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
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, 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, Quarto a 5 (1594) (complete)
Massaino, Tiburzio
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)
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
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

Gastoldi, Giovanni Giacomo

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Title and DescriptionScoreMidiTranslation
Pascon del vago e dilettoso aprile (SSATB)
A nice example of the pastoral madrigal, replete with shepherds and shepherdesses cavorting in the spring sunshine, amidst the birds and flowers. The Alto part has been reconstructed.
Chi di veder procura (SS A/T TB)
The geographical references in the text seem to point to the town of Fano on the Adriatic, thus suggesting that the piece commemorates the elevation of Cardinal Ippolito Aldobrandini of Fano to the Papacy (as Clement VIII) in 1592. The Alto has been reconstructed, and the piece has been transposed down a fourth; a version at the original pitch is also available.
La mia donna bevea (prima parte of 2) (SSATB)
The protagonist is smitten by the sight of his beloved drinking chilled wine from a glass, however, his efforts to quench his passion backfire. The Alto has been reconstructed.
Io che per lei ardea (seconda parte) (SSATB)
M’è più dolce il penar (SSATB)
Mirtillo pledges his steadfast devotion to Amarilli, despite Corisca's provocative advances (Pastor Fido, III/vi). The Alto has been reconstructed.
Com' è soave cosa (SSATB)
Corisca tries to insinuate that Mirtillo would be happier in her arms than to continue to pine after Amarilli (Pastor Fido, III/vi). I had originally reconstructed the missing Alto; however, it turns out that the piece was reprinted in a late (1610) anthology, which survives complete. Needless to say, Gastoldi's version of the Alto, given here, is better than my reconstruction.
Dolce d'amor sirena (SATTB)
A piece describing, somewhat enigmatically, an enchanting and accomplished performer. (Monteverdi’s “Non sono in queste rive” and Wert’s “Scherza nel canto” provide similar examples.) Possibly the personage in question is the same Margarita Barthioli (or Bartioli) who is celebrated in Gastoldi's "O de' tuoi genitori" (q.v.). The piece has been transposed down a fourth; a version at the original pitch is also available.
A nobil mensa del celeste ardore (SSATB)
The protagonist, enmeshed in love's toils, hopes (probably in vain) to strike an advantageous bargain with Cupid. The piece has been transposed down a fourth; a version at the original pitch is also available.
Danzavan liet' al suon della sampogna (SSATB)
A pastoral frolic. Clori, apparently a rather forward nymph, assures Aminta -- perhaps to his surprise -- that his love will indeed be requited, and soon.
Cantiam lieti (danza de' pastori a 8) (SATB SSAT)
A charming piece with a pastoral text, for two unequal four-voice choirs, whose title and structure indicate that it was intended to be danced. Some instrumental doubling would not seem out of place. Although not a setting of a Pastor fido text as such, the piece provided a rousing finale for the Pastor fido production that was staged at the Amherst Early Music Workshop in 1998. Versions transposed down a whole step and a fourth are also available.
Moriva il bel Tirinto (prima parte of 2) (SSATB)
A lively, energetic piece, in which the somewhat enigmatic references to a pair of star-crossed lovers become more understandable once the text is seen to be inspired by, or adapted from, an early pastoral drama, Nigella: favola pastorale, written by the Veronese litterateur Giovanni Fratta and published in 1582. See the Notes accompanying the text and translation for further details. A version transposed down a fourth is also available.
Già da tutti eran pianti (seconda parte) (SSATB)
Son questi ohimè dal core (SSATTB)
A nicely crafted six-voice madrigal, with numerous clever word-painting effects.
O della notte bruna (SSATTB)
An upbeat madrigal for six voices. The text is a somewhat enigmatic paean to moon-gazing, on the part of a moon-struck protagonist, with an intimation that some romantic nocturnal hanky-panky is forthcoming. The Alto has been reconstructed.
Caro mio bene, i vostr' occhi di sole (SSATB) *NEW*
Gastoldi's setting of an anonymous poem in praise of a certain Clorinda -- evidently not the Saracen warrior woman of Tasso’s Gerusalemme liberata -- is stylistically more akin to a canzonetta. As in the case of "Com' è soave cosa" (q.v.), the missing Alto is provided by the reprint of the piece in the anthology Novi frutti musicali (1610).
Fiammeggia ne' bei lumi (SSATB) *NEW*
An animated piece with nice word-painting touches, on a somewhat convoluted text that features burning glances and salamanders.
O de' tuoi genitori (prima parte of 2) (SSATB) *NEW*
A lively tribute to a young woman musician and to the effect she makes upon her hearers. From other sources we learn that the personage in question is Margarita Barthioli (or Bartioli) of Mantua, and that she was reputed to be an accomplished singer and performer on a stringed instrument, probably a harp. For additional details see the notes accompanying the text and translation.
Mentre con dolci accenti (seconda parte) (SSATB) *NEW*
Concordi entr' al mio petto (SSATB) *NEW*
A twist on the conventional fire/ice (or passion/indifference) dichotomy: the protagonist is happy for the two opposites to coexist within himself. The text provides the basis for some animated word-painting effects.
Nasce da bei vostr' occhi (SSAATB) *NEW*
The love-object of the anonymous text is referred to as Clori – a stock pastoral character – thus alerting us that the poem’s setting is some fictional Arcadia, remote from mundane realities. As such, the poet is at liberty to indulge in extravagant praise − with erotic innuendos underscored by the repetitions of “che mille volte il dì vorrei morire” (I fain would die a thousand times a day) − which would be considered improper, if not outright scandalous, if spoken in polite society. Set to music, however, the language becomes more acceptable. Gastoldi neatly exploits the numerous opportunities for word-painting afforded by the text.

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