Best Amorous
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Monteverdi’s “Cruda Amarilli” is a five-voice madrigal from his Book V (1605). Notable for its innovative use of dissonances, it was highlighted by theorist Giovanni Maria Artusi around 1600 as a pioneering example of expressive musical freedom. This work is particularly relevant to musicologists, s...
Cipriano de Rore’s “Da le belle contrade d'oriente” is a complex five-voice madrigal from the Renaissance period. The work showcases de Rore’s innovative use of chromatic harmony and his skill in depicting vivid imagery through musical expression. Primarily intended for advanced choral ensembles, it...
Five-voice madrigal from Monteverdi's fourth book (1603), one of his most sensually charged works, built on the erotic conceit of the beloved's kiss as a little death.
Sfogava con le stelle is a five-voice Italian madrigal by Claudio Monteverdi, published in his fourth book of madrigals in 1603. The text depicts a lover addressing the stars and is set with bold harmonic and declamatory writing. The piece is one of several in Book IV that illustrate Monteverdi's tr...
"Mein G'müt ist mir verwirret" is a secular German lied composed by Hans Leo Hassler, first published in his 1601 collection titled *Lustgarten neuer teutscher Gesänge*. The piece is structured as a five-part madrigal and features amorous text characteristic of the late Renaissance period. Its most...
"Dolcissima mia vita" is an Italian madrigal by the late Renaissance composer Carlo Gesualdo, published in his fifth book of madrigals in 1611. The piece is heavily celebrated for its lush chromaticism, extreme dissonances, and affective text-setting, which are the hallmarks of Gesualdo's mature com...
"Io son ferito, ahi lasso" is a secular madrigal composed by the Italian Renaissance composer Giovanni Pierluigi da Palestrina, first published in 1555. Written for four voices, the piece was included in his first book of madrigals, representing a comparatively rare venture into secular music for a...
A 5-voice madrigal from Monteverdi's Fourth Book (1603) setting Guarini's verse, noted for its bold chromaticism and emotional harmonic intensity.
Five-voice madrigal from Monteverdi's fourth book (1603), a contemplative love lyric sustained by harmonic tension and the expressive dissonance of seconda prattica.
Wilbye's five-voice madrigal from his First Set (1598), a philosophical reflection on love's true nature transcending physical beauty, set with characteristic elegance.
From Gesualdo's fourth book (1596), a madrigal about the beloved's bright eyes, distinguished by striking chromatic harmonies and affective word-painting.
Madrigal from Monteverdi's Fourth Book (Venice, 1603), a landmark collection marking his decisive adoption of the expressive seconda prattica over stricter Renaissance counterpoint.
"Fire, Fire" is a madrigal by Thomas Morley, notable for its lively imitative counterpoint and playful treatment of an amorous text in the English madrigal tradition of the 1590s.
Five-voice madrigal from Monteverdi's fifth book (1605), a dialogue-style setting of Guarini's verse notable for its contrasting vocal textures and expressive freedom.
Five-voice madrigal from Monteverdi's fourth book (1603), a lyrical praise of the beloved's bright eyes set with refined harmonic expression and smooth polyphony.
Madrigal from Monteverdi's Fourth Book (Venice, 1603), exemplifying his seconda prattica principle of subordinating harmonic convention to the expressive demands of the poetic text.
From Gesualdo's sixth book (1611), among his final published madrigals, showcasing his most advanced and uncompromising chromatic harmonic language.
English secular song by William Byrd (1543–1623), from one of his late-16th-century printed collections, notable for its witty pastoral text on the caprices of love.
Italian madrigal by Sigismondo d'India reflecting the bitter-sweet affective intensity of early 17th-century Italian music through bold harmonic contrasts.
A five-voice madrigal by Orlando Gibbons from his First Set of Madrigals and Motets (1612), praising feminine beauty through a pastoral rose conceit in refined style.
Five-voice madrigal from Monteverdi's third book (1592), an accusatory love lament notable for its declamatory style and expressive, restless harmonic shifts.
Four-voice madrigal by Jacques Arcadelt, published in his early Italian collections of the 1530s–40s, exploring the joy and anguish of amorous longing.
Italian madrigal by Luca Marenzio (c. 1553–1599), setting a lament text with nuanced word-painting and melodic elegance that brought him fame across late-Renaissance Europe.
Madrigal from Gesualdo's Third Book (1595), marking an intensification of his characteristic style with abrupt harmonic shifts deployed to mirror extremes of poetic sentiment.
Madrigal from Claudio Monteverdi's Second Book (Venice, 1590), composed during his early years at the Gonzaga court, showcasing his developing command of five-voice counterpoint.
Italian madrigal by Luca Marenzio (c. 1553–1599), whose output of over 400 madrigals and refined text-painting made him the most widely published Italian madrigalist of his era.
"Cara la vita mia" is a madrigal by Giaches de Wert, a Flemish-born composer who served as maestro di cappella at the Gonzaga court in Mantua and influenced Monteverdi's generation.
A madrigal by Luca Marenzio setting a text about love's tears described as liquid pearls, notable for his delicate word-painting and lyrical five-voice writing.
A duet from Monteverdi's Book VII (1619) setting Guarini's text, representative of the lighter canzonetta-influenced style in his concertato madrigals.
Five-voice madrigal from Monteverdi's fourth book (1603), a reflective love lyric demonstrating his mature command of expressive five-voice polyphonic writing.
