In the early seventeenth century, Marini was one of the first composers to develop virtuosity in his compositions for solo instruments and pieces for small groups. The publication of his Opus 1 collection of sinfonias, canzonas, sonatas, and dances for one or two treble instruments (violins or cornetti, flutes, oboes, treble viols, trumpets in C, descant or tenor recorders), one bass instrument (trombone or cello, bass viol, bassoon), and continuo (organ, or other keyboard) established his reputation as a leading composer of that time.

This collection includes (apparently) the first specific call for tremolos and the notation of slurs. The notes for the tremolo are written in standard half notes and whole-note values with the indication "tremolo con L'arco" (tremolo with the bow) for the upper voices (assuming they are strings), "tremolo col instrumenti" for the bass (for example, a breath pulse or soft double-tonguing for the trombone), and "metti di tremolo" for the continuo (probably a special tremolo stop on the organ). Players would have to match the speed of the tremolo pulses to each other (with the fixed organ speed probably having the final say).

The development of emerging forms is also an important aspect: the three-part sinfonias anticipate the later sonata-allegro form of the Classical period, and the two-part sinfonias point toward the accompanied instrumental sonata where the accompaniment part contains independent material that doesn't simply imitate or march in rhythmic unison with the solo part.

The independent bass voice is another significant development, especially when that part is realized by a trombone, creating a new function for that instrument apart from its previous inclusion in large brass ensembles (in the works of Schütz, Gabrieli, and others).

"La Foscarina" (dedicated to either a wrongfully executed Venetian ambassador, or a guitar virtuoso) and "La Agguzzona" are probably the most imposing works in the collection, with shorter works like "La Giustiniana" nonetheless emotionally moving. "La Foscarina" is certainly filled with variety: it opens with a touching three-voice canon in G minor. There are sighing repeated notes (under slurs), singing long tones, and on-rushing ascending dactyl (long-short-short) and fast descending scale embellishments. The next section is in a noble triple meter mood with the top voice featured as a solo that modulates from D minor to G major (from sadness to hope). The reply solo is in the second voice that modulates from G minor to C major (again, from a feeling of sadness to light). The bass enters creating a fanfare-like ensemble in C major. The next section is another three-part canon in a contrasting happy mood. The next section is in a skipping 3/2 rhythm from minor to major, fast quickly rotating figures suddenly flash briefly followed by the aforementioned mysterious tremolo passage. The initial canon is then recapitulated and varied with different voice entries and concluding with impressive melismatic figures over a sustained continuo chord.

© All Music Guide