325:(Madrigal for four voices; setting of a poem by Michelangelo, from the early 1540s) Arcadelt's several hundred madrigals, composed over a span of at least two decades, were usually for four voices, although he wrote a few for three, and a handful for five and six voices. Stylistically his madrigals are melodious and simple in structure, singable, and built on a clear harmonic basis, usually completely diatonic. The music is often syllabic, and while it sometimes uses repeated phrases, is almost always through-composed (as opposed to the contemporary chanson, which was often strophic). Arcadelt alternates homophonic and polyphonic textures, "in a state of delicate, labile equilibrium". His madrigals best represent the "classic" phase of development of the form, with their clear outline, four-part writing, refinement, and balance; the
314:
200:
2190:
2200:
352:. Additional hints to his popularity are the frequency with which anonymous compositions were attributed to him, and the appearance of his music in several paintings of musicians from the time. Likely his popularity was due to his gift for capturing the Italian spirit and marrying it with the technical perfection of the Franco-Flemish harmonic and
421:
through-composed. Arcadelt borrowed some features of the chanson when he wrote his madrigals, in the same way, he wrote some of his chansons with madrigalian features. Most of his chansons are syllabic and simple, with brief bursts of polyphonic writing, occasionally canonic, and with sections imitating the
219:, but his madrigalian settings of two of the artist's sonnets were received with indifference; indeed, from Michelangelo's letters on the topic, he probably considered himself unmusical and incapable of appreciating Arcadelt's work. Michelangelo paid Arcadelt with a piece of satin suitable for making into a
143:; his first book of madrigals, published within a decade of the appearance of the earliest examples of the form, was the most widely printed collection of madrigals of the entire era. In addition to his work as a madrigalist, and distinguishing him from the other prominent early composers of madrigals â
376:
of
Piacenza, a now-obscure writer who was among the most often-set poets of the early madrigalists. Much of the poetry of Arcadelt's madrigals has remained anonymous, just as some of Arcadelt's music is believed to survive anonymously. Another poet he set was Giovanni Guidiccioni, who wrote the words
475:
favored by the
Netherlanders, are more declamatory and clear in texture, in a manner similar to his secular music. Much of his religious music, except for the sacred chansons, he probably wrote during his years in the papal chapel in Rome. Documents from the Sistine Chapel archives indicate that the
158:
Arcadelt was the most influential member of the early phase of madrigal composition, the "classic" phase; it was through
Arcadelt's publications, more than those of any other composer, that the madrigal became known outside of Italy. Later composers considered Arcadelt's style to represent an ideal;
420:
Since
Arcadelt lived both in France and Italy, writing secular music in both countries, his chansons and madrigals not unexpectedly share some features. The chanson was by its nature a more stable form, often strophic and with patterned repetition; the madrigal, on the other hand, was usually
226:
Arcadelt wrote over 200 madrigals before he left Italy in 1551 to return to France, where he spent the remainder of his life; his numerous chansons date from this and subsequent years. In 1557 he published a book of masses, dedicated to his new employer, Charles de Guise, Cardinal of
Lorraine
526:. The first volume contains Arcadelt's masses; his secular compositions are in volumes two through nine, and his motets and other sacred music are in volume ten. Below is a partial list of his works. Note that numbering is by number of voices: for example, there is an
392:, "⊠he is content with a simple, tender declamation of the text, depending upon the elementary and magical power of music, of harmony, which veils this poem in a cloak of sublime and distant sentimentality. Here is attained the ideal of what the time expected of the
510:, so must have been written in Italy. After Arcadelt returned to France, his chansons, masses, and motets appeared in the editions of the printing firm of Le Roy and Ballard throughout the 1550s and 1560s, while his music was still being printed in distant Venice.
356:
style; in addition he wrote catchy tunes which were easy to sing. Unlike later generations of madrigal composers, Arcadelt did not expect professional singers to be the only consumers of his work; anyone who could read notes could sing his madrigals.
295:. There may be as many as 250 more madrigals by Arcadelt which survive anonymously in manuscript sources. Influences on his music ranged from the chanson and polyphonic style of his northern homeland, to the native secular music of Italy such as the
179:
at St. Peter's
Basilica; many composers from the Netherlands served as singers there throughout this period, and it is even possible that he went to Rome before coming to Florence. Still in Rome, in January 1539, he was probably made a member of the
299:, to the music he heard while he served in the Sistine Chapel choir. Of all the early madrigalists, he was the most universal in his appeal; his influence on others was enormous. Arcadelt brought the madrigal form to its early maturity.
