164:
292:
273:, rather than Tallis using it for Elizabeth. The music itself is entirely different from Striggio's setting. His work was for ten four-part choirs; Tallis's is for eight five-part choirs. The '30' in Wateridge's letter may not be a misprint or an error; the work referred to may be simply unknown. On these arguments Tallis wrote the work for Mary, Elizabeth's predecessor. The possibility has been advanced that Striggio copied Tallis, though of this there is no evidence.
213:
1435:
261:, and so (if the anecdote is trustworthy) his execution in 1572 gives a latest date for the work's composition. Some scholars consider that the Duke of Norfolk commissioned Tallis to write "Spem in alium" for performance at Nonsuch, and that its first performance took place there. Other historians, doubting the anecdote, suggest that the first performance was on the occasion of Elizabeth's 40th birthday in 1573.
569:
1445:
758:, with all singers recording their parts individually at home. The edition used was that prepared by Hugh Keyte in 2020 and made available by the Thomas Tallis Society along with Keyte's 70-page introduction to the edition. The Society also made available learning material whereby a singer may hear a recording of any chosen voice line, with metronome and/or organ accompaniment.
208:
beeinge very skilfull was felt to try whether he would undertake þ matter, w he did & made one of 40 ptes w was songe in the longe gallery at
Arundell house, w so farre surpassed þ other that the Duke, hearinge þ songe, tooke his chayne of Gold fro his necke & putt yt about Tallice his necke & gave yt him (w songe was againe songe at þ Princes coronation).
39:
250:; Nonsuch Palace was his country residence. Nonsuch had an octagonal banqueting hall, which in turn had four first-floor balconies above the ground floor; on this supposition it could have been the case that Tallis designed the music to be sung not only in the round, but with four of the eight five-part choirs singing from the balconies.
269:'s reign. Nonsuch Palace belonged to the Norfolks in the 1550s, having been sold to them by Mary. As for the original text, its context of Judith slaying Holofernes and regaining her position fits with Mary's execution of the Duke of Northumberland, who had attempted to supplant her on the throne with
349:
to be implemented during its ten- to twelve-minute performance time. The work is a study in contrasts: the individual voices sing and are silent in turns, sometimes alone, sometimes in choirs, sometimes calling and answering, sometimes all together, so that, far from being a monotonous mass, the work
280:, Oxford, where it was part of an exhibition shown in 2008–09 detailing 1000 years of British choral music. Another early score of the work resides at the British Library, London in the Sir John Ritblat Treasures Gallery, where it was part of the 2014–15 exhibition "Treasures of the British Library".
265:
suggesting that the original text was not satisfactory. Wateridge's letter is dated 40 years after the
Elizabethan date and does not mention either Striggio or the duke by name. It has been suggested that if the duke in question was a duke of Norfolk this could be the third duke, who was alive during
264:
The above are the most widely held views, but both have difficulties. The text comes from a response in the Matins order in the Sarum rite, which had been superseded by the Book of Common Prayer. Indeed, the text used for a 1610 performance of the work, while set to the music, is entirely different,
207:
In Queen
Elizabeths time þ was à songe sen into England in 30 ps (whence þ Italians obteyned þ name to be called þ Apices of þ world) w beeinge Songe mad a heavenly Harmony. The Duke of — bearinge à great love to Musicke asked whether none of our English men could sett as good à songe, and Tallice
333:
The motet is laid out for eight choirs of five voices (soprano, alto, tenor, baritone and bass). It is most likely that Tallis intended his singers to stand in a horseshoe shape. Beginning with a single voice from the first choir, other voices join in imitation, each in turn falling silent as the
334:
music moves around the eight choirs. At bar 40 all forty voices enter simultaneously for a few bars, and then the pattern of the opening is reversed with the music passing from choir eight to choir one. There is another brief full section, after which the choirs sing in
632:, which is the salvaged interior of a demolished convent chapel that is now in permanent display at the National Gallery. Forty speakers are set around the Chapel, each one featuring a single voice of the 40-part choir. The result is a highly enhanced
652:
for what was almost certainly the largest performance of the piece in history. On that day, over 700 singers attended, most of whom had never sung the piece before. A programme following the day's events was broadcast on
183:
before returning to the crown in the 1590s. The listing, from 1596, describes it as "a song of fortie partes, made by Mr. Tallys". The earliest surviving manuscripts are those prepared in 1610 for the investiture as
636:
effect, as visitors may hear each individual voice through its corresponding speaker, or listen to the voices of the entire choir blending in together with varying intensities, as one moves around the Chapel.
