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).

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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

Nodari, Giovanni Paolo, Madrigali a 5 (complete)

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Title and DescriptionScoreMidiTranslation
Parlo misero o taccio? (SSATB)
Sometime in the early years of the 17th century, the Brescian composer Giovanni Paolo Nodari (fl. ca. 1605-1620) published a book of 5-voice madrigals. No trace now remains of the original edition; shortly after publication, however, the contents were copied into a manuscript known as British Library MS Egerton 3665 (the “Tregian MS” – see the accompanying Introduction for more details). Modern transcriptions of all 22 Nodari madrigals from that source are presented here. The first of these, “Parlo misero o taccio,” like many of the other pieces, is a setting of a text by Battista Guarini, in this case featuring a protagonist caught on the horns of a dilemma, and a self-styled drop-dead-gorgeous love object.
Ite, amari sospiri (SSATB)
Another setting of a Guarini poem, with vigorous declamatory rhythms.
Languia al dolce suon (SSATB)
The piece opens with suitably languid word-painting effects and features a nicely crafted series of suspensions on the words “ed un amaro morire” (and a bitter dying).
Langue al vostro languir (prima parte of 2) (SSATB)
A setting of a Guarini poem addressed to “Madonna inferma” (my Lady, [when] ill). The prima parte is extremely laconic.
O anima d'amor (seconda parte) (SSATB)
Occhi stelle mortali (SSATB)
A compact setting of an equally compact Guarini poem, which concludes with an unanswered question.
Lauro, ohimè, Lauro ingrato (SSATB)
A setting of one of a great many poems that Guarini and others addressed to one Lauro/Laura, here not presented in the most favorable light.
Lasso perché mi fuggi (SSATB)
Guarini’s poem is subtitled “Fierezza vana” (literally “vain fierceness,” although perhaps “cruelty to no purpose” would be closer to the intended meaning). The text was also set by Monteverdi, with a more familiar first line: “Crudel, perché mi fuggi.”
Ch'io non t'ami cor mio (SSATB)
Another setting of a Guarini poem, with much declamation and an unusual ending. It is not quite clear what Nodari intended by his distinctive notation of the final chord; perhaps the fermatas were added in the MS, and the piece should simply end abruptly.
Rideva ahi crudo affetto (SSATB)
One of Nodari’s more extended madrigals, also on a text by Guarini. Bars 25-27 are quite daring in their expressiveness. (Versions transposed down a fourth of this piece, as well as of the next five below, are also available.)
Udite amanti udite (SSATB)
A highly declamatory setting of a text by Cesare Rinaldi, a fashionable Bolognese poet of the time.
O che soave bacio (SSATB)
Guarini’s poem is subtitled “Bacio rubato” (stolen kiss). Guarini, Tasso and other poets explored the theme of kisses titillatingly filched from a love object (who might be unsuspecting, or even asleep).
Ardo mia vita (SSATB)
Guarini’s poem is aptly subtitled “Pietà se non amore” (compassion, if not love).
Al dolce mormorare (prima parte of 2) (SSATB)
A celebration, against a pastoral backdrop, of ardent kisses, which evidently lead to yet more voluptuous delights.
L'amata donna (seconda parte) (SSATB)
Vaga gemma del ciel (SSATB)
Nodari’s may be the only known setting of this text of unknown authorship. As in the case of the similarly anonymous “Languia al dolce suon” (No.3), the style and imagery of the poem are reminiscent of Guarini, even if it cannot be attributed to him.
Dolce fiamma gentile (prima parte of 2) (SSATB)
A setting of a text by Bernardino Percivallo, a “signore, dottore e cavaliere” attached to the court of Ferrara, and a minor poet and litterateur. Apparently Percivallo composed the poem on behalf of one Domizio Nuti, who intended it as a tribute to his own wedded bliss.
Sì dolcemente ch'io (seconda parte) (SSATB)
Cor mio, deh non languire (SSATB)
Guarini’s poem is subtitled “Pietà dolente” (painful compassion). Evidently because of the opportunities afforded for word-painting and expressive effects, the text attracted the attention of many contemporary madrigalists, including Sigismondo d’India, Giovanni Ghizzolo, Leone Leoni (q.v.), Luzzasco Luzzaschi and Salomone Rossi (q.v.).
Volgea l'anima mia (prima parte of 2) (SSATB)
Guarini’s poem is subtitled “Pietà di donna” (a woman’s compassion). The well-known setting by Monteverdi (Quarto libro a 5, 1603) is more extended.
E mentre il cor s'invola (seconda parte) (SSATB)
Parto o non parto? (SSATB)
Interestingly, Nodari’s last madrigal recapitulates the “lover’s dilemma” theme that was expounded in the first (“Parlo misero o taccio,” No.1).
Introduction and Commentary
The text can be downloaded from the Translation column.

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