408:; brief bits of word-painting occur, such as the use of a flattened seventh on "piangendo"; and the musical phrases overlap the lines of verse, blurring the formal division of the line, a technique known in music, as in poetry, as
315:
239:
during this late phase of his career. In Paris he employed the publishing house of Le Roy and
Ballard, who printed his abundant chansons, masses and motets just as the Venetian printers had earlier printed his madrigals.
214:
Arcadelt remained in Rome as a singer and composer at the
Sistine Chapel until 1551, except for one leave of absence to visit France in 1547. During this period, probably in early 1542, he made the acquaintance of
184:(the records give his name as "Jacobus flandrus", suggesting a Flemish origin, but it cannot be known with certainty if this record refers to Arcadelt). After some months there, he became a member of the
502:
opened one of
Gardano's books; as the piece had already achieved immense fame, it was the main selling point. In Paris, some of Arcadelt's chansons appeared as early as 1540 in the publications of
139:, active in both Italy and France, and principally known as a composer of secular vocal music. Although he also wrote sacred vocal music, he was one of the most famous of the early composers of
400:
of music. Arcadelt has conferred upon this composition a quality which is very rare in sixteenth-century secular music, namely durability âŠ" The texture is mostly homophonic, with a hint of
1768:
336:
and France for more than a hundred years, with his first book of madrigals being reprinted fifty-eight times by 1654, and his music appearing in innumerable
329:, chromaticism, ornamentation, virtuosity, expressionistic and manneristic writing of madrigalists later in the century are nowhere to be found in Arcadelt.
433:
of his madrigals (the same music, printed with new words French instead of
Italian). Rarely in music history were the madrigal and the chanson more alike.
171:
on 10 August 1507. He moved to Italy as a young man, and was present in Florence by the late 1520s, thereby gaining an opportunity to meet or work with
159:
later reprints of his first madrigal book were often used for teaching, with reprints appearing more than a century after its original publication.
1161:
373:
2244:
175:, who wrote the earliest named madrigals. In 1538, or immediately before, he moved to Rome where he obtained an appointment with the papal
1448:
2018:
364:(and his setting of a complete canzone, as a set of five interrelated madrigals, was the predecessor of the vogue for madrigal cycles),
231:, i.e. choirmaster for him). In this publication he was mentioned as a member of the royal chapel, and therefore must have served both
2239:
1133:
2013:
404:
in the harmony; the subject matter is erotic, with the orgasmic "thousand deaths" portrayed by a rising fourth figure in close
766:
279:
During his long and productive career, Arcadelt wrote music both sacred and secular, all of it vocal. He left a total of 24
2234:
1154:
377:
to his most single famous composition, and one of the most enduring of the entire 16th century: the four-voice madrigal
494:
Antoine Gardano became the primary Italian publisher for Arcadelt, although the competing Venetian publishing house of
1107:
1093:
1076:
1038:
1017:
779:
372:, to Florentines Lorenzino de'Medici, Benedetto Varchi, Filippo Strozzi, and Michelangelo himself, to others such as
2033:
1993:
1723:
192:. The same year saw the publication of no fewer than four books of his madrigals. The first of these collections,
1441:
794:
Perkins, Leeman L. Music in the Age of the Renaissance. New York: W. W. Norton & Company, Inc., 1999. p. 671.
2254:
2038:
1562:
1147:
682:
Numerous individual compositions published between 1532 and 1555; motets in Latin and sacred chansons in French
1474:
283:, 125 French chansons, approximately 250 madrigals (about fifty of which are of uncertain attribution), three
1693:
1650:
1466:
2003:
1123:
761:
203:
2249:
2048:
882:
Blume, Friedrich. Renaissance and Baroque Music. New York: W. W. Norton & Company, Inc., 1967. p. 67.
519:
2193:
2096:
1911:
1434:
1119:
1129:
1878:
1748:
2142:
1998:
454:
288:
251:
17:
1012:. Prentice Hall History of Music Series. Englewood Cliffs, New Jersey; Prentice-Hall, Inc., 1976.
486:
adjusted Arcadelt's chanson "Nous voyons que les hommes" to the Latin text and added a bass line.
196:
went through 45 editions, becoming the most widely reprinted collection of madrigals of the time.
