MASTER LIST OF COMPOSERS

Below is a list of composers currently represented on this Web site. Clicking on a composer's name will bring up a list of madrigals available to be downloaded. Three downloads are available for each madrigal: Score (in PDF format), MIDI (.mid) and Text/Translation (also in PDF).

All downloads are free of charge; however, you must register with the site in order to download Scores and Texts/Translations.

Note that, in the case of madrigals in multiple sections, the full Text/Translation may be downloaded from the entry for the first section (the prima parte).

NOTE ABOUT MIDI FILES: Mac users are advised that Apple's QuickTime application no longer supports MIDI. However, MIDI files can be played on GarageBand for Mac, as well as on some third-party freeware programs. Alternatively, users can request MP3 files of particular pieces by contacting Martin Morell.


Aleotti, Vittoria
Arcadelt, Jacques (Giaches)
Artusini, Antonio
Bati, Luca, Primo a 5 (1594) (complete)
Bellasio, Paolo
Bertani, Lelio
Boschetti, Giovanni Boschetto
Caletti, Giovanni Battista
Califano, Giovanni Battista
Capilupi, Gemignano
Casentini, Marsilio
Cavaccio, Giovanni
Cifra, Antonio
Costa, Gasparo
Croce, Giovanni
D'India, Sigismondo
Dalla Casa, Girolamo
Del Mel, Rinaldo
Dentice, Fabrizio
Falcone, Achille
Felis, Stefano
Florio, Giorgio
Freddi, Amadio
Gabrieli, Giovanni
Gagliano, Marco da
Gastoldi, Concenti musicali a8 (1604/1610) (complete)
Gastoldi, Giovanni Giacomo
Gastoldi, Primo a 6 (1592) (complete)
Gastoldi, Quarto a 5 (1602) (complete)
Ghizzolo, Giovanni
Giovanelli, Ruggiero
Guami, Francesco
Guerini, Pietro Francesco
Ingegneri, MarcAntonio
Isnardi, Paolo
Leoni, Leone
Mancini, Curzio
Marenzio, Luca
Marsolo, Pietro Maria, Madrigali boscarecci a 4 (1607) (complete)
Masnelli, Paolo
Massaino, Terzo a 5 (1587) (complete)
Massaino, Tiburzio, Primo a 6 (1604) (complete)
Massaino, Tiburzio, Quarto a 5 (1594) (complete)
Mezzogorri, Giovanni Nicolò
Monteverdi, Claudio
Mosto, Giovanni Battista
Naldi, Romolo, Primo a 5 (1589) (complete)
Nasco, Giovan (Jan)
Nodari, Giovanni Paolo, Madrigali a 5 (complete)
Pallavicino, Benedetto
Raval, Sebastiano, Primo a 5 (1593) (complete)
Rognoni Taeggio, Francesco, Primo a 5 (1613) (complete)
Rognoni Taeggio, Giovanni Domenico, Primo a 5 (1605) (complete)
Rore, Cipriano (De)
Rossetti, Stefano
Rossi, Salamone
Ruffolo, Lucrezio
Sabino, Ippolito
Santini, Marsilio
Stabile, Annibale
Taroni, Antonio
Tomasi, Biagio
Tresti, Flaminio
Tresti, Secondo a 5 (1587) (complete)
Usper (Spongia), Francesco
Valmarana, Girolamo
Various (from Dolci Affetti, 1582)
Various (from Trionfo di Musica, 1579)
Vecchi, Orazio
Venturi del Nibbio, Primo a 5 (1592) (complete)
Venturi del Nibbio, Primo pastorali a 5 (1592) (complete)
Verdonck, Cornelius
Virchi, Paolo, Primo a 5 (1584) (complete)
Virchi, Paolo, Secondo a 5 (1588) (complete)
Wert, Decimo a 5 (1591) (complete)
Wert, Giaches de
Wert, Ottavo a 5 (1586) (complete)
Zanchi, Liberale
Zanotti, Camillo
Zoilo, Annibale

