The study intends to revise an old chanson entitled “Jamais en ce monde n’aurai” and composed by Thomas Crecquillon, an author belonging to the Franco-Flemish school and active in the first-half of the sixteenth century.

The contemporary composing approach has the purpose to merge into one single breve study some melodies obtained from the piece in hand with melodic lines produced by means of procedures suggested from merely mathematical aspects, for instance the series consisting of a number of G sounds comprised inner the twenty-five measures forming the piece, or the quantity of quaver exposed by the four vocal lines or, some more, the analysis of the pauses studded during the Crecquillon’s composition.

Although, therefore, the widening over numerical matters represents an important aspect of Remember...no march in March!, remains fundamental trying to propose to the listener a work where the melody assumes the leading role, both as mind fruit of a composer who lived five centuries ago and generated by means of an in-depth analysis of rhythmic and sonorous parameters of the starting point materials.

The melody preeminence intends to give, moreover, a tribute to Thomas Crecquillon and to his music, as the melodic invention represents one of the most remarkable stylistic figures of the Flemish composer aesthetics.

The organic di Remember... no march in March! is composed by euphonium and piano. The length of the work is approximately 3’ 15”.