2173:
1931:
1906:
463:. The masses are influenced by the previous generation of Franco-Flemish composers, particularly
1605:
2203:
2180:
2157:
2152:
1788:
1763:
1673:
1552:
1339:
2224:
2023:
2008:
1921:
1713:
1354:
1170:
132:
1668:
803:
Reese, Gustave. Music in the Renaissance. New York: Norton & Company Inc., 1959. p. 321.
2229:
1798:
483:
459:
236:
185:
100:
1044:
246:
8:
1916:
1547:
1600:
1595:
1283:
256:
2111:
2091:
2066:
2056:
1888:
1863:
1848:
1838:
1833:
1803:
1580:
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1482:
1390:
1344:
1303:
1257:
1242:
1217:
503:
260:
232:
220:
1873:
2199:
2147:
1896:
1808:
1635:
1532:
1457:
1395:
1237:
1232:
1178:
1103:
1089:
1072:
1034:
1013:
775:
441:
In addition to his copious output of madrigals and chansons, Arcadelt produced three
405:
172:
144:
136:
1497:
1222:
2071:
1901:
1823:
1778:
1733:
1708:
1703:
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1585:
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1502:
1380:
1359:
1318:
1308:
1278:
1247:
1201:
1186:
468:
2101:
2086:
2028:
1868:
1818:
1753:
1743:
1698:
1688:
1683:
1678:
1640:
1570:
1492:
1487:
1415:
1405:
1385:
1364:
1349:
1196:
1191:
507:
385:
181:
2106:
2081:
1813:
1783:
1728:
1718:
1590:
1575:
1517:
1507:
1313:
1288:
1273:
1252:
1227:
148:
771:
585:
Numerous other madrigals in other collections, and in manuscript, 1537 to 1559
199:
2218:
2061:
1947:
1853:
1843:
1738:
1630:
1615:
1400:
1298:
1081:
326:
268:
2137:
2076:
1967:
1926:
1793:
1663:
1537:
1410:
442:
365:
337:
284:
216:
2132:
2127:
1858:
1828:
1610:
1522:
1512:
1293:
523:
464:
426:
425:
style of the madrigal â the fast "black notes" producing the effect of a
401:
1139:
1033:
Three volumes. Princeton, New Jersey, Princeton University Press, 1949.
1962:
1952:
723:
450:
409:
292:
207:
1972:
478:
472:
369:
353:
1426:
1957:
1100:
The Concise Edition of Baker's Biographical Dictionary of Musicians
361:
296:
140:
116:
264:
152:
1977:
495:
345:
518:
A complete modern edition of Arcadelt's works is published in
446:
333:
280:
176:
168:
55:
1071:. Cambridge, Massachusetts, Harvard University Press, 1986.
476:
choir sang his music during his residence there. Arcadelt's
349:
341:
1026:, second edition. Upper Saddle River: Prentice Hall, 1999.
920:
918:
890:
888:
498:
brought out one of his madrigal books as well. Arcadelt's
482:
is not an original sacred work by the composer. In 1842,
457:, and some sacred chansons â the French equivalent of the
155:, particularly late in his career when he lived in Paris.
743:
741:
384:
This madrigal was appealing on many levels. According to
271:
of his method of using a mallet to deflower a new bride.
131:; 10 August 1507 – 14 October 1568) was a
249:
immortalized Arcadelt in the introduction to Book IV of
915:
885:
530:(First Book of Madrigals) for four voices, and another
811:
809:
738:
806:
263:as part of a choir singing a ribald song, in which
1064:(tr. J.M. Cohen). Baltimore, Penguin Books, 1963.
1057:New York: W. W. Norton & Company, Inc., 1999.
1005:New York: W. W. Norton & Company, Inc., 1967.
998:New York: W. W. Norton & Company, Inc., 1998.
981:
956:. Stuyvesant, NY: Pendragon Press. pp. 46â7.
360:For his texts, Arcadelt chose poets ranging from
151:â he was equally prolific and adept at composing
2216:
552:(four voices; Venice, 1539, published by Scotto)
645:
1088:. New York, W.W. Norton & Co., 1954/1959.
1045:Arcadelt [Archadelt, Arcadet], Jacques
1442:
1155:
676:
210:; the performer is reading music by Arcadelt.
243:Arcadelt died in Paris on 14 October 1568.
