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
Masnelli, Paolo
Massaino, Primo a 6 (1604) (complete)
Massaino, Quarto a 5 (1594) (complete)
Massaino, Terzo a 5 (1587) (complete)
Mezzogorri, Giovanni Nicolò
Monteverdi, Claudio
Mosto, Giovanni Battista
Nasco, Giovan (Jan)
Nodari, Giovanni Paolo, Madrigali a 5 (complete)
Pallavicino, Benedetto
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

Boschetti, Giovanni Boschetto

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Title and DescriptionScoreMidiTranslation
O Mirtillo, Mirtillo, anima mia (SSATB) *NEW*
Giovanni Boschetto Boschetti was active in Rome and Viterbo in the first two decades of the 17th century. Presumably he took holy orders, although details are lacking. His Primo libro de’ madrigali a 5, published in 1613, suggests the influence of Monteverdi’s style of a decade earlier. The work contains a number of settings from Guarini’s “pastoral tragicomedy” Il pastor fido, some of which feature peculiar alterations of the text. Interestingly, Boschetti offers the following explanation: “Do not be amazed if you find many words that are changed from their original form ... It was not my idea, but rather the wish of my superiors, who cannot be gainsaid.” These changes notwithstanding, Boschetti shows himself to be capable of sensitive and expressive text-setting. “O Mirtillo, Mirtillo, anima mia” (Pastor fido III/iv) is a setting of the opening lines of Amarilli's soliloquy lamenting the emotional harm she is compelled to inflict on Mirtillo. In Guarini’s original, Amarilli blames destino (destiny) for her predicament; evidently the notion of destiny, with its implications of predestination and fatalism, was too problematic for Boschetti’s superiors to allow.
Deh Tirsi mio gentil (SSATB) *NEW*
In Guarini’s original, these lines are spoken by Corisca, who is trying to escape from a satyr (Satiro) whom she has jilted, and who threatens to carry her off to a cave and subject her to various (unspecified, but clearly sexual) indignities. It seems that the subject-matter was too risqué for Boschetti’s superiors, so that the composer was obliged to metamorphose the setting into a tamer one in which a pastoral stock character (Filli) tearfully beseeches her uncaring stock-character lover (Tirsi). (In all likelihood, Guarini would not have been amused.)
Ah, purtroppo son desto (SSATB) *NEW*
The opening lines of Mirtillo’s lengthy anguished outburst, upon coming to believe – falsely, as it turns out – that his beloved Amarilli has arranged an assignation with a rival in a cave. In this case Guarini’s language has survived intact the scrutiny of Boschetti’s superiors.
O misera Dorinda (SSATB) *NEW*
A setting of part of an exchange between Dorinda and Silvio (Pastor Fido, II/ii), in which Silvio makes it painfully plain that he prefers the company of his hunting-dog to hers. Longer versions of the text were set by Gastoldi (whose opening motif is oddly similar to Boschetti’s) and by Gagliano and Ghizzolo (q.v.)
O sventurato e misero Mirtillo (SSATB) *NEW*
Mirtillo is devastated by the news that his beloved Amarilli is betrothed, and soon to be married, to Silvio. There is also a setting by Gastoldi (O sfortunato e misero Mirtillo, q.v.), in which the wording of the first line matches Guarini’s original.

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