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

Vecchi, Orazio

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Title and DescriptionScoreMidiTranslation
Dice la mia bellissima Licori (SS A/T TB)
A cleverly executed setting of the text that provided the model for Wilbye's "Thus saith my Cloris bright." The piece has been transposed down a fourth; a version at the original pitch is also available.
Il bianco e dolce cigno (SSATB)
Vecchi paraphrases Arcadelt's setting of the opening line, then diverges in a way that seems to be saying, Look how far the madrigal has come in 50 years. (Vecchi's setting was also Englished as "The white delightful swan sweet singing dieth.") A version transposed up a whole step is also available.
Cara mia Dafne, addio (SS A/T TB)
A pastoral morning-after: Tirsi takes his leave of the nymph Dafne at daybreak. See also the setting by Bertani. The piece has been transposed down a fourth; a version at the original pitch is also available.
Chi vi mira Renea (SSATB)
The protagonist heaps extravagant praise on (or perhaps indulges in erotic fantasizing about) an exceptionally beautiful woman. Whatever the case, upon beholding her, all lovers should endlessly die and be reborn.
Tremolavan le frondi (prima parte of 3) (SSATB)
Unlike many of his contemporaries, Vecchi did not set Guarini's erotic text "Tirsi morir volea"; however, this madrigal in three sections serves much the same purpose -- with the addition of warbling birds and other naturalistic description. (Vecchi was given to parody; perhaps the piece is intended to be tongue-in-cheek.) Versions transposed down a fourth and a fifth are also available. See also the settings of "Tirsi morir volea" by Marenzio, Pallavicino, Tomasi, Wert et al.
Quando ecco il mio bel sole (seconda parte) (SSATB)
Ond' allor io languendo (terza parte) (SSATB)
Il cocodrillo geme (SATB)
Although not, strictly speaking, a madrigal, but rather a strophic canzonetta, this piece by Vecchi combines expressive writing with a sly sense of humor. In the source, only the first of the three stanzas was underlaid to the notes; here the third stanza has been left to the singers’ discretion.
Ahi, se si grida 'al foco' (SSATB)
A clever setting of a melodramatic text in which the protagonist compares his raging passion to an out-of-control conflagration. The text might have provided the inspiration for Thomas Morley's canzonet "Fire, fire." See also the setting by Francesco Guami.
Con voce dai sospiri (SATB) *NEW*
A refashioning of the death-as-sexual-consummation theme elaborated more explicitly and at greater length in the various madrigal settings of Guarini’s famous (or infamous) poem “Tirsi morir volea” (see, in particular, the versions by Marenzio, Pallavicino, Wert, Zanotti, Croce and Tomasi, as well as various “knock-offs” including Vecchi’s own “Tremolavan le frondi”). If nothing else, Vecchi’s strophic canzonetta version is indicative of the wide range of musical treatments to which the subject could be adapted.
Mentr’ il cuculo il suo cu-cu cantava (SSAT) *NEW*
Another Vecchi strophic canzonetta, rather than a madrigal, in which a cuckoo’s repeated call forms a backdrop to a rather brazen attempt at pastoral cuckoldry. A version transposed down a fourth is also available.
L’onde lascia e gli scogli (SSAATB) *NEW*
A madrigal based on a text whose first four lines are similar to those of a poem by the elder Giovanni Battista Strozzi, but which then diverges to become an encomium for a certain Virginia. The reference to the river Arno makes it likely that the personage in question is Virginia de’ Medici (1568–1615), an illegitimate daughter of Cosimo I de’ Medici, first Grand Duke of Tuscany. She was betrothed to Francesco Sforza, count of Santa Fiora, but the marriage never took place since the latter was appointed a cardinal in 1581. (See also the Notes accompanying the Text/Translation.) In the music, the black-note passages on the words “atre” and “nubilose” (gloomy, cloudy) in the Quinto and Tenore are evidently intended as “eye music.”
Clorind’ hai vinto (SSATB) *NEW*
The beginning of the text contains a reference to a line spoken by Clorinda in Tasso’s Gerusalemme liberata (XII/66): “Amico, hai vinto: io ti perdon, perdona …” (Friend, you have won: I pardon you, and pardon …). In Tasso’s epic poem, the noble pagan warrior Clorinda has been vanquished and fatally wounded in single combat with the Christian hero Tancredi (who is unaware of her identity because of her concealing armor). The text employed by Vecchi in effect turns the tables on the scene – it is the unnamed male protagonist who is wounded and vanquished and who begs forgiveness. As also appears to be the case of Vecchi’s “Tremolavan le frondi” (see above), the composer has created a parody version of the original. A version transposed down a fourth is also available.

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