1449:
1435:
1162:
1148:
1102:, 8th ed. New York, Schirmer Books, 1993.
1022:Brown, Howard Mayer, and Stein, Louise K.
29:Franco-Flemish composer of the Renaissance
1169:
1134:International Music Score Library Project
759:
641:(four, five, and six voices; Paris, 1557)
255:, where he includes the musician between
719:
717:
715:
198:
713:
711:
709:
707:
705:
703:
701:
699:
697:
695:
14:
2217:
991:London: Oxford University Press, 1968.
522:, xxxi, 1â10 (ten volumes), edited by
332:His music became immensely popular in
2245:16th-century Franco-Flemish composers
1456:
1430:
1143:
951:
767:Die Musik in Geschichte und Gegenwart
755:
753:
429:. Some of his chansons were actually
1055:Music in the Age of the Renaissance.
692:
562:Terzo libro de i madrigali novissimi
1069:The New Harvard Dictionary of Music
945:
735:Harvard Dictionary of Music, p. 463
24:
750:
622:(four to five voices; Paris, 1569)
556:Il vero secondo libro di madrigali
25:
2266:
1113:
726:/Letitia Glozer, New Grove online
654:(four to six voices; Paris, 1557)
628:(four to six voices; Paris, 1569)
598:(four to six voices; Paris, 1561)
471:; the motets, avoiding the dense
2240:Belgian male classical composers
2198:
2189:
2188:
1724:Giovanni Pierluigi da Palestrina
302:
1130:Free scores by Jacques Arcadelt
1120:Free scores by Jacques Arcadelt
1043:Haar, James; Glozer, Letitia. "
969:
960:
936:
927:
906:
897:
876:
867:
858:
849:
836:
436:
1003:Renaissance and Baroque Music.
982:References and further reading
827:
818:
797:
788:
729:
672:iii (four voices; Paris, 1557)
596:Quatorsiesme livre de chansons
537:
13:
1:
1467:List of Renaissance composers
666:ii (four voices; Paris, 1557)
589:
550:Il secondo libro de madrigali
489:
381:(The white and gentle swan).
287:, as well as settings of the
1124:Choral Public Domain Library
942:Einstein, Vol. I pp. 264â265
824:Einstein, Vol. I pp. 161â162
660:i (four voices; Paris, 1557)
646:Magnificats and lamentations
580:Il quinto libro di madrigali
576:(three voices; Venice, 1542)
568:Il quarto libro di madrigali
340:for instruments such as the
307:
194:Il primo libro di madrigali,
7:
2235:Belgian classical composers
770:(in German). Vol. P1.
614:CinquiĂšme livre de chansons
608:QuatriĂšme livre de chansons
582:(four voices; Venice, 1544)
570:(four voices; Venice, 1539)
564:(four voices; Venice, 1539)
558:(four voices; Venice, 1539)
546:(four voices; Venice, 1539)
544:Il primo libro di madrigali
528:Il primo libro di madrigali
415:
10:
2271:
2097:Petrus Phalesius the Elder
1912:English Virginalist School
677:Motets and sacred chansons
626:NeuviĂšme livre de chansons
616:(four voices; Paris, 1567)
610:(four voices; Paris, 1567)
604:(four voices; Paris, 1567)
2168:
2120:
2047:
1986:
1940:
1887:
1879:Jan Pieterszoon Sweelinck
1762:
1649:
1561:
1473:
1464:
1373:
1327:
1266:
1210:
1177:
954:Saint-Saëns and the Organ
632:
620:SisiĂšme livre de chansons
188:, where he was appointed
112:
93:
78:
62:
41:
34:
1086:Music in the Renaissance
1062:Gargantua and Pantagruel
1024:Music in the Renaissance
1010:Music in the Renaissance
903:Abraham 1968, pp. 69â70.
844:Gargantua and Pantagruel
686:
602:Tiers livres de chansons
574:Primo libro di madrigali
532:Primo libro di madrigali
513:
455:Lamentations of Jeremiah
289:Lamentations of Jeremiah
274:
252:Gargantua and Pantagruel
105:Paris Royal Chapel Choir
1907:English Madrigal School
1049:(subscription required)
924:Einstein, Vol. I p. 270
912:Einstein, Vol. I p. 172
894:Einstein, Vol. I p. 269
833:Einstein, Vol. I p. 162
760:Schmidt-Beste, Thomas.
