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).

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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

Venturi del Nibbio, Primo pastorali a 5 (1592) (complete)

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Title and DescriptionScoreMidiTranslation
Introduction and Commentary
The Introduction can be downloaded from the Translation column.
Tirinto, se crud’ orsa (prima parte of 2) (SSATB) *NEW*
An anguish-laden sonnet by Benedetto Varchi, featuring the nymph Nisa, who has broken off with her paramour Silvano and fallen madly in love with the uncaring Tirinto.
Perché mi fuggi, o bel Tirinto (seconda parte) (SSATB) *NEW*
S’io volesse negar (SSATB) *NEW*
The protagonist offers Clori what is at best a back-handed compliment.
Ecco l’Aurora a noi rimena il giorno (SSATB) *NEW*
A setting, attributed to "Incerto" ("uncertain"), of a poem of unknown authorship, replete with stock pastoral themes and characters. Regardless of provenance, the setting includes some nice word-painting and “patter” effects.
Appena potev’ io bella Licori (prima parte of 2) (SSATB) *NEW*
Similarly to Nos. 1–2, “Appena potev’ io” is part of a lengthy cycle of pastoral sonnets by Benedetto Varchi. Here the protagonist is a certain Iola – a denizen of Tuscany, to judge from the river names – who is in love with the shepherdess Licori, evidently resident near Rome. Apparently a condition for the relationship to progress is that Iola relocate, which he is reluctant to do. The ending of the seconda parte is remarkable for its musical contrast between the “tranquil Arno” and the “stormy Tiber.”
Già viss’ io presso a te felice e lieto (seconda parte) (SSATB) *NEW*
L’altr’ier colà su quelle piagge alpine (prima parte of 2) (SSATB) *NEW*
Antonio Ongaro’s sonnet “L’altr’ier colà” is subtitled “Vuol provare se i doni hanno più forza de i versi con la sua ninfa” (roughly: he [the protagonist] wishes to test his nymph to see whether gifts are more powerful than verses). The gift in question is a captured “caprivuol” (roe deer) which the protagonist offers to Filli. As best as can be judged from the poem, the test result was inconclusive.
Questo per te serb’ io (seconda parte) (SSATB) *NEW*
Così sempre fuss’ io legato e stretto (prima parte of 2) (SS A/T TB) *NEW*
The protagonist Damone runs himself into the ground (literally) in pursuit of Fillide. Exhausted, he laments his situation, and the fact that his single-minded pursuit of his love-object has been detrimental to his flock.
Mille fiate ho già senza custode (seconda parte) (SS A/T TB) *NEW*
Chi dice che ferito Amor m’ha ’l core (SS A/T TB) *NEW*
A musing on the nature, and identity, of Amore (Cupid).
Sì m’è l’attender più noioso e lungo (prima parte of 2) (SS A/T TB) *NEW*
An excerpt from another pastoral sonnet cycle by Benedetto Varchi, this one featuring the two lovers Carino and Nape, who are described elsewhere as an ideal couple. Once Carino is out of sight, however, it seems that Nape is plagued by doubts.
Chi fa che d’altra pastorella l’orme (seconda parte) (SS A/T TB) *NEW*
Suggea la bella Clori (SSATB) *NEW*
A text of unknown authorship, on the well-worn theme of “parting is such sweet sorrow,” here with an emphasis on erotic labial exercises.
Rigira il guardo de’ begl’occhi (SSATB) *NEW*
A text of unknown authorship, featuring the protagonist’s former and current flames (Clori and Delia respectively).
Tu fuggi, e vedi ch’io mi struggo ed ardo (SSATB) *NEW*
A variant of the well-worn theme of ardent shepherd and ambivalent shepherdess who puts out mixed messages. The ending of the piece is remarkable; the voices progressively drop out and the piece ends on the Alto’s single minim.
Pastorella se sai il mio desio (SSATB) *NEW*
Yet another variation on the theme of ardent shepherd and ambivalent shepherdess.
Queste ch’io colsi dianzi (prima parte of 2) (SSATB) *NEW*
Another extract from a Varchi cycle of loosely related pastoral sonnets. Here the protagonist is Iola, addressing his beloved Licori. In the seconda parte, Iola reminisces about a previous encounter with Licori which evidently took place as part of an orange-throwing contest. While there is a well-known tradition of orange-throwing in the Northern Italian town of Ivrea during Carnival, the text would suggest that this practice was in vogue elsewhere. The music of the seconda parte is quite animated, particularly in the passages describing the orange-toss game.
Perché quel dì che sì cortese e bella (seconda parte) (SSATB) *NEW*
Sai tu Fillide mia (prima parte of 2) (SSATB) *NEW*
The poem is subtitled “Invita Giacinto la sua Filli a battaglia amorosa” (Giacinto invites his Filli[de] to amorous combat). Venturi’s setting is noteworthy for a profusion of extended melismatic passages, word-painting effects and other devices; the piece seems to function as a kind of “grand finale” to the entire work.
Ti dirò molti versi (seconda parte) (SSATB) *NEW*

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