Although usually referred to as a composer, this past due seventeenth- and early eighteenth-century Spanish musician was much less a composer when compared to a collector; hardly any pieces are recognized to have been constructed by him, while an abundance of music by various other composers is conserved in his four-volume body organ music collection Flores de Música. The time and host to Martin y Coll’s delivery remain unknown, as well as the time of his loss of life can only end up being approximated (ca. 1735, and definitely not before 1733). Martin y Coll was raised within a monastery and finally chose the lifestyle of the Franciscan friar for himself, spending the previous few years of his lifestyle on the monastery of SAN FRANCISCO BAY AREA un Grande al Madrid; it could appear that he passed away now there. Martin y Coll was mainly an organist, and probably second a theorist — a set of treatises dating from 1714 and 1734 respectively had been likely the award accomplishments of his lifestyle, also if today it really is his skill as an archivist and compiler that endears him to musicologists. The four amounts of Flores de Música include several hundred key pad pieces, almost all which are anonymous. (Martin con Coll assumed that visitors of his anthology would recognize the parts instantly, and, as the parts were most likely rather famous types at that time, he was probably correct in the assumption). The writers of many from the pieces have already been discovered by contemporary scholars, however, as well as the set of composers included reads such as a who’s-who of music in Martin y Coll’s time — Corelli, Handel, Frescobaldi, Cabanilles, and Cabezón. Martin y Coll released a fifth level of key pad music (mainly for body organ) sooner or later, known as Ramillete oloroso: suabes flores de música em fun??o de órgano — and these 250-or-so items are his personal compositions.