747:Einstein, Vol. I p. 264
500:Il bianco e dolce cigno
379:Il bianco e dolce cigno
162:
1749:TomĂĄs Luis de Victoria
1553:Oswald von Wolkenstein
1340:Jacob Clemens non Papa
1047:", Grove Music Online
952:Smith, Rollin (1992).
670:Lamentationes Jeremiae
664:Lamentationes Jeremiae
658:Lamentationes Jeremiae
267:boasts to the gods on
211:
2255:Renaissance composers
1769:Transition to Baroque
1714:Pierre de Manchicourt
1355:Pierre de Manchicourt
1171:Franco-Flemish School
1031:The Italian Madrigal.
1008:Brown, Howard Mayer.
815:Perkins 1999, p. 671.
652:Magnificat primi toni
202:
167:Arcadelt was born in
1799:Girolamo Frescobaldi
1606:CristĂłbal de Morales
1098:Slonimsky, Nicolas.
989:The Age of Humanism.
484:Pierre-Louis Dietsch
460:madrigale spirituale
390:The Italian Madrigal
101:Sistine Chapel Choir
1917:Florentine Camerata
1889:Composition schools
1548:Gaspar van Weerbeke
1060:François Rabelais,
1053:Perkins, Leeman L.
975:Atlas 1998, p. 430.
966:Atlas 1998, p. 458.
933:Atlas 1998, p. 431.
873:Brown 1999, p. 201.
855:Reese 1959, p. 322.
762:"Arcadelt, Jacques"
318:Io dico che fra voi
2250:Madrigal composers
2112:Thomas Vautrollier
2092:Ottaviano Petrucci
2067:Pierre Attaingnant
2057:Hieronymus Andreae
1864:Michael Praetorius
1849:Claudio Monteverdi
1839:Giovanni de Macque
1834:Luzzasco Luzzaschi
1804:Alfonso Fontanelli
1694:Francisco Guerrero
1669:Antonio de CabezĂłn
1581:Thomas Crecquillon
1563:Middle (1470â1530)
1543:Johannes Tinctoris
1483:Alexander Agricola
1391:Giovanni de Macque
1345:Thomas Crecquillon
1304:Matthaeus Pipelare
1258:Johannes Tinctoris
1243:Marbrianus de Orto
1218:Alexander Agricola
1029:Einstein, Alfred.
1001:Blume, Friedrich.
996:Renaissance Music.
504:Pierre Attaingnant
449:, settings of the
261:Claudin de Sermisy
229:maĂźtre de chapelle
212:
2212:
2211:
1809:Giovanni Gabrieli
1636:Philippe Verdelot
1533:Johannes Ockeghem
1475:Early (1400â1470)
1458:Renaissance music
1424:
1423:
1396:Philippe de Monte
1238:Johannes Ockeghem
1233:Guillaume Faugues
1067:Randel, Don, ed.
987:Abraham, Gerald.
247:François Rabelais
190:magister puerorum
173:Philippe Verdelot
145:Philippe Verdelot
122:
121:
16:(Redirected from
2262:
2202:
2192:
2191:
2072:Vittorio Baldini
2049:Music publishing
1824:Hans Leo Hassler
1779:Gregorio Allegri
1734:Cipriano de Rore
1709:Vicente Lusitano
1704:Orlando di Lasso
1659:Jacques Arcadelt
1626:Pierre de la Rue
1621:Josquin des Prez
1601:Clément Janequin
1596:Antoine de FĂ©vin
1586:Antonius Divitis
1528:Johannes Martini
1503:Guillaume Du Fay
1451:
1444:
1437:
1428:
1427:
1381:Orlando di Lasso
1360:Cipriano de Rore
1335:Jacques Arcadelt
1319:Pierre de la Rue
1309:Josquin des Prez
1284:Antoine de FĂ©vin
1279:Antonius Divitis
1248:Johannes Prioris
1202:Johannes Pullois
1187:Guillaume Du Fay
1164:
1157:
1150:
1141:
1140:
1050:
994:Atlas, Allan W.
