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A madrigal is a form of secular vocal music most typical of the Renaissance (15th–16th centuries) and early Baroque (1600–1750) [citation needed] periods, although revisited by some later European composers. [1]
Baci soavi e cari (Giovanni Battista Guarini)Bella Angioletta, da le vaghe piume (Torquato Tasso)Come esser può ch'io viva (Alessandro Gatti)Felice primavera (Tasso) Gelo ha madonna il seno (Tasso)
It contains words and full music for some 60 of the madrigals and songs of the English Madrigal School. When selecting works for this book, Ledger decided to represent the major composers of 16th-century English music such as William Byrd and Thomas Morley with several madrigals, alongside individual works by lesser-known composers.
The English Madrigal School was the intense flowering of the musical madrigal in England, mostly from 1588 to 1627, along with the composers who produced them. The English madrigals were a cappella , predominantly light in style, and generally began as either copies or direct translations of Italian models.
Luca Marenzio. Luca Marenzio (also Marentio; October 18, 1553 or 1554 – August 22, 1599) was an Italian composer and singer of the late Renaissance.. He was one of the most renowned composers of madrigals, and wrote some of the most famous examples of the form in its late stage of development, prior to its early Baroque transformation by Monteverdi.
A madrigale spirituale (Italian; pl. madrigali spirituali) is a madrigal, or madrigal-like piece of music, with a sacred rather than a secular text.Most examples of the form date from the late Renaissance and early Baroque eras, and principally come from Italy and Germany.
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Concerted madrigal is a madrigal music style in which any number of voices combine with instruments, whether just basso continuo or basso continuo and others. The development of this style was one of the defining features of the beginning of the Baroque musical era. An example of this is Claudio Monteverdi's Zefiro torna e di soavi accenti.