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, 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, 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)
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
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, Tiburzio

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Title and DescriptionScoreMidiTranslation
Mentre vaga Angioletta (prima parte of 3) (SSATTB)
Massaino’s highly expressive and technically challenging setting of a Guarini poem describing, in vivid detail, the nature of virtuoso singing and its effects upon the listener (see also Gastoldi’s “Dolce d’amor sirena,” Monteverdi’s “Non sono in queste rive” and Wert’s “Scherza nel canto”). "Mentre vaga Angioletta" is better known from Monteverdi’s setting, for two tenors and continuo, in his Eighth Book ("Madrigali guerrieri ed amorosi"). In Massaino’s version, the complexity and difficulty of execution increase progressively from the prima to the terza parte; some passages seem to anticipate baroque instrumental writing. A version a minor third lower is also available.
Tempra d'arguto suon (seconda parte) (SSATTB)
Or la sospende (terza parte) (SSATTB)
Riser le piagge (prima parte of 2) (SSATB)
A pastoral-themed madrigal with a twist: it is the nymph Filli who openly declares her passion (“I can suffer no longer, I burn for you”), leaving the protagonist overwhelmed and musing on what actually happened.
Non posso più soffrir (seconda parte) (SSATB)
Segue egli la vittoria (prima parte of 2) (SSTTB)
The text, from Tasso’s Gerusalemme liberata, is better known from Monteverdi’s more extended rendition in the Combattimento di Tancredi e Clorinda. Massaino’s setting focuses on the final moments of the single combat between the Christian warrior-hero Tancredi and Clorinda, a Saracen maiden with whom Tancredi has fallen in love. Not recognizing her in her armor, Tancredi slays her. Massaino’s setting is harmonically daring, with tonal excursions as far afield as B-major. The seconda parte is notable for the way in which it depicts, in the words “e gl’occhi a lagrimar,” Tancredi’s dawning realization of the magnitude of the horrendous, if inadvertent, deed that he has done. (For Tancredi’s subsequent travails, see also Monteverdi’s “Vivrò fra i miei tormenti” and the two settings of “Giunto alla tomba” by Wert and Marenzio.) A version a whole step lower is also available.
Amico, hai vinto (seconda parte) (SSTTB)
Ben venga il pastor mio (prima parte of 2) (SS A/T TB) *NEW*
A "lovers' parting" dialogue, here set on the banks of the river Arno in Tuscany, and with heavy hints of erotic goings-on between dusk and dawn.
Addio Lidia mia bella (seconda parte) (SS A/T TB) *NEW*
All'aura dolce (prima parte of 2) (SATTB) *NEW*
A tribute to an accomplished singer, whose voice has power over raging winds and waves (which are vividly depicted musically). Just possibly, the piece may commemorate a visit to Mantua by the virtuosa Tarquinia Molza, who was attached to the nearby court of Ferrara at the time. See the notes accompanying the text and translation for more details.
Però qual meraviglia (seconda parte) (SATTB) *NEW*
Non crediate mia vita (prima parte of 2) (SATTB) *NEW*
The poem set by Massaino displays a distinctive construction (6 + 7 lines) and unusual rhyme scheme (AABBCC DEDFFEE), and, furthermore, is not known to have been set to music by any other composer. The subject-matter is also unusual – the protagonist casts his soul in the role of a kind of spiritual doppelgänger of his love-object, who, however, remains oblivious to the invisible companion’s presence.
Se dormite ella dorme (seconda parte) (SATTB) *NEW*
Così m’amaste voi come v’am’ io (prima parte of 2) (SSATB) *NEW*
Although not identified as belonging to a separate genre, this and the following piece, taken together, function more like a light canzonetta than a madrigal. The last two lines of the prima parte are repeated note for note, refrain-like, at the end of the seconda parte.
Così dell’ardor mio v’infiammi amore (seconda parte) (SSATB) *NEW*

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