Marsolo, Pietro Maria, Madrigali boscarecci a 4 (1607) (complete)

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Title and DescriptionScoreMidiTranslation
Introduction
The Introduction can be downloaded from the Translation column
I’ sento il rossignuol (prima parte of 2) (SATB) *NEW*
The poem is subtitled “Description of the songs of divers birds which are to be found, among other delights, at Jacopo Corsi’s villa near Florence.” Corsi was a Florentine nobleman, patron of the arts, and composer who sponsored, and contributed to, the early opera La Dafne.
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Non lunge il solitario ascolto (seconda parte) (SATB) *NEW*
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Sovra l’orlo d’un rio [prima parte of 2] (SATB) *NEW*
Marino’s implicit premise seems to be that, while the nightingale’s musical abilities are superb, its physical appearance is rather plain and nondescript. Thus the bird’s puffed-up pride at its virtuoso vocal performance is given its comeuppance by seeing an unflattering reflection of itself in the stream.
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Ma mentre ch’il tenor (seconda parte) (SATB) *NEW*
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Addio Florida bella (prima parte of 2) (SATB) *NEW*
The poem is subtitled simply “A shepherd who takes leave of his nymph.” It belongs to a subgenre which can be called the “dialogue of parting.”
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Così sul Tebro allo spuntar del sole (seconda parte) (SATB) *NEW*
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Volto ai lucenti e liquidi cristalli (prima parte of 2) (SATB) *NEW*
One of a number of sonnets in the Rime boscherecce that features Polyphemus – the clumsy one-eyed giant of classical mythology seems to have exerted a particular fascination on Marino.
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Curvi delfini musiche sirene (seconda parte) (SATB) *NEW*
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Sulla sponda del Tebro (prima parte of 2) (SATB) *NEW*
The poem bears the subtitle La ninfa tiberina (the nymph of the Tiber) and is dedicated to a Roman noblewoman, Agnola Vitelli Soderini.
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Ride di liete e verdeggianti spoglie (seconda parte) (SATB) *NEW*
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Ti lagni Elpinia mia (prima parte of 2) (SATB) *NEW*
An enigmatic text, whose story-line seems to unfold in medias res. The protagonist’s love-object Elpinia appears in a number of other sonnets in the Rime boscherecce.
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Destolla i’ credo il suon (seconda parte) (SATB) *NEW*
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Mentre lungi ti stai (SATB) *NEW*
In convoluted language, the protagonist spins romantic fantasies while fondly contemplating his beloved’s portrait.
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Qui rise o Tirsi (prima parte of 2) (SATBar) *NEW*
The protagonist reminisces fondly about a romantic encounter that took place on the spot where he now stands. The ending of the seconda parte is remarkably similar to that of a Marenzio madrigal (seconda parte of “Due rose fresche e colte in paradiso”); it seems unlikely that the similarity is fortuitous.
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Qui con meco s’assise (seconda parte) (SATBar) *NEW*
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Duo della dea più bella augei (prima parte of 2) (SATBar) *NEW*
The poem is subtitled “Avvenimento boschereccio” (roughly, “something that happened in the forest”), which gives little if any clue that the drowsy, sensual scene depicted in the prima parte will be violently disrupted in the seconda.
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Quando ecco con orribile rimbombo (seconda parte) (SATBar) *NEW*
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Io rido, rido amanti (SATBar) *NEW*
The protagonist is in thrall to a woman with uncanny powers over his emotions.
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O chiome erranti (SATBar) *NEW*
A paean to the alluring properties of golden tresses. The text was extremely popular with contemporary composers (some 23 madrigal and solo-song settings are attested).
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Fammi giustizia Amore (dialogo a 8) (SATB SATB) *NEW*
A cleverly constructed dialogue, of unknown authorship, fashioned as an appeal to Cupid for justice in a case involving an alleged stolen heart. The man poses as the aggrieved party, while the woman deftly parries his complaints.
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