1279:
1448:
175:
The work's early history is obscure, though there are some clues as to where it may have been first performed. It is listed in a catalogue of the library at
1296:
1266:(with further discussion of the work, as well as complete score and singers' editions for each of the eight choirs, available for free legal download).
1489:
1369:
1323:
1479:
1145:
1341:
926:
310:
1407:
1375:
1049:
247:
180:
151:
230:
1198:
345:, its individual vocal lines act quite freely within its elegant harmonic framework, allowing for a large number of individual musical
258:
217:
309:
1061:
855:
1469:
998:
394:
189:
146:
1084:
530:
389:
There is no early manuscript source giving the underlay for the Latin text: the 1610 copies give the underlay for the
English
238:, who is known to have visited London in June 1567 after a trip through Europe during which he arranged other performances of
1098:
1399:
145:, composed in c. 1570 for eight choirs of five voices each. It is considered by some critics to be the greatest piece of
1171:
771:
542:
526:
1316:
1293:
offers midi files of each choir and each part within each choir for practice. (no longer available at this location)
601:
338:
pairs, throwing the sound across the space between them. Finally all voices join for the culmination of the work.
1249:
518:
1263:
224:
Supposing the "30" to be a mistake, the
Italian song referred to has been argued to be either the 40-part motet
873:
675:
379:
708:
581:
163:
1474:
1438:
1309:
301:
1225:
689:(2014), performed "in-the-round" at Stet's early-training in the fictional National Boychoir Academy.
1484:
1269:
751:
747:
679:, reaching a climax when Yates and Simpson arrive at the summit of the mountain. It appears again in
669:
629:
522:
510:
1420:
1290:
550:
235:
897:
597:
383:
193:
680:
212:
987:
Thomas
Kahlcke, in sleevenotes to "The Tallis Scholars: Best of the Renaissance" (Philips 1999)
1057:
922:
851:
664:
135:
60:
916:
386:(formerly called Matins) following the first lesson on Tuesday of the 29th Week of the Year.
889:
755:
645:
573:
538:
277:
200:
1414:
1273:
1253:
833:
789:
736:
684:
514:
185:
1285:
964:
149:. H. B. Collins described it in 1929 as Tallis's "crowning achievement", along with his
806:
793:
775:
375:
270:
176:
168:
1120:
1010:
1463:
1356:
1332:
589:
346:
243:
142:
30:
568:
716:
696:
554:
390:
63:
862:, see figure 8.1 for a photograph of the relevant page of the original manuscript.
308:
1257:
1106:
1024:
779:
732:
546:
534:
254:
1393:
695:
has inspired modern composers to write 40-part choral works; examples include
649:
633:
621:
371:
325:
117:
88:
84:
397:, "Sing and glorify" (see below), with the Latin words given at the bottom.
724:
382:). Today the response appears in the Divine Office of the Latin rite in the
342:
167:
The obscure origins of "Spem in alium" are strongly linked with the former
38:
654:
335:
242:. This account is consistent with the catalogue entry at Nonsuch Palace:
1444:
901:
644:
asked for 1,000 singers to meet, rehearse and perform the piece in the
617:
609:
562:
558:
367:
625:
613:
605:
363:
266:
203:
by the law student Thomas
Wateridge contains the following anecdote:
893:
877:
257:'s reign was that of Norfolk, so the duke in the letter can only be
567:
359:
211:
138:
131:
98:
73:
52:"I have never put my hope in any other but in Thee, God of Israel"
1301:
1305:
813:, Vol. 60, No. 1 (Spring 2007), pp. 1–69. ISSN 0003-0139.
735:
for its 40th anniversary. A London-based choral festival, the
641:
290:
1226:"Tallis' Virtual Voice – Resources – Thomas Tallis Society"
1054:
The Bible in Music: A Dictionary of Songs, Works, and More
844:
Cambridge
University Library, MS Dd.5.14, f.73, quoted in
809:, "Alessandro Striggio's Mass in Forty and Sixty Parts".
525:
of Great
Britain, the Oxford Camerata; the Choirs of
850:. London and New York: Routledge. pp. 149–150.
