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

Tomasi, Biagio

Log in to view Score and Translation. *Register
Check this box before downloading a file below.
Title and DescriptionScoreMidiTranslation
Tirsi morir volea (prima parte of 3) (SSATTB)
In contrast to Marenzio's lean, spare, tension-filled setting, Tomasi's lush "Tirsi morir volea," for six voices plus optional continuo, rather conjures up images of Rubensesque figures disporting themselves. Tomasi was organist at the cathedral of Comacchio, a town on the Adriatic, and is an interesting exponent of the Venetian-influenced early baroque style.
Frenò Tirsi il desio (seconda parte) (SSATTB)
Così moriro i fortunati amanti (terza parte) (SSATTB)
Chi vide mai, chi mai udì (prima parte of 7) (SSATB+b.c.) *NEW*
Although other composers set lines spoken by Corisca in Guarini’s play Il pastor fido (see, e.g., Gastoldi’s “Come è soave cosa” and “Dimmi, misero amante”), only Tomasi is known to have undertaken the formidable task of setting to music large chunks of Corisca’s extended monologue in Act I Scene iii, where the conflicted character makes her first appearance (and is startlingly revealing about both her psychological motivations and her intentions). Tomasi brings to bear an impressive assortment of devices and techniques, including florid passage-writing, declamation, dissonance and chromaticism. The result is a musical tour de force by this little-known early baroque composer. The Basso per Organo -- essentially a Basso Seguente -- is optional here.
S’ i’ miro alle bellezze di Mirtillo (seconda parte) (SSATB+b.c.) *NEW*
Ma se poi penso all’ostinato amore (terza parte) (SSATB+b.c.) *NEW*
Talor meco ragiono: O, s’ i’ potessi (quarta parte) (SSATB+b.c.) *NEW*
Dall’altra parte i’ mi risento e dico (quinta parte) (SSATB+b.c.) *NEW*
S’altro ben non avessi, altro trastullo (sesta parte) (SSATB+b.c.) *NEW*
Corisca, mi dicea, si vuole a punto (settima ed ultima parte) (SSATB+b.c.) *NEW*

*You must register to download Scores and Texts/Translations


Copyright © 2014-2021 ~ Martin Morell