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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]
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.
Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass.
"Ancor che col partire" is a four-voice Italian-language madrigal with music by the Italy-based Flemish composer Cipriano de Rore first published by Antonio Gardano in 1547. . The madrigal became de Rore's most popular work, one of the most widely distributed madrigals of the entire 16th Century, and was the basis for further variations, adaptations and ornamentations by many other composers ...
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)