341:
Though composed in imitative style and occasionally
1385:
1348:
112:
104:
94:
79:
69:
56:
48:
23:
1048:Long, Siobhán Dowling; Sawyer, John F. A. (2015).
350:is continually changing and presenting new ideas.
941:Dennis Stevens Early Music Vol 10 Issue 2 p.171ff
600:which is part of the permanent collection of the
918:Thomas Tallis and His Music in Victorian England
1200:Spem in Alium (full score) edited by Hugh Keyte
731:(2009), which was commissioned by the UK choir
958:
956:
549:have recorded it alongside a 40 part motet by
316:An excerpt of the first 2 minutes of the motet
1317:
811:Journal of the American Musicological Society
750:performed the work, trained and conducted by
588:Another version of this motet is featured in
8:
1297:Straight into the charts... a hit from 1568.
882:The Musical Times and Singing Class Circular
743:, commissioned both Mäntyjärvi and McGarr.
447:who canst show both wrath and graciousness,
362:text of the motet is from a responsory (at
1324:
1310:
1302:
739:, which usually included a performance of
370:, during the V week of September), in the
276:An early score of the work resides at the
179:, a royal palace sold in the 1550s to the
37:
20:
1056:. Rowman & Littlefield. p. 226.
509:Recordings include those by the Choir of
253:Likewise, the only dukedom extant during
871:This anecdote was first transcribed in
162:
1043:
1041:
823:
489:For ever give it greeting, Love and joy
474:Sing and glorify heaven's high Majesty,
1256:, followed by 10-minute discussion on
1206:(2020 ed.). Thomas Tallis Society
323:
134:for "Hope in any other") is a 40-part
1370:Tunes for Archbishop Parker's Psalter
486:This is the day, holy day, happy day,
441:I have never put my hope in any other
7:
1408:Fantasia on a Theme by Thomas Tallis
1376:Lamentations of Jeremiah the Prophet
1173:Spem in Alium: Editor's introduction
878:"Tallis and His Song of Forty Parts"
829:
827:
248:Henry FitzAlan, 19th Earl of Arundel
16:Musical composition by Thomas Tallis
628:. The Ottawa exhibit is set in the
220:commissioned the motet from Tallis.
393:, sung at the 1610 investiture of
259:Thomas Howard, 4th Duke of Norfolk
218:Thomas Howard, 4th Duke of Norfolk
14:
1282:for the Oxford Camerata recording
705:And There Shall Be No Night There
498:Harry live in thy creation happy.
1490:Henry Frederick, Prince of Wales
1443:
1434:
1433:
395:Henry Frederick, Prince of Wales
324:Problems playing this file? See
306:
240:Missa sopra Ecco sì beato giorno
231:Missa sopra Ecco sì beato giorno
963:Baker, Michael; Steel, George.
495:Live Henry princely and mighty,
477:Author of this blessed harmony;
414:Qui irasceris et propitius eris
673:. It is also used in the film
1:
1480:Compositions by Thomas Tallis
450:and who absolves all the sins
1264:Choral Public Domain Library
1025:"Bodleian Libraries Website"
965:"The Story of Spem in alium"
772:Taverner Consort and Players
663:features prominently in the
543:Taverner Consort and Players
216:According to some accounts,
1291:Brighton Consort's MIDI Set
997:George Steel (March 2002).
786:Thomas Tallis—Spem in alium
537:; The Clerkes of Oxenford;
469:English contrafactum (1610)
459:Creator of Heaven and Earth
429:respice humilitatem nostram
408:Spem in alium nunquam habui
1506:
602:National Gallery of Canada
444:but in Thee, God of Israel
411:Praeter in te, Deus Israel
1429:
1339:
874:Sheppard, Henry Fleetwood
768:Tallis—Latin Church Music
36:
28:
1280:Notes by Jeremy Summerly
1146:"Spem in Alium: Preface"
1125:The Self-Isolation Choir
1103:Exmoor Singers of London
754:and led by singers from
703:(1998), Robert Hanson's
492:heart and voice meeting:
420:in tribulatione dimittis
417:et omnia peccata hominum
228:or the 40–60-voice mass
1470:Polychoral compositions
1270:Notes by Peter Phillips
1179:. Thomas Tallis Society
1151:. Thomas Tallis Society
921:. Boydell. p. 97.
721:Love You Big as the Sky
582:ARoS Aarhus Kunstmuseum
426:Creator caeli et terrae
246:was the London home of
915:Cole, Suzanne (2008).
