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

Giovanelli, Ruggiero

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Title and DescriptionScoreMidiTranslation
O come vaneggiate, donna (SSATB)
Giovanelli (his name is also rendered as Giovannelli) held various posts in Rome, eventually succeeding Palestrina at the Cappella Giulia in San Pietro. He later became maestro di cappella at the Sistine Chapel. His three books of 5-voice madrigals were notably popular; also, "Englished" versions of several of his pieces were subsequently published by Thomas Morley. The text of this somewhat misogynistic reproach to a former lady-love is generally attributed to Guarini. Giovanelli’s persistent dotted rhythms and energetic lines seem to underscore the protagonist’s new-found vitality. See also the versions by Wert and Pallavicino.
Morirò di dolor (S MS ATB)
Giovanelli's setting of this rather conventional expression of lovesickness adds an element of gravitas to the whole. An "Englished" version, "For very grief I die," was published by Morley in 1598.
Dolcemente dormiva la mia Clori (SATTB)
Giovanelli's rendition of this titillating, the-devil-made-me-do-it text by Tasso is perhaps less colorful overall than those by Monteverdi or Pallavicino (q.v.), but it displays some nice touches, like the jangling rhythms on "Stolto, che fai?" and the suggestive descending scalar sequence on "io mi chinai."
Baciatemi cor mio (SSATB)
An exuberant account of the delights of kissing (and potential consequences of abstinence).
Donò Licori a Tirsi (SSATB)
Giovanelli’s setting of Guarini’s charming pastoral vignette of blushing nymph and ardent shepherd. See also Marenzio’s 6-voice version, in which the protagonists become “Cinzia” and “Damone.” (Confusingly, in Guarini’s original they appear as “Licori” and “Batto.”)
L’alma guerriera ardita (SS A/T TB) *NEW*
This energetic depiction of an idealized warrior-woman, all-victorious in love, makes extensive use of florid running passages and “patter” motifs (which, parenthetically, provide useful exercises for improving Italian diction skills). The final 15 bars are notably elaborate and challenging.
Ohimè, perché mi fuggi (SS A/T TB) *NEW*
Giovanelli’s setting of Guarini’s musing on unrequited love bears comparison with Monteverdi’s better-known version (“Crudel, perché mi fuggi,” q.v.).

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