David Mathie:  Brass Transcriptions
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Dr. David Mathie
Trombonist, Professor, Arranger

Picture



Hassler - Four Hassler Madrigals

    1. Cantate Domino
    2. Jungfrau
    3. Dixit Maria
    4. Feinslieb
   
Trombone Quartet/Choir

Difficulty Level:  High School/College/Professional
   
1. Tenor clef in Trombones 1 and 2
    2. Trombone 1 up to high Bb
    3. Trombone 4 part requires a bass trombone


Published by Kagarice Brass Editions, Catalog Number KE098



Click below to hear 1. Cantate Domino only (performance by the Boise State University Trombone Choir)
Click below to hear the entire piece (performance by the Boise State University Trombone Choir)



Click here to see the first page of the score of Cantate Domino


Click here to buy the piece from Kagarice Brass Editions


ABOUT THE MUSIC

Hans Leo Hassler (1564-1612), son of an organist, was born in Nuremberg and received his initial training in music from his father.  As a young man he studied in Venice and became familiar with the great polyphonic music being written there at that time; later, he became close friends with Giovanni Gabrieli, both eventually studying composition with Giovanni's uncle Andrea.  Hassler returned to Germany in 1585, then became an organist in Augsburg; in addition to his instrumental career he gained a reputation as an innovative composer and also traveled throughout Germany as a consultant in the construction of pipe organs.  He died in 1612, ending his career as choral director and organist in Dresden.  His successors were Heinrich Schütz and Michael Praetorius. 

Hassler is best remembered as perhaps the finest organist of his time and one of the first composers to write in the Venetian style outside of Italy.  These four madrigals are in contrasting styles and represent a good introduction to this composer.  The madrigal Cantate Domino is especially famous.

This transcription is taken from the complete works (Hans Leo Hassler: Sämtliche Werke, ed. C.R. Crosby {Wiesbaden, 1961–} [C i]).  There are, of course, no indications of dynamics, articulation, style or tempo in the original.  Thus all editorial markings were added by me; they were kept to a minimum and for the most part reflect the musical lines and the text.  This transcription should be performed in a vocal manner, never too aggressive and with care that all voices be heard and played in a similar style.  The antiphonal nature of the music will be enhanced by arranging the ensemble with parts 1-3 on one side, 4-6 on the other.

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