585:
519:The Cardinall's Musick
483:With melodious graces;
295:
221:
210:
172:
43:Composer Thomas Tallis
1085:"The People's Chorus"
846:Harley, John (2016).
640:On 10 June 2006, the
571:
533:Colleges, Cambridge;
294:
215:
205:
166:
1342:List of compositions
1286:The Early Music Show
1250:Complete performance
1170:Keyte, Hugh (2020).
748:Self-Isolation Choir
657:on 9 December 2006.
630:Rideau Street Chapel
523:National Youth Choir
511:Winchester Cathedral
480:Sound divine praises
1421:The Tallis Scholars
1109:on 29 January 2019.
950:Moroney, pp. 28–33.
876:(1 February 1878).
551:Alessandro Striggio
462:Regard our humility
453:of man in suffering
436:English translation
374:, adapted from the
236:Alessandro Striggio
147:English early music
1260:(28 October 2007)
598:sound installation
586:
384:Office of Readings
296:
222:
173:
1457:
1456:
1099:"Tallis Festival"
1013:on 26 April 2009.
928:978-1-84383-380-2
709:Jaakko Mäntyjärvi
676:Touching the Void
670:Gideon's Daughter
665:Stephen Poliakoff
311:
226:Ecce beatam lucem
123:
122:
1497:
1447:
1437:
1436:
1326:
1319:
1312:
1303:
1237:
1236:
1234:
1232:
1222:
1216:
1215:
1213:
1211:
1205:
1195:
1189:
1188:
1186:
1184:
1178:
1167:
1161:
1160:
1158:
1156:
1150:
1142:
1136:
1135:
1133:
1131:
1117:
1111:
1110:
1105:. Archived from
1095:
1089:
1088:
1081:
1075:
1074:
1072:
1070:
1045:
1036:
1035:
1033:
1031:
1021:
1015:
1014:
1009:. Archived from
994:
988:
985:
979:
978:
976:
974:
969:
960:
951:
948:
942:
939:
933:
932:
912:
906:
905:
869:
863:
861:
842:
836:
831:
646:Bridgewater Hall
594:Forty-Part Motet
578:Forty Part Motet
574:art installation
572:Janet Cardiff's
539:Huelgas Ensemble
313:
312:
293:
278:Bodleian Library
201:commonplace book
41:
21:
1505:
1504:
1500:
1499:
1498:
1496:
1495:
1494:
1460:
1459:
1458:
1453:
1425:
1415:Ye Sacred Muses
1381:
1344:
1335:
1330:
1274:Tallis Scholars
1254:Tallis Scholars
1246:
1241:
1240:
1230:
1228:
1224:
1223:
1219:
1209:
1207:
1203:
1197:
1196:
1192:
1182:
1180:
1176:
1169:
1168:
1164:
1154:
1152:
1148:
1144:
1143:
1139:
1129:
1127:
1121:"Spem in Alium"
1119:
1118:
1114:
1097:
1096:
1092:
1083:
1082:
1078:
1068:
1066:
1064:
1050:"Spem in Alium"
1047:
1046:
1039:
1029:
1027:
1023:
1022:
1018:
996:
995:
991:
986:
982:
972:
970:
967:
962:
961:
954:
949:
945:
940:
936:
929:
914:
913:
909:
894:10.2307/3358789
872:
870:
866:
858:
845:
843:
839:
834:Boychoir (film)
832:
825:
820:
803:
790:Tallis Scholars
764:
737:Tallis Festival
701:The Silent Land
681:Francois Girard
515:Tallis Scholars
507:
502:
501:
471:
465:
438:
432:
405:
356:
331:
330:
322:
320:
319:
318:
317:
314:
307:
304:
297:
291:
286:
190:Henry Frederick
186:Prince of Wales
181:Earl of Arundel
161:
44:
17:
12:
11:
5:
1503:
1501:
1493:
1492:
1487:
1482:
1477:
1472:
1462:
1461:
1455:
1454:
1452:
1451:
1441:
1430:
1427:
1426:
1424:
1423:
1418:
1411:
1404:
1403:
1402:
1389:
1387:
1383:
1382:
1380:
1379:
1372:
1367:
1360:
1352:
1350:
1346:
1345:
1340:
1337:
1336:
1331:
1329:
1328:
1321:
1314:
1306:
1300:
1299:
1294:
1288:
1283:
1277:
1267:
1261:
1245:
1244:External links
1242:
1239:
1238:
1217:
1190:
1162:
1137:
1112:
1090:
1076:
1062:
1037:
1016:
999:"The Story of
989:
980:
952:
943:
934:
927:
907:
888:(420): 97–98.
