Gesualdo da Venosa:
Asciugate i begli occhi Quinto libro de madrigali a 5 voci
Se vi duol il mio duolo Quinto libro de madrigali a 5 voci
Piagne e sospira Quarto libro de madrigali a 5 voci

Luca Marenzio:
Due rose fresche (1° parte)
Non vede un simil par (2° parte) Quinto libro a 5

Girolamo Frescobaldi:
Canzon Seconda a 4 Sopra Romanesca Canzoni da sonare, Libro I

Gioseffo Guami:
Canzon XI La Morale Canzoni da sonare
Canzon VIII La Gentile Canzoni da sonare

Giovanni Gabrieli:
Da quei begl’occhi in Andrea Gabrieli, Terzo Libro a 5
Donna leggiadra e bella De floridi virtuosi d’Italia … primo libro a 5

Giaches de Wert:
Ah, dolente partita! Undecimo libro a 5
Dolcezze amarissime d’amore Undecimo libro a 5
Vago augelletto che cantando vai (1° parte)
Io non so se la parti sarian pari (2° parte) Nono libro di madrigali a 5 e a 6

Luzzasco Luzzaschi:
Ricercare X Il Secondo Libro de Ricercari a quattro voci

Tarquinio Merula:
Canzon La Merula Primo Libro delle Canzoni a 4 voci

Claudio Monteverdi:
La bocca onde l’asprissime parole Secondo libro de madrigali a 5 voci
O tenebroso giorno Quinto libro di madrigali
Cantai un tempo e se fu dolce il canto, Secondo libro di madrigali

Gio Maria Trabac:
Canzone Francesa Settima cromatica Ricercate canzone francese [...]

In the mid-16th century, counterpoint – now no longer the abstract and self-referential art of good voice leading – entered the orbit of musica poetica, the form of music in which the communicative element was emphasized: by the very imitation of the concept contained in the words, music now gained the power to lend a sensually perceivable soul to the resounding numbers, the rational component of the composition. Of course such poetically conceived music had to be vocal music; and the madrigal became the genre in which the perfect balance between ratio and sensus, between rationality and sensuality, could be struck. Written and visual sources testify that the practice of combining vocal lines and instruments was common when performing polyphonic works. Long before the rise of accompanied monody, the practice of ‘concerted’ madrigals had translated the theoretic concept of musica poetica into practical performance formulas which did justice to the intelligibility of words and texts. The combination of a solo vocal line and accompaniment by a consort of viols seems ideal in order to render the text completely and intelligibly, while keeping the sound structure of polyphony intact at the same time.

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Reedycja 2012