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

Croce, Giovanni

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Title and DescriptionScoreMidiTranslation
Filli morir vorrei a7 (SSA ATTB)
A humorous amorous dialogue, which provided the model for Morley's "Phyllis, I fain would die now"
In quel bosco di quercie (prima parte of 2) (SATTB)
A setting of one sonnet of a cycle by the poet Fabio Petrozzi, in praise of various country estates in the vicinity of Frascati outside of Rome. Croce's text evidently refers to the Villa Aldobrandini, constructed in the early 17th c. around an earlier villa erected by one Alessandro Ruffini.
E perché non t'infiammi (seconda parte) (SATTB)
Virtù ch'a par del sol (prima parte of 2) (SS A/T TB)
A madrigal in praise of Bianca Capello, Grand Duchess of Tuscany, on a text by Giovanni Battista Zuccarini. For some reason, the piece was published separately from the anthology Corona di dodici sonetti (1586), containing settings of 12 sonnets on the same theme, in which the same text is set by Lelio Bertani.
O con ragion (seconda parte) (SS A/T TB)
O Mirtillo, Mirtillo (SSATTB)
Croce's only known setting of a text from Il Pastor Fido (Act III Scene iv), being the opening lines of Amarilli's soliloquy lamenting the emotional harm she is compelled to inflict on Mirtillo.
Ove tra l'erb' e i fiori (SSATTB)
Croce's madrigal, originally included in a "wedding present" collection entitled Trionfo di Dori (1592), was subsequently "Englished" as "Hard by a crystal fountain," and served as the point of departure for The Triumphes of Oriana (1601) in praise of Queen Elizabeth. The version given here is transposed down a fourth; a version at the original pitch is also available.
Era presso al morire (SATB)
One of the very few extant madrigals for four voices by Croce.
Tirsi morir volea (prima parte of 4) (SSTTTB)
In this rather long-winded setting of Guarini’s erotic poem, for six voices and in four sections, Croce seems to portray the interaction between shepherd and nymph in slow motion. At the same time, his treatment of the text “[occhi …] tremanti” in the terza parte is perhaps the most animated description of fluttery eyelashes in the madrigal literature.
Frenò Tirsi il desio (seconda parte) (SSTTTB)
La bella ninfa sua (terza parte) (SSTTTB)
Così moriro (quarta parte) (SSTTTB)

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