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

Gastoldi, Quarto a 5 (1602) (complete)

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Title and DescriptionScoreMidiTranslation
Deh, bella e cara (prima parte of 2) (SSATB)
A setting of part of Mirtillo’s impassioned, increasingly desperate, and ultimately unsuccessful plea to Amarilli not to reject him utterly (Il Pastor Fido III/iii). Monteverdi also set these two excerpts, together with the preceding “Ch’io t’ami, e t’ami più della mia vita.”
Ma tu, più che mai dura (seconda parte) (SSATB)
O misera Dorinda (SSATB)
A setting of part of an exchange between Dorinda and Silvio (Il Pastor Fido, II/ii), in which Silvio makes it painfully plain that he prefers the company of his hunting-dog to hers. See also the settings by Gagliano and Ghizzolo.
Baciai, per aver vita (SSATB)
The only five-voice madrigal in Gastoldi’s Quarto Libro whose text is not drawn from Guarini’s Il Pastor Fido, although the poem is generally attributed to Guarini. See also the settings by Aleotti, Capilupi and PF Guerini.
Arda pur sempre o mora (SATTB)
From Il Pastor Fido III/vi, part of a lengthy exchange between Mirtillo, who remains steadfast in his commitment to Amarilli despite her rejection of him, and Corisca, who hopes to profit from the situation and insinuate herself into Mirtillo’s arms.
Cieco, Amor, non ti cred' io (prima parte of 4) (SATTB)
A delightful suite of four madrigals whose texts are taken from a scene in Il Pastor Fido (III/ii) in which Amarilli and her companions play a gioco della cieca, or game of blind man’s buff. The transcription offered here attempts to re-create the original dance rhythms, although the reconstruction is admittedly speculative. (A version transposed down a whole step is also available.)
Ma tu pur perfido e cieco (seconda parte) (SATTB)
Sciolto cor fa piè fugace (terza parte) (SATTB)
Mira nume trionfante (quarta parte) (SATTB)
Dimmi, misero amante (SATTB)
Corisca’s riposte (Il Pastor Fido, III/vi) to Mirtillo’s profession of his steadfast commitment to Amarilli (see also the setting of “Arda pur sempre o mora”).
O sfortunato e misero Mirtillo (SATTB)
Mirtillo is devastated by the news that his beloved Amarilli is betrothed, and soon to be married, to Silvio (Pastor Fido, I/ii).
Come assetato infermo (SATTB)
Prompted by Corisca, Mirtillo offers a bleak and despairing description of his state of mind following what he believes to be his final parting from Amarilli (Pastor Fido, III/vi). See the setting of “Tanto è possente amore” for Corisca’s reply.
Come in vago giardin (prima parte of 4) (SSATB)
A charming extended setting of lines spoken by Titiro, father of Amarilli, to Montano, father of Silvio and chief priest of Arcadia, as the two ponder the fateful but enigmatic pronouncement of the Oracle (Il Pastor Fido, I/iv). A version transposed down a fourth is also available.
Ma s'allor non si coglie (seconda parte) (SSATB)
Così la verginella (terza parte) (SSATB)
E se vergogna il cela (quarta parte) (SSATB)
Tu se' pur aspro a chi t'adora, Silvio (SSATB)
Dorinda’s rebuke to Silvio (Il Pastor Fido, II/ii), whose only passion is for the hunt and the companionship of his dog. Compare Marco da Gagliano's exactly contemporaneous setting of the same text.
Ciechi mortali, voi che tanta sete (SATTB)
A setting of lines spoken by the Chorus at the end of Act II of Il Pastor Fido. According to Guarini’s own commentary, the text represents a “moral digression against those who have become enamored of earthly things, and particularly riches,” and thus have lost the capacity for true love.
Tanto è possente amore (SSATB)
A setting of lines spoken by Corisca to Mirtillo (Il Pastor Fido, III/vi), in response to his “Come assetato infermo” (q.v.).
Vaghe ninfe amorosette (prima parte of 3) (SSAT-T-SATB)
A rare madrigal for nine voices, and perhaps unique case of a piece with a “rogue tenor,” that provides ribald commentary on the dialog between the two four-part choruses.
Il cor v'abbiamo offerto (seconda parte) (SSAT-T-SATB)
Vèr noi volgete omai (terza parte) (SSAT-T-SATB)
Introduction and Commentary
The text is downloadable from the Translation column.

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