864:
856:
837:
822:
821:
819:
816:
815:
814:
807:Davitt Moroney
802:
799:
798:
797:
794:Gimell Records
783:
776:Andrew Parrott
763:
760:
580:(2001) in the
506:
503:
500:
499:
496:
493:
490:
487:
484:
481:
478:
475:
470:
467:
466:
464:
463:
460:
457:
454:
451:
448:
445:
442:
437:
434:
433:
431:
430:
427:
424:
421:
418:
415:
412:
409:
404:
401:
400:
399:
376:Book of Judith
366:, for the 3rd
355:
352:
321:
315:
305:
300:
299:
298:
289:
288:
287:
285:
282:
271:Lady Jane Grey
177:Nonsuch Palace
169:Nonsuch Palace
160:
157:
121:
120:
114:
110:
109:
106:
102:
101:
96:
92:
91:
81:
77:
76:
71:
67:
66:
58:
54:
53:
50:
46:
45:
42:
34:
33:
26:
25:
15:
13:
10:
9:
6:
4:
3:
2:
1502:
1491:
1488:
1486:
1483:
1481:
1478:
1476:
1475:Spatial music
1473:
1471:
1468:
1467:
1465:
1450:
1446:
1442:
1440:
1432:
1431:
1428:
1422:
1419:
1417:
1416:
1412:
1410:
1409:
1405:
1401:
1398:
1397:
1396:
1395:
1391:
1390:
1388:
1384:
1378:
1377:
1373:
1371:
1368:
1366:
1365:
1364:Spem in alium
1361:
1358:
1357:If Ye Love Me
1354:
1353:
1351:
1347:
1343:
1338:
1334:
1333:Thomas Tallis
1327:
1322:
1320:
1315:
1313:
1308:
1307:
1304:
1298:
1295:
1292:
1289:
1287:
1284:
1281:
1278:
1275:
1271:
1268:
1265:
1262:
1259:
1255:
1251:
1248:
1247:
1243:
1227:
1221:
1218:
1202:
1201:
1194:
1191:
1175:
1174:
1166:
1163:
1147:
1141:
1138:
1126:
1122:
1116:
1113:
1108:
1104:
1100:
1094:
1091:
1086:
1080:
1077:
1065:
1063:9780810884526
1059:
1055:
1051:
1044:
1042:
1038:
1026:
1020:
1017:
1012:
1008:
1004:
1002:
1001:Spem in alium
993:
990:
984:
981:
966:
959:
957:
953:
947:
944:
938:
935:
930:
924:
920:
919:
911:
908:
903:
899:
895:
891:
887:
883:
879:
875:
868:
865:
859:
857:9781472428066
853:
849:
848:Thomas Tallis
841:
838:
835:
830:
828:
824:
817:
812:
808:
805:
804:
800:
795:
791:
787:
784:
781:
777:
773:
769:
766:
765:
761:
759:
757:
753:
749:
744:
742:
741:Spem in alium
738:
734:
730:
726:
722:
718:
714:
710:
706:
702:
698:
694:
693:Spem in alium
690:
688:
687:
682:
678:
677:
672:
671:
666:
662:
661:Spem in alium
658:
656:
651:
647:
643:
638:
635:
631:
627:
623:
619:
615:
611:
607:
603:
599:
595:
591:
590:Janet Cardiff
583:
579:
575:
570:
566:
564:
560:
556:
552:
548:
544:
540:
536:
532:
528:
524:
520:
516:
512:
504:
497:
494:
491:
488:
485:
482:
479:
476:
473:
472:
468:
461:
458:
455:
452:
449:
446:
443:
440:
439:
435:
428:
425:
422:
419:
416:
413:
410:
407:
406:
402:
398:
396:
392:
387:
385:
381:
377:
373:
369:
365:
361:
358:The original
353:
351:
348:
344:
339:
337:
329:
327:
303:
302:Spem in alium
283:
281:
279:
274:
272:
268:
262:
260:
256:
251:
249:
245:
244:Arundel House
241:
237:
233:
232:
227:
219:
214:
209:
204:
202:
197:
195:
192:, the son of
191:
187:
182:
178:
170:
165:
158:
156:
154:
153:
148:
144:
143:Thomas Tallis
140:
137:
133:
129:
128:
127:Spem in alium
119:
115:
111:
107:
