Three New Madrigals: 3-Part Mixed, a cappella Choral Octavo

Althouse delivers three distinct madrigals that work as standalone pieces or a complementary set, giving you programming flexibility without sacrificing musical substance. The variety across the set is genuinely useful: a traditional "fa la la" madrigal with echo effects, a lush homophonic setting with deeper text, and a rhythmic processional option. At this price point, the combination of pedagogical value, performance versatility, and choral craftsmanship is hard to match.

This set spans genuine madrigal tradition to modern expression. You'll encounter the playful syllabic choral writing and echo-response textures of Renaissance convention in the first piece, shift into the sustained sonorities and lyrical phrasing of the second, then land on a spirited, rhythmically alert closer that could enliven a formal concert or energize a dinner event. The progression feels designed to showcase your singers' range rather than exhaust a single mood.

These madrigals suit 3-part mixed and SSA choirs at the secondary and community level. The collection works equally well for groups preparing festival or contest repertoire and those seeking fresh concert material.

• Balance the echo effects in the first madrigal by positioning singers slightly apart if your concert space allows it; this creates the spatial interplay the composition invites without requiring a separate ensemble
• In the second piece, shape the homophonic phrases by thinking in longer musical lines rather than resting between sections; this sustains the lush quality the text requires
• For the third madrigal, if using the optional hand drum, let one singer manage the percussion so the other voices remain free to project; the drum accents rhythm rather than carries the line

Program all three as a madrigal triptych to frame a concert section, or select individual pieces to complement larger thematic programs. The third madrigal's processional energy makes it particularly effective as an opening or closing number, while the first two work well in the body of a concert where you want to demonstrate textural contrast.

• Madrigal style conventions including echo effects and syllabic text setting
• Ensemble balance in a cappella contexts without instrumental support
• Phrase shaping across homophonic textures
• Rhythmic precision when performing with optional percussion accompaniment
• Range and flexibility moving between traditional and contemporary choral idioms within a single set