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By David Kidger

This key textual content may be the first full-length examine device on Adrian Willaert, the Renaissance composer of motets and madrigals who got here to prominence within the first a part of the 16th century, and may turn out necessary to researchers and scholars.

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61–62. Benedicta es, coelorum regina [a 7] ii Per illud ave prolatum [a 7] [no. 25], pp. 63–64. Verbum supernum prodiens [a 7] ii Se nascens dedit socium [a 7] [no. 26], pp. 65–66. Te Deum patrem ingenitum [a 7] ii Laus Deo patri pariliquem proli [a 7] [no. 27], pp. 67–68. Io amai sempre [a 4] ii Ma chi pensò veder [a 4] [no. 28], pp. 69–71. 53 54 Adrian Willaert Amor, Fortuna [a 4] ii Ne spero i dolci [a 4] [no. 29], pp. 72–73. Quest’anima gentil di tornino indietro [a 4] ii Se si posasse sotto el quarto nido [a 4] [no.

10], pp. XVI–XVII Sources of Willaert’s Music 29 Dulces exuviae dum fata deus [no. 11], p. XVIII Flete oculi rorate genas [no. 12], p. XIX Beatus Stephanus preciosus dei ii Et videntes vultum eius [no. 13], pp. XX–XXI Beatus Joannes apostolus et evangelista ii Ipse est qui evangelii fluenta [no. 14], pp. XXII–XXIII Victimae paschali laudes ii Dic nobis Maria [no. 15], pp. XXIIII–XXV Surgit Christus cum tropheo ii Dic Maria quid fecisti contemplando iii Dic Maria quid fecisti postquam Jesum [no.

8, Adriano Sources of Willaert’s Music 41 O dio si vede chiaro cha per te moro [no. 9], p. 9, F. Silvestrino O quand’a quand’havea [no. 10], p. 10, Adriano O bene mio famm’uno favore [no. 11], p. 11, Adriano Buccucia dolce chiú che canamielle [no. 12], p. 12, Pierresson Sospiri miei d’oime dogliorirosi et senz’aita [no. 13], p. 13, Adriano Le vecchie per invidia sono pazze [no. 14], p. 14, Adriano W1123 (1555). I sacri e santi salmi che si cantano a vespro e compieta con li suoi Himni Responsorij et Benedicamus Composti da l’eccellentissimo Musico Adriano Vuillaert a uno Choro & a quatro voci Novamente per Antonio Gardano stampati & corretti.

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