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

Picture



Hassler - Three Madrigals

    1.
Tanzen und Springen (Dancing and Jumping)
    2. Ach, weh des Leiden (Oh Pain and Suffering)
    3. Herzlieb zu dir Allein (I Give my Dear Heart to You Alone)


Five Trombones/Five-part Choir

Difficulty Level:  College/Professional
    1. Tenor clef in Trombones 1 and 2
    2. Trombone 1 up to high Bb
    3. Trombone 5 part requires a bass trombone

Published by Cherry Classics, Catalog Number CC2308


Click below to hear 1. Tanzen und Springen
Click below to hear 2. Ach, weh des Leiden
Click below to hear 3. Herzlieb zu dir Allein


Click here to see the first pages of the score

Click here to read the International Trombone Association Journal review of Three Madrigals

Click here to buy the piece from Cherry Classics
Click here to buy the piece from Amazon
Click here to buy the piece from Hickey's Music Center

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. 

These pieces are taken from the complete works (Hans Leo Hassler: Sämtliche Werke, ed. C.R. Crosby {Wiesbaden, 1961–}.  There are, of course, no indications of dynamics, articulation, style or tempo in the originals; thus all musical suggestions here were added by the arranger.  These transcriptions should be performed in a vocal manner and all voices should be heard and phrased in a similar style.  It is particularly important that the ascending and descending lines be supported by crescendi and decrescendi respectively.


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