Trombone History: 16th Century Paintings of Trombonists
July 31, 2009 by wkimball · Leave a Comment
Added several new images to the 16th Century of the Trombone History Timeline. They include, respectively, a detail and 2 paintings by Caravaggio (the less-famous Caravaggio, sometimes known as Polidoro Caldara) (c. 1520, Rome, Italy), as well as a detail and full color version of a painting by Schelhas (c. 1600, Augsburg, Germany). The Caravaggio paintings, dealing with the muses, reflect the symbolism attached to trombone during this period of trombone history. The Schelhas painting, depicting an aristocratic dance, appears to be much more literal, highlighting the trombone’s role as a dance instrument at this time.
Trombone History: Lyon & Healy Alto Trombones
July 29, 2009 by wkimball · Leave a Comment
Added the below entry to the Alto Trombone History Timeline. Lyon & Healy, a Chicago company that later specializes in manufacturing harps, offered numerous models of alto trombones, both slide and valve, all pitched in E-flat. Several other companies, including Zimmerman (Germany), Boosey & Co. (England), Sears & Roebuck (US), and Montgomery Ward (US) offered multiple models of E-flat alto trombones in the late 19th century.
1894—Chicago, Illinois: The catalog for Lyon & Healy, an instrument distributor and manufacturer, advertises numerous valve alto trombones, all specified as E-flat instruments. Several bear a resemblance to valve alto trombones offered by other US distributors during the same time period, such as Montgomery Ward and Sears & Roebuck (see 1895, 1897) (Lyon & Healy 1894, 35, 39, 43, 50). In addition, the catalogue offers a slide alto trombone in E-flat, not pictured (Lyon & Healy 1894, 53).
Trombone History: Beethoven’s Drei Equali
July 28, 2009 by wkimball · Leave a Comment
Added the entry below to the Alto Trombone History Timeline. It includes information from a firsthand witness about Beethoven’s Drei Equali, arguably one of the most important works in the history of the trombone. Among the noteworthy observations about the alto trombone is Glöggl’s note that, although his father’s collection included soprano and quart trombones, the instruments commonly used in Austria were alto, tenor, and bass trombones. Son of the Linz kapellmeister who commissioned the work, the younger Glöggl stayed in the music field, eventually becoming a music publisher in Vienna. His recollections were made specifically for publication in Thayer’s Life of Beethoven (for source, see Alto Trombone Bibliography).
1812—Linz, Austria: Beethoven writes his Drei Equale for 4 trombones, a work commissioned by Kappelmeister Glöggl of the Linz cathedral. Glöggl’s son, who later becomes a music publisher in Vienna, verifies that alto, tenor and bass are the instruments commonly in use, mentioning that in his father’s “collection of old instruments he had a soprano and a quart trombone, whereas only alto, tenor and bass trombones were commonly used.” He continues, “Beethoven wanted to hear an Aequale such as was played at funerals in Linz, and one afternoon when Beethoven was expected to dine with us, my father appointed three trombone players and had them play an Aequale as desired…” (Thayer 541).
Performance Order and Repertoire in Competitions
July 21, 2009 by wkimball · Leave a Comment
We sometimes speculate as performers about what effect the relative order of a performance may have on the outcome of a competition, audition, or jury grade. An intriguing study published by Flores and Ginsburgh in The Statistician, available online here, sheds some light on the role performance order has on the outcome of competitions. The authors compiled data from the Queen Elisabeth Musical Competition, beginning in its inception in 1951 and spanning to 1993. This international violin and piano competition, held in Belgium every 4 years, is considered among the best in the world, counting among its winners such luminaries as Leon Fleisher and Vladimir Askenazy.
In evaluating the final rankings, the authors found a statistically significant bias against those competing early (the first day) and in favor of those competing later (the fifth day).
As an adjudicator, juror, and committee member, I know it is sometimes challenging to compare performances over the course of a full day, let alone multiple days. It may be that early on we hold back a little in an effort to gauge the overall performance level of the field. The authors of the study point out an additional possibility: the familiarity of repertoire. In one segment of the competition they studied, contestants are required to perform a newly-commissioned work unfamiliar to both the judges and the contestants. The authors suggest that judges gradually warm to the new work through the course of the competition as they hear more and more performances of it. Flores and Ginsburgh recommend, “It may thus help the members of the jury to get used to the piece and have it performed once or twice for their own use, before the competition starts.”
