions for him. This is the original Josquin version (well, some dispute its authorship, but for the sake of this blog post I’ll refer to it as his).
Luys de Narváez was a Spanish vihuelist during this time and intabulated the song for his instrument. The vihuela was a small guitar-like instrument particular to Spain, of which Charles was king, and was for all intents and purposes very similar to the lute. Narváez, who wrote one of the few extant books of vihuela music, gave the subtitle ‘la cancion del Emperador’ (‘the emperor’s song’) for his intabulation of Mille Regretz, the most explicit evidence we have of Charles’ fondness for the song. Unlike the Josquin version, there is more ornamentation as the vihuela, like the lute, cannot possibly hold a note for as long as a singer. This is a fantastic piece to play on the guitar too, and not at all difficult. Just tune the G string to F#, and maybe capo at the third fret, and you can play it from the original score. Here’s Julian Bream playing it on the vihuela:
Cristóbal de Morales was another Spanish composer who used the song in order to gain the king’s favour. Missa Mille Regretz is a parody mass — that is, not work of comedy but rather one that steals material, often from secular songs — and contrary to modern values this wasn’t looked down upon. The Kyrie from Morales’ mass setting:
Nicolas Gombert’s is the only other contemporary arrangement I’m aware of, and like Morales’ it is expanded to six-parts. I was not familiar with it until today, but it is very beautiful and seems to be the most intricate arrangement:
We can assume that there were also plenty of non-scored arrangements of this popular song, and if you browse on YouTube you will find plenty of modern ones. This is a particularly attractive version by the American early music group Voices of Music for organ and cornett:
King Charles V is perhaps better known to music lovers by his strange appearance in Verdi’s opera Don Carlo. Just at the end, he emerges from his tomb Commendatore-style as King Philip II and the Grand Inquisitor are chasing after Don Carlos, proclaiming
‘The sorrows of the world
follow us into the cloister.
The struggle in our hearts
will find peace only in heaven!’
At which point he rescues Don Carlos.
Below is the final scene of Don Carlos. Charles emerges exactly 10 minutes in — he’s the one holding the enormous, ornate cross. It is a total what-on-earth-just-happened moment that suddenly comes in the last minute of this grand three hour opera.
What an ending!