MASTER LIST OF COMPOSERS

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, 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)
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
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

Tresti, Secondo a 5 (1587) (complete)

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Title and DescriptionScoreMidiTranslation
Introduction
The Introduction can be downloaded from the Translation column.
Dolcemente dormiva la mia Clori (SSATB)
Although better known for his organ works and sacred music, Flaminio Tresti (ca. 1560 – after 1613) also published four books of 5-voice madrigals, two of which (the Primo libro of 1585 and the Secondo libro of 1587) have come down to us in complete copies. The Secondo libro is transcribed in its entirety here. It shows Tresti to be a competent and even imaginative composer, with a facility for producing lively, singable "entertainment" madrigals, although with occasional forays into an idiom of greater gravitas. (See the Introduction for more details.) “Dolcemente dormiva la mia Clori” is a masterful setting of a Tasso text about a stolen kiss. The piece has been transposed down a fourth; a version at the original pitch is also available.
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Dicea Filli ad Aminta (SSATB) *NEW*
A dialogue between shepherd and nymph featuring the well-worn “lovers’ parting” theme, although in this case “sweet sorrow” seems to be in short supply – she a bit reproachful, he a tad nonchalant. Perhaps inevitably, the words “(E) sol mi la(sci)” are set so as to correspond to the solmization syllables of the hexachord. A version transposed down a fourth is also available.
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Filli deh non fuggir (prima parte of 2) (SSATB)
An energetic setting of a pastoral vignette in which fleet-footed Filli runs desperate Damone into the ground -- literally. The animated text, which offers ample scope for word-painting, takes the form of a classical Petrarchan sonnet (although no doubt Petrarch would have been appalled by the result). The piece is also suitable for instrumental performance. A version transposed down a fourth is also available.
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Rallenta Filli ohimè (seconda parte) (SSATB)
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Ecco l’aura soave (prima parte of 2) (SSATB)
An appealing setting of a sonnet on the theme “In the spring a young man’s fancy ...”.
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Con la nova stagion (seconda parte) (SSATB)
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Che fai che non involi (SSATB)
Another madrigal on the theme of stolen kisses, in which the dithering protagonist debates the pros and cons of same.
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Neve e rose ha nel volto (SSATB)
An elegant but somewhat misogynistic description of a woman whose beauty is to be admired, but whose admirers may approach her only at their own risk and peril.
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Se con dolce armonia (SSATB)
Another madrigal about the impact of a singer's voice upon her listeners (compare Gastoldi's "Dolce d'amor sirena," Massaino's "Mentre vaga Angioletta," Wert's "Scherza nel canto," et al.). Tresti highlights the text with some clever word-painting.
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Mia donna io non so dire (SSATB) *NEW*
Tresti’s upbeat and lively setting of a Guarini poem in which the protagonist rhetorically feigns confusion about Cupid’s whereabouts, and then proposes a different and (to him) more amenable scenario.
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Mentre la donna, anzi la vita mia (SSATB) *NEW*
A variation on the theme of Cupid bested at his own game. For a similar treatment of the same theme, see, among other examples, Giaches de Wert’s “Con voi giocando Amor” (Ottavo libro a 5, 1586).
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O come è gran martire (SSATB) *NEW*
A double-bind of love: concealing one’s desire, while at the same time knowing that the love-object does not give it credence. Tresti’s is one of about two dozen known settings of this text; better known are the versions by Monteverdi (Terzo libro a 5, 1592) and Gesualdo (Secondo libro a 5, 1594), both of which seem to explore the emotional content of the text more extensively than does Tresti.
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Gelo ha Madonna il core (SSATB) *NEW*
A setting of a poem by Tasso, whose theme is reminiscent of “Mia donna io non so dire” (No. 10) – the course of love would run smoother if only Cupid would relocate.
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Eran pur dianzi qui tra le fresc’ erbe (prima parte of 2) (SSATB) *NEW*
A setting of a sonnet in Petrarchan style, attributed to “Incerto” (“Anonymous” or “Uncertain”) in some mid-16th-century sources, and in others to Francesco Maria Molza or Giovanni Guidiccioni, both of whom were active in the first half of the century. The text is evidently a reworking of the Greek myth of Clizia/Clytie, a water-nymph who was in love with Helios (the sun); spurned by him, she was transformed into a heliotrope (sunflower). See the Notes accompanying the Text/Translation for more details.
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Se tu che desti nell’umane menti (seconda parte) (SSATB) *NEW*
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Pasco gl’occhi e l’orecchie (SSATB) *NEW*
It has been hypothesized that the beautiful singer eulogized in the text is Isabella (or Isabel) Londoño, the wife of Antonio Londoño, a Spanish nobleman who was a counselor to King Philip II and the overseer of royal revenues for the Duchy of Milan. Previously Londoño had been the official in charge of waterways for the province of Cremona, so perhaps Tresti had had the opportunity to see and hear his talented spouse in person. See the Notes accompanying the Text/Translation for more details.
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Verdi piagge fiorite e fresche frondi (prima parte of 2) (SSATB) *NEW*
The author of the text, Vincenzo Quirini or Querini (1478−1514), was a Venetian ecclesiastic and diplomat, who was active in the promulgation of a number of church reforms. The poem takes the form of a classical Petrarchan sonnet. Just possibly, the poem has been “repurposed” as an encomium of the singer Isabel Londoño (see the notes to the preceding piece).
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Chiare fresche sonanti e gelid’ acque (seconda parte) (SSATB) *NEW*
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Tosto ch’io miro (prima parte of 2) (SSATB) *NEW*
A setting of another sonnet by Quirini/Querini, here in praise of a lady-love who seems to act as a restraining influence, both subtly and at a distance, on the passionate protagonist.
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Quell’ angelica fronte (seconda parte) (SSATB) *NEW*
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Se l’aura mentre spira (SSATB) *NEW*
The protagonist issues a dire (or mock?) warning to his lady-love, to the effect that her icy rejection of him will (literally) backfire and prompt a conflagration. The combination of fluid running passages with staccato declamation seems to underscore the protagonist’s disquiet
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