Those of you who heard my solo album and/or my recital at ITF last month already know, but I composed a new addition to our solo repertoire. I'm happy to announce that is now published and available from Cherry Classics!



The piece is composed in the language of Italian composers around 1630, and is suitable for professionals as well as advanced students and amateurs, both on modern or baroque trombone. It can be played together with organ, harpsichord, theorbo, harp, etc. (technically doable on piano but probably won't be very satisfactory, sound-wise).

The published version includes the full score, trombone part, individual continuo part, plus an alternate full score with a suggested keyboard realization for accompanists who are not used to improvising a continuo realization in the early Italian style. The realization was written by my dear friend Iason Marmaras, who teaches improvisation and continuo at the MDW in Vienna, who did a truly fantastic job with it!

The publication also includes a pseudo-facsimile of trombone part and score, written in historical notation for the hardcore players or to see how it would have looked to a 17th-century musician (and that trombone part includes another original composition from my album, as an extra!)

Here is my recording of the piece:

<YOUTUBE id="EF_DCtdX99I">[media][url]https://www.youtube.com/watch?v=EF_DCtdX99I"><LINK_TEXT text="https://cherryclassics.com/collections/ ... -continuo?">https://cherryclassics.com/collections/latest-releases/products/brisson-sonata-for-trombone-and-continuo?</LINK_TEXT>

The piece is composed in the language of Italian composers around 1630, and is suitable for professionals as well as advanced students and amateurs, both on modern or baroque trombone. It can be played together with organ, harpsichord, theorbo, harp, etc. (technically doable on piano but probably won't be very satisfactory, sound-wise).

The published version includes the full score, trombone part, individual continuo part, plus an alternate full score with a suggested keyboard realization for accompanists who are not used to improvising a continuo realization in the early Italian style. The realization was written by my dear friend Iason Marmaras, who teaches improvisation and continuo at the MDW in Vienna, who did a truly fantastic job with it!

The publication also includes a pseudo-facsimile of trombone part and score, written in historical notation for the hardcore players or to see how it would have looked to a 17th-century musician (and that trombone part includes another original composition from my album, as an extra!)

Here is my recording of the piece:

<YOUTUBE id="EF_DCtdX99I">[media][url]https://www.youtube.com/watch?v=EF_DCtdX99I</YOUTUBE>

Maximilien,

That's gorgeous, even though I'm listening on my mobile phone while vacationing on Hawaii. Can't wait to return home and hear it with better fidelity.

:good:

beautiful stuff!

Very beautifully composed and played! Thank you for posting that and I’m thinking of trying to play it myself.

John

Very nice!

Please tell us about the instrument you played on that recording.

It sounds very authentic to me. I'm not an expert in styles from that period, but I do enjoy listening and performing early music when I get the chance.

Dave

[quote="Wilktone"]Very nice!

Please tell us about the instrument you played on that recording.

It sounds very authentic to me. I'm not an expert in styles from that period, but I do enjoy listening and performing early music when I get the chance.

Dave[/quote]

It's an Egger "standard" model tenor, based on a 1632 original by Sebastian Hainlein. Kind of the Conn 88H of sackbuts...together with the Meinl Drewelwecz, they're the two instruments that you'll most often find on any early music gig. It's a good all-purpose, middle-of-the-road sackbut. Not fully historical or "authentic" — it has a tuning slide, some parts made of extruded tubing, chrome plated slide tubes with stockings, and a soldered bell stay, for example – but the dimensions and overall construction and internal geometry are right. It's historical enough that it accepts and encourages a different way of playing, and reacts well to historical articulations and technique. And it's also just an excellent instrument just in terms of build quality and responsiveness.

Maximilien, and anyone else, I have what might be an ignorant question.

in your sheet music you have this symbol, that looks sort of like a number 3 and sort of like an alto clef. The music is supposed to be in tenor clef there, I believe, so I don't think it's an alto clef.

Is this an indication that the feel of the meter should be in 3, rather than the quarter note pulse of 6 earlier?

Thanks,

Dave

I guess I should have listened back to your recording before I asked. Or looked closely at the fulls score (in modern notation!).

So the 6/4 meter was a 3+3 feel earlier (in 2), and the "3" in the staff is an indication to feel the 6/4 in 2+2+2 (in 3).

I'm not used to that notation practice, is that common in music from the period you were composing in?

[quote="LeTromboniste"]The publication also includes a pseudo-facsimile of trombone part and score, written in historical notation for the hardcore players or to see how it would have looked to a 17th-century musician (and that trombone part includes another original composition from my album, as an extra!)[/quote]

Do you ever perform reading the historical notation? Sight read in it?

