Dr. David Mathie
Trombonist, Professor, Arranger
Hassler - Verbum caro factum est
Six Trombones/Six-part Choir (Two three-part choirs)
Difficulty Level: College/Professional
1. Tenor clef in Trombone 1
2. Trombone 1 up to high G
3. Trombone 6 part requires a bass trombone
Published by Alessi Publications, Catalog Number ALPUB51
Click below to hear Verbum caro factum est
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. His sacred motet Verbum caro
factum est, composed in 1591 and scored for unaccompanied choir {SSAATB}, is an
excellent example of his friend Giovanni Gabreili's influence. The text is taken from the
Prologue of St. John's Gospel:
And the Word was made flesh and dwelt among us
and we saw his glory, the glory as it were of the only begotten of the Father,
full of grace and truth.
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.
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. His sacred motet Verbum caro
factum est, composed in 1591 and scored for unaccompanied choir {SSAATB}, is an
excellent example of his friend Giovanni Gabreili's influence. The text is taken from the
Prologue of St. John's Gospel:
And the Word was made flesh and dwelt among us
and we saw his glory, the glory as it were of the only begotten of the Father,
full of grace and truth.
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.