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

Massaino, Quarto a 5 (1594) (complete)

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Title and DescriptionScoreMidiTranslation
In quest' amata riva (SSATB)
Peculiarly, the text features a willow-tree speaking in the first person. This “happy willow” may be an indirect reference to the dedicatee of the Quarto libro, the court physician Thomas Mermann – the beneficial medicinal properties of willow-bark would have been known to Mermann as to any contemporary physician.
Non è canto, ma incanto (SSATB)
Another madrigal on the theme of virtuoso singing and its ability to stir emotions in the listeners. Massaino explored this subject at greater length in “Mentre vaga Angioletta” (also set by Caletti and Florio, qq.v.); see also Monteverdi’s “Non sono in queste rive,” Wert’s “Scherza nel canto,” and similar examples. The madrigal features some remarkable "pedal points" in the Basso.
Chiaro e famoso eroe (prima parte of 2) (SSATB)
A madrigal clearly intended to praise some prominent noble personage. The apparent references to the Holy Roman Emperor Rudolf II (“il grand’ Augusto”) and Philip II of Spain (“il gran Filippo”) suggest that the object of the encomium is Wilhelm V of Bavaria (to whose court the dedicatee of the Quarto libro, Thomas Mermann, was attached).
Degno sei, che con lingua (seconda parte) (SSATB)
Amorosa guerriera (SSATB)
A madrigal with a somewhat enigmatic text, describing an Amazon whose shooting-arm has been lamed, but whose heart has been missed by Cupid's darts.
Sovra una verde riva (SSATB)
A madrigal on the stock pastoral theme of a shepherd wasting away from unrequited love. The opening line, as well as the general affect, of the poem are reminiscent of an Eclogue in Jacopo Sannazaro’s Arcadia.
Dolce fiamma amorosa (SSATB)
Another stock theme of madrigal poetry: one lover's passion kindling similar ardent sentiments in the other -- in this case, even at a distance.
Tutta la mia fiorita e verde etade (prima parte of 2) (SSATB)
A sensitive setting of one of Petrarch’s “in morte di Madonna Laura” sonnets, a kind of reflective musing by the poet on how his relationship to Laura might have evolved, had her death not rudely intervened.
Press' era 'l tempo (seconda parte) (SSATB)
Amarissimo Amor (SATTB)
A lover's complaint about the havoc wrought by Cupid in human affairs. The piece contains some remarkable suspensions on the opening word "amarissimo" (most bitter), as well as some clever word-painting on "fallace e vano" (fallacious and vain/empty).
Là vèr l’aurora (prima parte of 6) (SSATB)
An extraordinary tour-de-force setting of a Petrarch sestina "in vita di Madonna Laura." Massaino rises brilliantly to the challenge of animating the rather static framework and imagery that the sestina form imposes. A version transposed down a fourth is also available.
Temprar potess' io (seconda parte) (SSATB)
Quante lagrime, lasso (terza parte) (SSATB)
Uomini e Dei (quarta parte) (SSATB)
All'ultimo bisogno (quinta parte) (SSATB)
Ridon or per le piagge (sesta ed ultima parte) (SSATB)
Lucrezia, se da voi non ebb' io mai (SSATB)
Another lover's-complaint madrigal: Lucrezia (not otherwise identified) should cease her hostility and become the protagonist's dearest friend, or else be considered an enemy.
Se volge il caro sguardo (SATTB)
A tribute to the emotional power of the beloved's glances, speech and laughter.
Rivi, correnti e fiumi (prima parte of 2) (SSATB)
The “Isabella” to whom the text is addressed may be Elisabeth Renata, a cousin of Maximilian of Bavaria, and whom Maximilian was to marry in 1595. (Maximilian subsequently became Duke of Bavaria upon the abdication of his father Wilhelm V in 1597.)
E mentr' al mormorar (seconda parte) (SSATB)
Introduction and Commentary
The text can be downloaded from the Translation column.

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