976:
973:
967:
964:
958:
957:
949:
943:
940:
934:
931:
925:
922:
913:
910:
904:
901:
895:
892:
883:
880:
874:
871:
865:
864:Einstein, p. 264
862:
856:
853:
847:
840:
834:
831:
825:
822:
816:
813:
804:
801:
795:
792:
786:
785:
757:
748:
745:
736:
733:
727:
721:
469:Josquin des Prez
324:
323:
322:
320:
257:Clément Janequin
235:(died 1559) and
135:composer of the
125:Jacques Arcadelt
69:
51:
49:
36:Jacques Arcadelt
32:
31:
21:
2270:
2269:
2265:
2264:
2263:
2261:
2260:
2259:
2215:
2214:
2213:
2208:
2185:
2177:
2164:
2116:
2102:Girolamo Scotto
2087:Antonio Gardano
2043:
1982:
1936:
1883:
1874:Heinrich SchĂŒtz
1869:Philippe Rogier
1819:Orlando Gibbons
1771:
1767:
1758:
1754:Giaches de Wert
1744:Christopher Tye
1699:Claude Le Jeune
1689:Claude Goudimel
1684:Nicolas Gombert
1679:Andrea Gabrieli
1674:Jacobus Clemens
1645:
1641:Adrian Willaert
1571:Martin Agricola
1557:
1493:Antoine Busnois
1488:Gilles Binchois
1469:
1460:
1455:
1425:
1420:
1416:Giaches de Wert
1406:Philippe Rogier
1386:Carolus Luython
1369:
1365:Adrian Willaert
1350:Nicolas Gombert
1323:
1262:
1206:
1197:Antoine Busnois
1192:Gilles Binchois
1173:
1168:
1116:
1048:
984:
979:
974:
970:
965:
961:
950:
946:
941:
937:
932:
928:
923:
916:
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907:
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841:
837:
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828:
823:
819:
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782:
758:
751:
746:
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2143:Architecture
2077:Jacob Bathen
1794:John Dowland
1664:William Byrd
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1538:Leonel Power
1411:Jacobus Vaet
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1126:(ChoralWiki)
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68:(1568-10-14)
26:
2230:1568 deaths
2133:Renaissance
2128:Early music
2024:Netherlands
2004:Elizabethan
1859:Jacopo Peri
1829:Alonso Lobo
1789:John Cooper
1651:Late (1530)
1611:Jean Mouton
1523:Jean Japart
1513:Walter Frye
1294:Jean Mouton
772:BĂ€renreiter
534:for three.
524:Albert Seay
465:Jean Mouton
431:contrafacta
427:patter song
402:fauxbourdon
137:Renaissance
79:Occupations
2219:Categories
2158:Philosophy
2153:Literature
2121:Background
1987:Traditions
1963:Magnificat
1953:Intermedio
1897:Burgundian
842:Rabelais,
724:James Haar
639:Missa tres
490:Publishers
451:Magnificat
410:enjambment
354:polyphonic
293:Magnificat
237:Charles IX
208:Caravaggio
48:1507-08-10
1973:Offertory
1902:Colorists
1764:Mannerism
538:Madrigals
479:Ave Maria
473:polyphony
423:note nere
406:imitation
370:Sannazaro
308:Madrigals
141:madrigals
117:Madrigals
2194:Category
2171: â
2034:Portugal
1958:Madrigal
1932:Venetian
590:Chansons
416:Chansons
396:and the
394:dolcezza
362:Petrarch
297:frottola
291:and the
233:Henry II
153:chansons
87:composer
18:Arcadelt
2184:â
2014:Germany
1994:British
1136:(IMSLP)
1132:at the
1122:in the
398:suavitĂ
265:Priapus
221:doublet
2204:Portal
2029:Poland
2009:France
1999:Cyprus
1978:Pavane
1772:c.1600
1106:
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1037:
1016:
778:
633:Masses
496:Scotto
453:, the
447:motets
443:masses
348:, and
346:guitar
285:masses
281:motets
127:(also
84:Singer
2148:Dance
2039:Spain
2019:Italy
1948:Carol
1927:Roman
687:Notes
514:Works
445:, 24
334:Italy
275:Music
206:, by
177:choir
169:Namur
56:Namur
1968:Mass
1766:and
1104:ISBN
1090:ISBN
1073:ISBN
1035:ISBN
1014:ISBN
776:ISBN
506:and
467:and
350:viol
342:lute
259:and
163:Life
147:and
63:Died
42:Born
2138:Art
520:CMM
2221::
1084:,
917:^
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412:.
368:,
344:,
223:.
1450:e
1443:t
1436:v
1163:e
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1149:v
784:.
50:)
46:(
20:)
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