23672146
Hassler: Ecce enim qui a te deficiunt (Arr. for brass quintet) - Score Only
23672146
23672146
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Hassler: Ecce enim qui a te deficiunt (Arr. for brass quintet) - Score Only by Hans Leo Hassler Brass Quintet - Digital Sheet Music
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Digital Download

Hassler: Ecce enim qui a te deficiunt (Arr. for brass quintet) - Score Only by Hans Leo Hassler Brass Quintet - Digital Sheet Music

By Hans Leo Hassler
Brass Ensemble, Brass Quintet - Level 3 - Digital Download

SKU: A0.1842927

Composed by Hans Leo Hassler. Arranged by Edited by Roar Kvam. This edition: pdf, streaming. Chamber, Early Music, Medieval, Renaissance. 9 pages. KVAMusic Edition #1402475. Published by KVAMusic Edition (A0.1842927).

Hans Leo Hassler (1564–1612) was a German composer known for blending German counterpoint with Italian musical styles. He studied with his father, organist Isaak Hassler, and later in Venice with Andrea Gabrieli, where he absorbed the Venetian polychoral style and Italian secular music. After returning to Germany in 1585, he worked as organist for the Fugger family in Augsburg and later served as music director in Augsburg and Nürnberg. In 1608 he became court organist in Dresden for Christian II of Saxony.

Hassler’s works combine German and Italian influences. His Madrigali (1596) were highly regarded, and his church music and instrumental pieces were widely imitated. His German songs, influenced by Italian dance rhythms, include the famous “Mein Gemüt ist mir verwirret” from Lustgarten (1601), later used by Johann Sebastian Bach in the St. Matthew Passion as “O Haupt voll Blut und Wunden.”

“Ecce enim qui a te deficiunt” is a motet from Hassler’s collection Cantiones sacrae (Augsburg, 1591). The piece reflects his fusion of Italian expressive style with German contrapuntal technique, featuring clear polyphonic lines and balanced vocal textures typical of late Renaissance sacred music. The motet’s solemn text is supported by smooth imitative entries and careful harmonic writing.

In a brass quintet arrangement, the vocal lines translate effectively to instruments: the contrapuntal parts can be distributed among two trumpets, horn, trombone, and tuba, preserving the imitative structure. The warm blend of brass highlights the motet’s rich harmonies while giving the Renaissance polyphony a broader, more resonant sound suited to modern concert performance.

This product was created by a member of ArrangeMe, Hal Leonard's global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.

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