Performers do not always have a choice of when they perform (as in the competition in this particular study, which utilizes a random drawing); however, if they do, this study would seem to suggest against picking an early time (all other things being equal, of course). The study would also seem to suggest that, given a choice of repertoire, more familiar repertoire may be advantageous (again, all other things being equal). Finally, judges would be advised to do their best to guard against performance order and repertoire biases.
We’re talking about just part of the puzzle, of course. There’s no replacement for playing well!
Trombone History: Update from Museum of Musical Instruments–Poznan, Poland
July 20, 2009 by wkimball · Leave a Comment
An update from Patryk Frankowski, senior assistant at the Museum of Musical Instruments in Poznan, Poland: Mr. Frankowski has shared information about 2 additional alto trombones, both pre-1800, not listed in Trevor Herbert’s book, The Trombone, or subsequently on my list, Extant Altos. Both held at Mr. Frankowski’s museum, they are a 1722-71 Ehe alto trombone in E-flat and a 1793 Flemming alto trombone in E. I also received a related personal email from Trevor Herbert verifying that such omissions are not uncommon, as compilers often have to rely on communication from museum curators, etc.
These instruments are now included on the Extant Altos page, with a brief note of explanation. This is noteworthy information, bringing the overall tally of extant pre-1800 trombones to 64 tenors, 31 altos, and 22 basses.
Mr. Frankowski has also recently offered important information about another instrument on the list (see related entry). Thank you, Mr. Patryk Frakowski, for the excellent information!
Just for Fun: Images from 1894 Catalog
July 18, 2009 by wkimball · Leave a Comment
The following are some entertaining images from a 19th century Lyon & Healy catalog (Chicago, 1894). For other holdings from the catalog with more importance to trombone history, visit the Alto Trombone Timeline. For the full reference to the catalog, see the Alto Trombone Bibliography.
First, a suave trombonist modeling a uniform:
1894 L & H Catalog
Second, Lyon & Healy’s “Trombone Oil.” Wonder how well it worked. It says “perfection”!
1894 L & H Catalog
Finally, a pretty nice array of “band caps.” The one with the spike is truly impressive. No. 14, with the feather plume, is a beauty too!
1894 L & H Catalog
Reduced Lung Capacity with Diabetes
July 11, 2009 by wkimball · 3 Comments
A study published in Diabetes Care in April 2008 found that people with “adult onset” diabetes (type 2 diabetes) experience reduced lung capacity. All adults experience a natural decline in lung capacity (and lung function in general) after it peaks in a person’s early 20’s. However, this study, along with a growing body of medical studies, shows a greater decline for those with diabetes. The study can be found online here, along with a review on a general medical site here. Evidence has shown that lifestyle adjustments such as diet and exercise can help prevent type 2 diabetes. Just another reason for wind players to take care of their health!
Artificial Lip Mouthpieces
July 8, 2009 by wkimball · Leave a Comment
I was reading through the 1894 edition of Lyon & Healy’s Band Catalogue, primarily to look at their trombone holdings (they offered a surprising variety of alto trombones, but more on that in another post), when I came across this full-page spread on “Fowler’s Artificial-Lip Mouthpieces.” Why did this never catch on? Gotta love it. ”No embouchure required,” “Lips never give out”!
Note from Museum of Musical Instruments–Poznan, Poland
July 7, 2009 by wkimball · Leave a Comment
Got a note this morning from Patryk Frankowski, senior assistant at the Museum of Musical Instruments in Poznan, Poland. According to Mr. Frankowski, one of the alto trombones listed by Trevor Herbert in his book, The Trombone, and subsequently listed in my page on Extant Alto Trombones, is actually a tenor trombone. Apparently the instrument, a Georg Schmied 1697 trombone held in his museum, was brought to the museum with an original tenor trombone bell, but with an alto trombone slide section that had been added later. I quote Mr. Frankowski: “Georg Schmied 1697 trombone which is in our museum is tenor trombone and only bell part is original. Instrument comes to museum with alto trombone slide part so probably it is why Mr. Trevor Herbert list this instrument as alto. I presume that he got wrong information.” Thank you to Patryk Frankowski for the information; I will make a note of it on the Extant Alto Trombones page!