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

D'India, Sigismondo

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Title and DescriptionScoreMidiTranslation
Cruda Amarilli (SATTB)
Sigismondo D’India (ca.1580-1629), who described himself as a “noble of Palermo,” may have spent his early years in Naples. By the time of publication of his Primo libro a 5, dedicated to Vincenzo Gonzaga, he was evidently associated with the Gonzaga court in Mantua, where he would have come into contact with Monteverdi. However, his setting of “Cruda Amarilli” (Pastor Fido I/ii), published just a year after Monteverdi’s (q.v.), would appear to have more in common with Gesualdo in its treatment of chromaticism and dissonance.
Quell'augellin che canta (SS A/T TB+b.c.)
By the time that D’India produced his Terzo libro a 5 (1615), the musical landscape had changed drastically. His “Cruda Amarilli” (q.v.), published only ten years earlier, is a late-renaissance work despite its daring and tortured musical syntax; by contrast, “Quell’augellin che canta” (Pastor Fido, I/i), although ostensibly a “madrigale,” could perhaps be better described as an early-baroque miniature cantata.
Ombrose e care selve (SSATB+b.c.)
In Pastor Fido, these lines are spoken by the ecstatic Ergasto (referring to Mirtillo’s miraculous reprieve from a death sentence, by virtue of the unexpected revelation that Mirtillo is indeed the “faithful shepherd” prophesied by the oracle, and thus the instrument for lifting the curse laid upon Arcadia, as well as being destined to wed Amarilli) to the uncomprehending Corisca (who believes Amarilli to be dead, and her ambitions of capturing Mirtillo’s affections about to be realized). Corisca’s abrupt and rude, though predictable, comeuppance ensues shortly thereafter.
Se tu, Silvio crudel, mi saettasti (prima parte of 5) (SS A/T TB+b.c.)
Published in 1624, D'India's formidable setting of this intensely dramatic Pastor Fido scene (IV/x) is somewhat reminiscent of Monteverdi's earlier work (q.v.), but at the same time it comprises a remarkable blend of disparate elements -- technically demanding declamatory passages, virtuosistic contrapunctal writing, and alternating solo and choral sections.
Ma se con la pietà (seconda parte) (SS A/T TB+b.c.)
Dorinda, ah dirò mia (terza parte) (SS A/T TB+b.c.)
Ferir quel petto, Silvio? (quarta parte) (SS A/T TB+b.c.)
Silvio, come son lassa (quinta parte) (SS A/T TB+b.c.)
Udite lagrimosi spirti d'Averno (SATTB) *NEW*
Many composers employed chromaticism and dissonance in setting Mirtillo's depths-of-despair lament (Pastor Fido III/vi), but D'India's extraordinary rendering pushes the envelope well beyond anything previously attempted -- and, indeed, not approached again until the late 19th century. The piece's remarkable harmonic excursions venture as far afield as b-sharp(!). Brian Mann has undertaken the challenging task of reconstructing the missing Alto, and has generously given permission to make his version available.

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