103:
100:
97:
93:
90:
86:
82:
78:
75:
72:
68:
65:
62:
59:
55:
51:
47:
40:
35:
32:
31:Thomas Tallis
27:
24:Spem in alium
22:
19:
1413:
1406:
1392:
1374:
1363:
1362:
1229:. Retrieved
1220:
1208:. Retrieved
1199:
1193:
1181:. Retrieved
1172:
1165:
1153:. Retrieved
1140:
1128:. Retrieved
1124:
1115:
1107:the original
1102:
1093:
1079:
1067:. Retrieved
1053:
1028:. Retrieved
1019:
1011:the original
1006:
1000:
992:
983:
971:. Retrieved
946:
937:
917:
910:
885:
881:
867:
847:
840:
810:
785:
767:
746:In 2021 the
745:
740:
728:
720:
717:Peter McGarr
712:
704:
700:
697:Giles Swayne
692:
691:
685:
674:
668:
660:
659:
639:
593:
587:
577:
508:
391:contrafactum
388:
357:
340:
332:
275:
263:
252:
239:
229:
225:
223:
206:
198:
174:
152:Lamentations
150:
126:
125:
124:
108:c. 1556/1570
64:Choral music
18:
1485:1570s works
1258:BBC Radio 3
1030:17 February
780:EMI Reflexe
752:Nigel Short
733:Ex Cathedra
723:(2007) and
547:I Fagiolini
535:The Sixteen
423:Domine Deus
255:Elizabeth I
136:Renaissance
61:Renaissance
1464:Categories
1394:The Tudors
801:References
762:Recordings
650:Manchester
634:polyphonic
622:Brumadinho
596:(2001), a
505:Renditions
372:Sarum Rite
343:homophonic
336:antiphonal
326:media help
234:, both by
118:a cappella
116:40 voices
89:Sarum Rite
85:responsory
1400:character
1276:recording
1231:22 August
1210:20 August
1183:20 August
1155:20 August
729:Earthrise
725:Alec Roth
667:TV drama
584:, Denmark
531:St John's
456:Lord God,
284:Qualities
171:in Surrey
87:from the
1439:Category
1272:for the
756:Tenebrae
715:(2006),
713:Tentatio
707:(2002),
686:Boychoir
655:BBC Four
563:sackbuts
559:cornetts
555:continuo
380:Judith 9
105:Composed
95:Language
1386:Related
1252:by the
1130:24 June
1007:Andante
902:3358789
796:, 1985)
782:, 1989)
618:Inhotim
616:and of
610:Ontario
553:, with
199:A 1611
194:James I
159:History
113:Scoring
83:Matins
49:English
1087:. BBC.
1069:23 May
1060:
973:24 May
925:
900:
854:
626:Brazil
614:Canada
606:Ottawa
527:King's
521:, the
513:; the
368:Lesson
364:Matins
267:Mary I
1449:Audio
1349:Music
1204:(PDF)
1177:(PDF)
1149:(PDF)
968:(PDF)
898:JSTOR
818:Notes
788:—The
403:Latin
360:Latin
347:ideas
139:motet
132:Latin
99:Latin
74:Motet
57:Genre
1233:2021
1212:2021
1185:2021
1157:2021
1132:2021
1071:2018
1058:ISBN
1032:2014
975:2018
923:ISBN
852:ISBN
561:and
529:and
354:Text
80:Text
70:Form
890:doi
727:'s
719:'s
711:'s
699:'s
683:'s
642:BBC
620:in
604:in
592:'s
188:of
141:by
29:by
1466::
1123:.
1101:.
1052:.
1040:^
1005:.
955:^
896:.
886:19
884:.
880:.
826:^
774:,
648:,
624:,
612:,
608:,
576:,
565:.
557:,
545:;
541:;
517:,
196:.
155:.
1359:"
1355:"
1325:e
1318:t
1311:v
1235:.
1214:.
1187:.
1159:.
1134:.
1073:.
1034:.
1003:"
977:.
931:.
904:.
892::
860:.
792:(
778:(
770:—
378:(
328:.
130:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
