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

Valmarana, Girolamo

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Title and DescriptionScoreMidiTranslation
Ago invido e fèro (SSATB) *NEW*
Virtually nothing is known about Girolamo Valmarana, other than the fact that he was a member of the Accademia Olimpica of Vicenza in the mid-1580s, and that, according to one source, he composed music, now lost, for a “torneo a piedi” (a staged tourney on foot, as opposed to one on horseback) that was held at Carnival time in 1612. (Another version of the same source indicates that the composer was Leone Leoni.) It seems that Valmarana also published a book of five-voice madrigals, probably in the first decade of the 17th century. All trace of the print has disappeared, but the Englishman Francis Tregian, while cooling his heels in prison, happened to copy seven of its pieces into a voluminous manuscript known as British Library MS Egerton 3665 (the “Tregian MS”; in that source, the composer’s surname is consistently rendered as “Valmarano”). Overall the pieces reveal Valmarana to be an accomplished exponent of late Renaissance style. “Ago invido e fèro” is a well-crafted setting of a bit of poetic fluff addressed to a lady’s pin or brooch, in the fervent hope that it will come loose enough to reveal her bosom and then wound her heart, if Cupid dares not to. (Note that, in the Tregian MS, only the lowest-sounding part is texted, making it necessary to reconstruct the text underlay for the remaining parts.)
Cor mio questi son gl’occhi (SSATB) *NEW*
The protagonist enumerates and extravagantly praises his lady-love’s physical charms, which are so potent as to reveal a new paradise on earth (or so he claims).
Funeste piagge ombrosi orridi campi (prima parte of 3) (SS A/T TB) *NEW*
A polyphonic setting, in three sections, of an excerpt from Ottavio Rinuccini’s libretto for the opera L’Euridice. The libretto was set to music twice, by Jacopo Peri in October 1600 (for the wedding of Henri IV and Maria de’ Medici in Florence) and by Giulio Caccini later that same year, Caccini rushing his version into print before Peri was able to do so. Valmarana chose a highly dramatic portion of Scene 4, in which Orfeo implores the spirits of the underworld to restore his beloved Euridice to him. Valmarana’s version is believed to be the only surviving "standalone" setting of Rinuccini’s text.
Ohimè che sull’aurora (seconda parte) (SS A/T TB) *NEW*
E tu mentre al ciel (terza parte) (SS A/T TB) *NEW*
Ha ne’ begl’occhi il sole (SSATB) *NEW*
In Valmarana’s version of the text, Chiabrera’s upbeat little piece of versifying has been anonymously augmented by two additional final lines, which greatly change the affect.
Sembrano questi lagrimosi giri (SSATB) *NEW*
Love as a Hobson’s choice, with no good outcome. In classical mythology, Enceladus was regarded as the main cause of earthquakes and volcanic activity; thus, when Mount Etna erupted, Enceladus’s breath was assumed to be responsible. Valmarana exploits the word-painting opportunities that the rather bombastic text affords.
Tu parti appena giunto (SSATB) *NEW*
In contemporary editions, the poem is subtitled “Querela dell’amata” (The beloved’s [f.] lament); that the protagonist is a woman is further confirmed by the use of adjectives in the masculine form (fuggitivo, vago) describing her wayward lover. (Assuming a woman’s point of view is unusual for Guarini, whose protagonists – often including himself – are overwhelmingly male.) At 20 bars, the piece is quite short; in making his copy, possibly Tregian omitted a repeat beginning at bar 16.
Volgea l’anima mia soavemente (SSATB) *NEW*
A mini-drama about love proffered, a panicked reaction, and a compassionate resolution, all packed into 11 lines. The poem is subtitled “Pietà di Donna” (A lady’s compassion) in contemporary sources. Guarini’s text was also set by several other madrigalists, including Cifra, Ghizzolo and Monteverdi.

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