[quote="Wilktone"]Maximilien, and anyone else, I have what might be an ignorant question.

in your sheet music you have this symbol, that looks sort of like a number 3 and sort of like an alto clef. The music is supposed to be in tenor clef there, I believe, so I don't think it's an alto clef.

Is this an indication that the feel of the meter should be in 3, rather than the quarter note pulse of 6 earlier?

Thanks,

Dave[/quote]

[quote="Wilktone"]I guess I should have listened back to your recording before I asked. Or looked closely at the fulls score (in modern notation!).

So the 6/4 meter was a 3+3 feel earlier (in 2), and the "3" in the staff is an indication to feel the 6/4 in 2+2+2 (in 3).

I'm not used to that notation practice, is that common in music from the period you were composing in?[/quote]

Hi Dave,

Not an ignorant question at all! It's just that I'm using late mensural notation rather than the modern time signature system. A few people might have been exposed to the mensural system in their music history classes, most are not. I make the particular proportion changes of that section explicit in the preface of the piece so that players don't need to know all the details of that system. In this case half note in “C" = dotted whole note in "3", and in the trombone part you have an intervening 6/4 for a while, so half=dotted half=dotted whole (in other words, 6/4 is triplet feel, and then going from 6/4 to 3 is a doubling of note values).

[quote="Wilktone"]Do you ever perform reading the historical notation? Sight read in it?[/quote]

Yes, regularly, and we teach our students to. Funny story: in my very first lesson when I started studying early music, my teacher first flipped my world upside down by telling me my trombone was not in Bb at a=440 but in A at a=466, and that from now on, first position=A. Then she put a pile of music on my stand, all historical prints, and said "For today let's sight-read some of these!"... talk about being thrown right into the deep end!

For 17th century music, which this piece imitates, the notation is actually pretty much the same as today's in most respect even though it looks quite exotic. The "time signatures" work a bit differently but are fairly simple. The absence of barlines is something that throws people off at first, and also the frequent need to add accidentals on-the-fly, and therefore to know when and why. The biggest difficulties in reading original material from that period arise less from the notation system itself and more from the movable-type printing technology, which most notably doesn't support beams or too many ledger lines, but was much faster and cheaper than hand-engraving copper plates. This you can see in the pseudo-facsimile version of my piece, where all the notes are individual types, and un beamed, and clef changes are required for avoiding ledger lines. Manuscripts of that period are somewhat easier to read in that respect (assuming they're clean), but they also have their own idioms one needs to get used to.

For earlier music, then the difficulty is really in the mensural notation system itself as one needs to become fluent in its numerous and complex rules, that vary from mildly to wildly different from modern notation. There are three big challenges. You have the system of mensurations and proportions instead of time signatures, and oftentimes different parts are different ones simultaneously. Then in those mensurations with "perfection" (certain note values that divide into threes – not everything divides into twos by default like in modern notation!), which is most of them, you have somewhat complex rules of perfection that determine when a note is worth three and when it's worth two. And you have ligatures, where you get a series of notes all stuck together, and the rhythm is known from the shape or way the notes are attached, and the presence and orientation of any stem, with rules that are just not intuitive.

Fluently reading historical notations (and in all clefs) is an essential skill for early music specialists, for one because it allows us to read and unearth music that has never been transcribed in modern notation, and then also because it helps experience and understand the way early musicians read and conceived the music – for example not having barlines really changes your horizontal perception of the music as well as your feel of time and the way your eyes/brain parse rhythms, and also in ensemble music it forces you to listen to your colleagues differently and have more awareness of the counterpoint.

Most early music gigs use modern scores for convenience, certainty and efficiency of rehearsals. Oftentimes with smaller groups of highly specialised musicians we might use a mix, depending on repertoire. With my own chamber group Le Consort laurentien, we try to read from facsimile whenever it's practical, and it ends up being around 50/50. I might read more from facsimile while our continuo player reads more from score, some pieces we're all reading facsimile, others we've arranged, or the facsimile is not available, or really illegible and so we play from modern parts. Some more hardcore groups use exclusively historical notation. One such group I've performed on several occasions is Cappella Pratensis, a vocal ensemble that also has a mandate of research through performance, and with them not only we play from historical notation, but we actually sing and play everything (and sight-transpose, and sometimes improvise polyphony upon Gregorian chant) gathered around a single big choir music stand, reading from a full-size copy of an original giant manuscript choirbook, with very minimal or no annotations allowed in the book, just like choirs did in the Renaissance.

Here are a couple pictures and a video from a similar project of the Schola Cantorum Basiliensis when I was finishing my studies there, where we performed from a newly-restored 500 year-old choirbook from the Milan cathedral archives.

