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

Cifra, Antonio

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Title and DescriptionScoreMidiTranslation
Cruda Amarilli (prima parte of 2) (SSATB)
Antonio Cifra (ca.1584-1629), a prolific but little-known composer of the Roman school, is an interesting transitional figure between the late renaissance and early baroque. He produced four books of a cappella madrigals, as well as an abundance of sacred music in the concertato style. His setting of “Cruda Amarilli,” the speech that introduces the woebegone protagonist Mirtillo of Pastor fido (I/ii), is less tormented than Pallavicino’s (q.v.), and features a novel ending of the prima parte. A portion of the Tenore is missing in the sole surviving copy of the original, and has been reconstructed.
Ma grideran per me (seconda parte) (SSATB)
Ma che bisogna far cotanta fede (SSATB)
Cifra’s setting of part of Mirtillo’s increasingly desperate, and hopeless, appeal to Amarilli (Pastor fido, III/iii), from his Primo libro a 5. Madrigalists seldom set the same lines twice; however, Cifra recycled the text in his Secondo libro, this time as the seconda parte of “Ch’io t’ami, e t’ami più della mia vita” (q.v.).
Ch'io t'ami, e t'ami più della mia vita (prima parte of 2) (SATTB)
Cifra again draws inspiration from Mirtillo’s impassioned speech to Amarilli (Pastor fido, III/iii); unusually, the seconda parte is an entirely different setting of a text he had used previously (see above). There is some nice word-painting in the prima parte and a distinctive descending chromatic motif in the seconda parte.
Ma che bisogna far fede cotanta (seconda parte) (SATTB)
O primavera gioventù dell'anno (SSATB+b.c.)
A later work by Cifra, with continuo and embryonic solo sections. The text is a setting of the opening lines of Act III of Pastor Fido; in terms of its affect, however, the piece seems to evoke more a rousing paean to springtime than a rendering of Mirtillo’s lovesickness and anguish. See also the setting by Monteverdi and the more extended one by Wert.

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