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

Rossi, Salamone

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Title and DescriptionScoreMidiTranslation
Al partir del mio sole (SSATTB)
Although better known for his collection of Hebrew-texted liturgical music published in 1623 under the title Ha-shirim asher li-Sh'lomo, Salamone Rossi (ca.1570-1630) was also the pre-eminent Jewish composer of Italian secular vocal music. His output included five books of five-voice and one of four-voice madrigals, as well as canzonette, solo songs and instrumental pieces -- all in a style much in line with that of his Gentile contemporaries. "Al partir del mio sole" is a sprightly setting of a rather conventional text about a lover's rejoicing at the beloved's return after a painful separation.
Cor mio, deh non languire (SATTB)
Rossi was one of some two dozen composers who set this fashionable Guarini poem. (See, in particular, the settings by Leone Leoni and Giovanni Paolo Nodari.) Rossi's version includes a separate chitarrone part, printed in the Canto partbook, such that the piece could also be performed as a solo song with instrumental accompaniment.
O dolc' anima mia (SSATTB)
Rossi's six-voice setting of this lover's complaint, which was also set to music by Monteverdi and Marenzio, among others.
Rimanti in pace (prima parte of 2) (SSATB)
Rossi' setting of this sonnet by "Livio Celiano" (the pseudonym under which the Benedictine monk Angelo Grillo published secular Italian poetry) is not as daring as Monteverdi's (q.v.), but nonetheless shows Rossi to be adept at setting expressive dramatic text.
Ond' ei di morte (seconda parte) (SSATB)
Udite lagrimosi spirti d'Averno (SATTB) *NEW*
Rossi's setting of Mirtillo's depths-of-despair soliloquy (the opening lines of Pastor Fido III/vi) again displays the composer's skill at handling expressive dramatic text. See also the version by Wert.

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