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
Croce, Quarto libro a 5 e 6 (1607) (complete)
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, Tiburzio, Primo a 6 (1604) (complete)
Massaino, Tiburzio, Quarto a 5 (1594) (complete)
Massaino, Tiburzio, Terzo a 5 (1587) (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

Croce, Quarto libro a 5 e 6 (1607) (complete)

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Title and DescriptionScoreMidiTranslation
Introduction and commentary
The Introduction can be downloaded from the Translation column
Ecco ch’io pur vi lascio occhi beati (SSATB) *NEW*
A lover’s adieu to his love-object, with a warning to future suitors – the last line seems to be saying, in effect, beware of her mirage-like allure. 		Download
Della più scura notte (SATTB) *NEW*
A tribute to a female singer, evidently named Aurora, who, in contrast to her namesake (“dawn”), induces a mood of gloom in the protagonist. 		Download
Occhi stelle d’amore (S MS ATB) *NEW*
A lover’s somewhat awkward plea to his love-object for a respite from whatever ails him about their relationship.		 Download
In quel bosco di quercie (prima parte) (SS A/T TB)
Croce evidently composed this piece for inclusion in the musical anthology Sonetti novi di Fabio Petrozzi sopra le ville di Frascati ... a cinque voci da diversi (Rome, 1609). The text is part of a sonnet-cycle in praise of various villas in the region of Frascati, outside of Rome. 		Download
E perché non t’infiammi (seconda parte) (SS A/T TB)
Download
Se t’è cara e gradita (S MS TTB) *NEW*
The earliest known work by Alessandro Grandi, composed when he was around 20 years of age and during the relatively brief period when he was a singer in St. Mark’s. Although Croce included this piece in the Quarto libro, its style would seem to lend a modicum of support to the hypothesis that Grandi was a pupil of Giovanni Gabrieli. 		Download
Or che gioisce il ciel ride la terra (SSATTB) *NEW*
A stock pastoral scene celebrating the delights of springtime. Croce makes liberal use of word-painting on the words ride (laughs), tesser (weave) and cantando (singing).		 Download
Fulmina il ciel tuonante (SSATTB) *NEW*
A somewhat puzzling text in which the protagonist contrasts his precarious situation with that of a swan that does not fear stormy weather. The opening bars, with their depiction of thunder and lightning, have an almost martial effect.		 Download
Un fonte già di duol anzi due fiumi (SSATTB) *NEW*
A tale of love on the rebound. In keeping with the text, the piece begins in lugubrious long notes and ends in a much more lively vein.		 Download
Cor mio del tuo morire (SSATTB) *NEW*
A moral tale about the unfortunate consequences of rash behavior, somewhat awkwardly referencing the myth of Daedalus and his son Icarus who, having fabricated wings from feathers and wax, flew too close to the sun and crashed into the sea when the wax melted.		 Download
O che baciar soave (SSATTB) *NEW*
A paean to the mutual bliss aroused by kissing, with strong erotic undertones.		 Download
Non ti bastava o cruda (SSATTB) *NEW*
The protagonist’s riposte to his love-object’s double whammy of withering gaze and siren-like singing. In Greek mythology, the basilisk was a serpent-like creature with the ability to kill with a glance. As for the mole and adder, the former was reputed to be blind (actually, some moles have limited vision), while according to tradition the latter is deaf.		 Download
Son morta disse la mia cara vita (SSATTB) *NEW*
Another tribute to the exquisite mutual bliss aroused by kissing (and, needless to say, with strong erotic undertones). 		Download
Arde tutto di ghiaccio (SSATTB) *NEW*
A piece with more emotional Sturm und Drang than is typical of the rest of the Quarto libro. The treatment of the word geme (groans) and of the phrase Acceso di furor (Inflamed with fury) is particularly effective. On the whole, though, Croce employs only a modest amount of chromaticism and dissonance to achieve expressive effects.		 Download
O Mirtillo, Mirtillo (SSATTB)
Croce’s only known setting of a text from Il pastor fido, being the opening lines of Amarilli’s Act III Scene 4 soliloquy in which she laments the emotional harm she is compelled to inflict on Mirtillo. (Monteverdi’s “Anima mia, perdona” is drawn from the same scene.)		 Download
Non miri il mio bel sole (SSATTB) *NEW*
Guarini’s “lover’s complaint” builds up to a complicated (and untranslatable) play on words in the last line -- sol(a)/sol(o)/sole, meaning “alone,” “solely” and “sun” respectively.		 Download
Tu d’altri anima mia (SSATTB) *NEW*
The protagonist appears to have caught his love-object in flagrante. Croce conveys the sense of alarm and anguish by extensive use of running passages in cromas (eighth notes). 		Download
Anima ingrata e cruda (SSATTB) *NEW*
The protagonist’s reproachful address to his love-object culminates in a rather shameless, if seemingly self-deprecating, proposition. 		Download
Chi t’ha fatto quelle scarpette (SSATTB) *NEW*
The piece, more in the nature of a canzonetta than a madrigal per se, incorporates the popular tune “Girometta” (also employed by several contemporary composers, and featured more recently by Luciano Pavarotti). Possibly Croce composed the piece for the benefit of his young dedicatees.		 Download
Godi felice seno (SATB SATB SATB) *NEW*
As described in greater detail in the Notes accompanying the text/translation, the opening words of the text and the unusual scale of the piece (12 parts disposed in three choirs a4) suggest a lavish celebratory occasion. It can be shown that it was composed to celebrate a treaty of alliance with the Swiss Grisons League, that was ratified in September 1603. No doubt it was performed in the Ducal Palace, probably in the chamber of the Senato and in the presence of Doge Marin Grimani. 		Download

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