Biagio Marini was born in the remarkably musical Lombardy town of Brescia in 1597. Since the beginning of the sixteenth century, Brescia had been a center for the making of organs, lutes, and viols, and it was soon to become even more renowned for its violins. When Marini was 18 years of age, he joined the instrumentalists at St. Mark's in Venice. There, in 1617, under the influence of Monteverde, Marini published his «Affetti Musicali, Opus 1», one of the most radical works of its day. Soon after the unfortunate death of his wife, the young composer returned to Brescia (1620) as musical director at the Santa Euphemia church. Two years later he served the court of Ferdinand Gonzaga at Parma, and in 1623 he accepted the position of «maestro di concerti» at the Wittelsbach palace in Neuburg on the Danube. For four years Marini travelled with his employer, the Count Palatine, to courts in Dusseldorf and Brussels. In 1626, with his second wife, a German, the composer may have lived a few months in Munich.Documentation is lacking concerning his activities between 1627 and 1640. He probably spent much of this period in Italy, since his third wife, whom he married after 1630, was a resident of Milan. Marini's publications during these fourteen years consisted of works composed at Neuburg. By 1640 he had accepted the position of «maestro di cappella» for the «Accademia della Morte» at Ferrara. Two years later the church of Santa Maria della Scala called him to Milan, and in Parma he was elected a member of the «Occulti», a society formed for the promotion and encouragement of all fine arts. He soon settled in Venice, however, and remained there until his death in 1665.It is safe to assume that Marini was a skilled performer on several instruments. His numerous canzonas attest to his affection for brass music, and he spent many years in southern Germany, where brass instrument manufacture and performance were unsurpassed.The present sonata is from his «Sonate, Sinfonie, ... ,» Opus 8, of 1626, a large group of sonatas, canzonas, sinfonias, ballettos, and dances written for ensembles of from one to six parts with continuo. Many of them call for trombones. The late Dr. Alfred Einstein assembled the manuscript scores upon which this edition is based. The continuo realization, dynamics, and tempos have been supplied by the editor.LESLIE BASSETT is the Pulitzer Prize-winning composer and Chairman of the Composition Department at the University of Michigan, Ann Arbor. A former trombonist, he has often written for brass and maintains an active interest in earlier music.