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

Casentini, Marsilio

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Title and DescriptionScoreMidiTranslation
Care mie selve, addio (prima parte of 2) (SATTB)
A younger contemporary of Monteverdi, Marsilio Casentini spent much of his career in the Friulian town of Gemona. His setting of Amarilli’s farewell to her beloved Arcadian woods, uttered at a moment in Il Pastor Fido (IV/v) when she believes she is about to be unjustly put to death, underscores the poignancy of the situation.
O Mirtillo, ben fu misero (seconda parte) (SATTB)
Ch'i' t'ami (prima parte of 4) (SSATB)
Casentini’s highly expressive and technically demanding four-section setting of part of Mirtillo’s increasingly desperate, and hopeless, appeal to Amarilli (Il Pastor Fido, III/iii) compares quite favorably to Monteverdi’s version (q.v.), published four years earlier. Of the five partbooks of the print in which the work originally appeared, namely Casentini’s La Cieca: Madrigali a cinque voci ... libro quarto (1609), only three are known to survive, but the missing Canto and Quinto can be supplied by British Library MS Egerton 3665 (the “Tregian MS”). The MS copy is essentially untexted, making it necessary to reconstruct the text underlay for these two voices.
Ma che bisogna far cotanta fede (seconda parte) (SSATB)
Deh, bella e cara (terza parte) (SSATB)
Ma a chi parlo (quarta ed ultima parte) (SSATB)
Cieco, Amor, non ti cred' io (prima parte) (SSATB)
The first of a suite of four madrigals (here called scherzi) whose texts are taken from a scene in Il Pastor Fido (III/ii) in which Amarilli and her companions play the gioco della cieca, or game of Blind Man’s Buff (and Amarilli is “it,” the blindfolded one). As noted above, only the Alto, Tenore and Basso partbooks of the printed edition are known to survive, but the missing parts (minus underlay) can be supplied by British Library MS Egerton 3665. Regrettably, however, only the first madrigal is to be found in the latter source, so that a complete edition of the work would entail the arduous task of reconstructing two missing parts.
Cruda Amarilli (SSATB)
Casentini’s energetic setting of the speech that introduces the woebegone protagonist Mirtillo of Il Pastor Fido (I/ii) is remarkable for its use of 6/4 chords, dissonances and angular melodic lines. Although written for five unaccompanied voices, the style is more reflective of the early baroque than the late renaissance. As in the case of “Ch’i’ t’ami” (see above), the Canto and Quinto parts are here supplied by British Library MS Egerton 3665 (the “Tregian MS”).

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