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

Wert, Decimo a 5 (1591) (complete)

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Title and DescriptionScoreMidiTranslation
Luci a me dolci e care (SSATB)
Stock love-poetry imagery: the eyes of the beloved provide sustenance to the protagonist's famished heart.
Tu canti, e cant' anch'io (SSATB)
The protagonist (a woman) contrasts her singing to that of a caged bird -- the bird sings out of happiness, while she sings out of desire to conceal her torment and anguish.
I' desiai, ben mio (SSATB)
A setting of a conventional text about the pain of parting, alleviated by the prospect of a reunion.
Datemi pace, o duri miei pensieri (prima parte of 2) (SAATB)
The only setting of a text by a poet of stature (Petrarch) in the entire Decimo libro. The recurrent grinding suspensions that occupy the first half of the prima parte seem to underscore the futility of the poet's search for respite from his troubled thoughts.
In te i secreti suoi messaggi Amore (seconda parte) (SAATB)
Qui fu dove s'assise (SSATB)
Bittersweet musings by the protagonist (a woman) on previous encounters with her beloved.
Amor, s'hai pur desio (SSATB)
More stock poetic imagery, in describing the passion aroused in the protagonist (a woman) by her beloved's glance.
Del vago Mincio (prima parte of 2) (SSATB)
A cleverly constructed madrigal in two sections, full of word-painting effects. Possibly the "fido pastore" referred to is Duke Vincenzo himself (whose lodgings were indeed situated on the banks of the Mincio), in which case the "Silvia" of the seconda parte would presumably refer to Donna Agnese (see the introduction).
Invido fiume, a' miei desir rubello (seconda parte) (SSATB)
O qual gioia e contento (SAATB)
A setting of a somewhat hackneyed poem about love's delights and torments. (The cause of the suffering is unclear; either the meaning is veiled, or, more likely, the poet is simply inept.)
Quante volte volgete (SATTB)
Another variation on a well-worn theme: the gaze of one's beloved engendering both passion and solace at the same time.
In qual parte risplend' oggi (SATTB)
The protagonist (a woman) is tormented by thoughts that her beloved may be enjoying the company of another.
Misera, quanto tempo (SATTB)
An expression of regret for time wasted in pursuit of mortal beauty; the protagonist (a woman) begs that "this sick pain of mine" be healed.
Amor, che sai in qual stato (SATTB)
Yet another conventional theme of love poetry: "make known my pain to the one who has deprived my heart of peace and respite."
Soccorrete, ben mio (SSATB)
A lover's plea for succor: may the beloved's glance give aid, since love has no other virtue that could stave off death.
Crudelissima doglia (SSATB)
This madrigal and the one that follows seem to form a contrasting pair, in a kind of parallel to the "proposta/risposta" genre where the second piece engages in a kind of repartee with the first.
Felicissima gioia (SAATB)
Mi diede, anima mia (SSATB)
Another madrigal on the theme of parting so painful as to leave the sufferer at the last extremity.
Ite, ardenti sospiri (SSATB)
An expression of fervent hope, couched in somewhat martial language, that the force of passion may overcome the love object's cold-heartedness.
Non mi conosci tu (Eco a 6) (SAT/SAB)
An "echo" madrigal, wherein the echo gives a twist to the meaning of the preceding line.
Vicino un chiaro e cristallino fonte (Dialogo a 7) (SAT/SATB)
A dialog a7 on the conventional pastoral subject of wayward nymph and flummoxed shepherd. The piece subsequently appeared in a madrigal anthology devoted to the theme of "il bon bacio" (the "good kiss" of the fourth line of the poem).
Introduction and Commentary
The text can be downloaded from the Translation column.

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