Known for its creative repertoire, MDG has now released a kaleidoscope of c.1600 World Premiere (?) compositions and arrangements for Trombone and Claviorganum. Despite its attractive description, I must admit that I did not immediately jump at the occasion. A mistake! For several reasons, this release should get more attention than ‘a series of Renaissance Mediterranean Tunes by more or less obscure composers’. As it turns out, it’s a valuable collection that, to my knowledge, is nowhere else available in high resolution and is played by two musicians who know their métier inside out. Why?

Firstly, because in our time the two instruments have become quite exceptional. The Spanish Juan Gonzales Martinez plays a Renaissance trombone made of silver, based on a Schnitzer, 1551, of the kind the rich used to show off with, and two Baroque trombones, one made of brass and the other of silver, both after Drewelwecz, 1595. His Swiss-born companion, Lea Suter, plays a kind of harpsichord/organ combination, in principle a contraption made of a 17th-century tiny box organ, and something like a superimposed harpsichord. However, several setup possibilities exist for such a combination, once described as a “clavicymbal in which a number of pipes .. combined with the strings”. There is a photo in the booklet, and although it only says ’Italian harpsichord’, I take it that it is the actual instrument.

Secondly, because the two, performing under the name of Duo GlossArte (from ornaments in Spanish and arts in Italian), are musicians of exemplary quality, having no difficulty in handling even the most complicated virtuoso passages in the Sonatas as well as the subtle emotions in the Canzonas. Amazing to hear Martinez’s perfect pitch and how he produces trills and tremolos on an instrument without valves.

And thirdly, and much to my surprise and pleasure, because of the combined sound from the silvery tone of the trombone and the full-flavoured timbre of the organ. It must be heard to appreciate its warm and exquisite sonority. It is quite different from comparable recordings, and I believe that it is not only the quality of Martinez’s trombones that plays a decisive role, but also the eloquence with which he handles his instruments. Upon further reflection, I think that I now prefer it over the more popular combination of organ and trumpet.

Finally, what about the music? The 14 tracks are interspersed with solo harpsichord pieces, giving the programme of similarly styled Mediterranean compositions a bit of air, which works well for those who prefer variety. As for the chosen works, they may not all be of equal standard, but their musical and folkloristic riches allow both instrumentalists to shine like must have been the case in those long-gone days. Do read the liner notes!

In conclusion, this release fills an important gap in the repertoire. The outstanding mastery of the players, paired with MDG’s refined sound engineering, will no doubt entice even the most demanding audience, whether they be trombone and organ players or just curious listeners.

Blangy-le-Château, Normandy, France.

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