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

Pallavicino, Benedetto

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Title and DescriptionScoreMidiTranslation
Una farfalla (SSATB)
A charming piece that spins out extended musical images of a moth fluttering around a flame. Pallavicino, a prolific composer who was a younger contemporary of Wert and an older one of Monteverdi, acceded to the position of maestro della musica at the Mantuan court upon Wert's death in 1596.
Tirsi morir volea (prima parte of 3) (SSATTB)
First published a year later than, and clearly influenced by, Marenzio's ground-breaking setting of this erotic text, Pallavicino's treatment is noteworthy for its energetic lines and powerful six-voice writing. The impression conveyed is of a rather more athletic encounter between shepherd and nymph than in the case of Marenzio's or Wert's approach to the same theme. (A version transposed down a minor third is also available.)
Frenò Tirsi il desio (seconda parte) (SSATTB)
Così moriro (terza parte) (SSATTB)
Dolcemente dormiva la mia Clori (SATTB)
Pallavicino trying his hand at setting Tasso's slightly naughty tale of a stolen kiss. See also the settings by Giovanelli, Monteverdi and Tresti.
Cruda Amarilli (prima parte of 2) (SATTB)
Pallavicino's masterful setting of Mirtillo's opening lines (Pastor fido, I/ii) begins with a remarkable series of dissonances and suspensions, although the remainder of the piece is less daring.
Ma grideran per me (seconda parte) (SATTB)
O come vaneggiate, donna (SSATB)
Pallavicino’s setting of this somewhat misogynistic reproach to a former lady-love, generally attributed to Guarini. Although written only 12 years after Wert’s setting of the same text (q.v.), Pallavicino’s seems closer to the idiom of the early baroque. See also the versions by Giovanelli and Tresti.
Vaghi boschetti di soavi allori (SAATB)
A setting of a stanza from Canto VI of Ariosto’s epic poem Orlando Furioso, at which point the heroic knight Ruggiero, borne by a hippogriff – a mythical creature familiar to Harry Potter fans – has just alighted on a far-off island paradise abounding in all manner of tropical delights. (He is soon to learn, however, that the island is the abode of the evil enchantress Alcina, who recycles used lovers by transforming them into trees, rocks and beasts.) See also the settings by Ingegneri and Wert. A version transposed down a whole step is also available.
Se v'ho donato il core (SSATB)
Pallavicino's setting of a text on the well-worn theme of love liberally bestowed but insufficiently requited. See also the version by Liberale Zanchi (with a slightly different first line of text).
‘Sì’ mi dicesti (SSATB)
An expressive setting of a Guarini poem on the subject of love gained and lost, and the effects thereof.
Crudel perché mi fuggi (SSATTB)
Pallavicino's well-crafted 6-voice version of this reproachful lover's complaint, better known from Monteverdi's setting (q.v.). An "Englished" version was published in Musica Transalpina, the Second Book (1597).
Deh dolce anima mia (SAATB)
An extensively reworked version of Amarilli’s final parting words to Mirtillo at the end of Scene iii of Act III of Il Pastor Fido, in which the name of her unhappy lover has been replaced by more “generic” references (“anima mia”, “mio core”). Nonetheless, Pallavicino’s expressive setting underscores the poignancy of the moment.
Occhi un tempo mia vita (SSATB)
Pallavicino’s elegant setting of a quintessential bit of Guarini versifying – short, epigrammatic, punctuated with unanswered questions to a mute interlocutor, and redolent of studied desperation. Monteverdi was no doubt aware of Pallavicino’s version, and published his own a few years later (q.v.); Monteverdi’s effort may reflect a certain rivalry between the two composers.
Tutt' eri foco Amore (SSATB) *NEW*
The poem is generally attributed to Guarini, although it is not to be found in various contemporary editions of his works. Regardless of authorship, the vivid language affords ample scope for musical elaboration, as Pallavicino’s tour-de-force setting masterfully demonstrates.

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