The book:



Reading all from one stand:



Sight-singing from the choirbook for the first time:

<GOOGLEDRIVE id="1j3-7n13nebeWjuG2H5ICeQ-J9u6Y35W3">[media]<LINK_TEXT text="https://drive.google.com/file/d/1j3-7n1 ... p=drivesdk">https://drive.google.com/file/d/1j3-7n13nebeWjuG2H5ICeQ-J9u6Y35W3/view?usp=drivesdk</LINK_TEXT></GOOGLEDRIVE>

Thanks, Maximilien. I don't know that I'll get the chance to perform your Sonata, but I'm having fun using it to practice and keep the metal on the mouth.

While I'm thinking of it, if I can go a bit off topic, can you (or anyone else) recommend music that can be performed unaccompanied or with very simple parts (for whatever instruments are around) that are from medieval or renaissance periods? I sometimes attend events with the Society for Creative Anachronism and would like to do a little performing there. Unfortunately there aren't too many other serious musicians in my local group that I can perform with.

Thanks,

Dave

[quote="Wilktone"]Thanks, Maximilien. I don't know that I'll get the chance to perform your Sonata, but I'm having fun using it to practice and keep the metal on the mouth.

While I'm thinking of it, if I can go a bit off topic, can you (or anyone else) recommend music that can be performed unaccompanied or with very simple parts (for whatever instruments are around) that are from medieval or renaissance periods? I sometimes attend events with the Society for Creative Anachronism and would like to do a little performing there. Unfortunately there aren't too many other serious musicians in my local group that I can perform with.

Thanks,

Dave[/quote]

Wow sorry Dave, I never saw this! Do you mean solo music that you can perform unaccompanied, or ensemble music without continuo? For the latter, there is really an insane amount of music. Just go on CPDL an do a multi-category search, and specify Renaissance, and the type of voicing you need. You should be able to find hundreds of pieces, and that's just the tip of the iceberg. You can can also just generally look for music by big name Renaissance composers whose entire output is available in modern notation and usually compiled in "complete edition" reference books, like Lassus, Palestrina, Josquin, Dufay, Isaac, Senfl, Hockeghem, etc. All of these will be music originally without a keyboard part, and mostly vocal so nothing too technically difficult.

For solo music that is unaccompanied or with very simple accompaniment, that works on trombone, what comes to mind is diminutions pieces, where the accompaniment can be a keyboard or several singers or melodic instruments playing the simple unornamented polyphony while you play the solo ornamented version. Bassano's bass diminutions are very good and not too hard (good modern edition by David Yacus from Septenary Editions -I also have my edition of a couple of them I'd be happy to send you). And for sure I would recommend to have a look at Diego Ortiz's Trattado de glosas (there is a very good modern edition and translation by Barenreiter that should be available at most music university libraries), where in book 2 he gives written examples of how (improvised) solo pieces of different types can look like. Those are all originally for gamba, and they work perfectly fine on trombone. The few that are for a soprano instrument might or might not work when the solo part is transposed down an octave, depending on whether they then cross below the bass, or they might work down a fifth. The first pieces are completely unaccompanied, then you have some that are improvised against a popular cantus firmus (La Spagna), where you could simply have a melodic bass instrument play the cantus firmus, or write a simple 2 or 3-voice accompaniment in simple counterpoint for a keyboard. Then you have diminutions pieces over a madrigal and a chanson, where you can have a keyboard player or four singers or instruments play the (simple) unornamented original 4-voice polyphony while you play Ortiz's diminutions. And at the end you have pieces on ground basses/repeating chord progressions, which again are very easy for any keyboard player to accompany, or could be played by 4 melodic instruments. Or even guitar.

Or other idea, have a look at Van Eyck's Fluyten Lusthof. It It's meant for unaccompanied flute(s) but some of the pieces work perfectly fine on trombone.

Thanks again, Maximilien. No worries on the delay. And thanks for the suggestions, I'll check them out.

[quote="LeTromboniste"]Do you mean solo music that you can perform unaccompanied, or ensemble music without continuo?[/quote]

There aren't a lot of classical musicians in my local SCA chapter, so solo music is cool because at least if no one shows up that can hang I can do something. But simple stuff for random ensemble would be great for playing something with whoever happens to show up with whatever instrument they play.

Ideally I'd connect with musicians who are interested in getting together to rehearse ahead of time. The SCA folks who do the fighting tournaments get together regularly to practice, but no one in my local group (to my knowledge) does anything regular for period music. I'm hoping that if I put together a few ensemble pieces together and send out ahead of time that maybe I can convince some folks to at least jam at the next event.

I recently did a performance as a sackbut duo, although I just played my trombone. A trombonist who plays with a group I conduct volunteered to perform at the elementary music program I work for and he brought his sackbut to show my students. We played a duet that he brought. It was an Estampie, but I don't recall by who.

Thanks,

Dave