Detail from A.R. Waud, Moravians at Bethlehem

]]> http://www.kimballtrombone.com/2010/moravian-trombone-ensembles/feed/ 0 http://www.kimballtrombone.com/2010/anechoic-recordings-a-different-kind-of-chamber-music/ http://www.kimballtrombone.com/2010/anechoic-recordings-a-different-kind-of-chamber-music/#comments Wed, 09 Jun 2010 16:24:26 +0000 wkimball http://www.kimballtrombone.com/?p=6581 Over the past several weeks I’ve been assisting a colleague, Dr. Timothy Leishman, BYU Professor of Acoustics, to complete a series of anechoic chamber recordings. The recordings are for a grant from the Institute for Scientific Research in Music and will be used in the study of the acoustic properties of musical instruments.

My role has been to record on several of the low brass instruments (tenor trombone, alto trombone, and euphonium), schedule recording sessions for all of the instruments, and serve as musical consultant/liason during recording sessions.

An anechoic chamber, by the way, is a room with special walls, ceiling, and floor designed in such a manner that there are no echoes or reverberation, where reflections that normally affect frequency response can be avoided. Especially noticable in the photos are the wedge-shaped panels covering all surfaces in order to dissipate as much audio energy as possible. The floor is a web of metal cables suspended above a set of acoustic wedges.

The resulting performing environment for a musician is unusual and challenging. Playing in a “dead” practice room is difficult enough! With no reverb at all, aural feedback becomes noticeably limited. In fact, aural feedback for trombonists, I came to realize, is somewhat unusual among musical instruments. When we play trombone, the majority of the sound radiates in a very directional way out of the bell (which is itself relatively far away from our ears), directly away from us, such that the sound we actually hear and adjust to when we are playing is primarily sound that has reflected off of some surface and then returned to our ears. So when there is nothing for the sound to bounce off of, as in an anechoic chamber, it is challenging to hear what you are doing! Everything sounds softer, of course. The tendency is to play louder and louder in order to hear yourself and try to “create” some kind or resonance. Dynamic shadings (part of what they measured in the study) are difficult because of the lack of aural feedback, and you end up going as much by the feel of your embouchure as by sound.

Overall, it’s been a very interesting, educational experience! I plan to take my whole BYU trombone studio on a little field trip to the chamber in the fall. Also planned for the fall is a continued collaboration with Tim Leishman in studying the directivity of each musical instrument–measuring the precise way sound radiates away from each instrument across its full pitch range, then creating 3-dimensional animated models of that “sound bubble” for each instrument.

1870—London, England: Adam Wirth’s trombone method, Posaunen-Schule für Alt, Tenor und Bass-Posaune…Instruction Book of the Simple and Valve-Trombone, written in both German and English, is apparently intended for a wide audience. It includes a “Table of the different Trombones” that shows alto trombone in E-flat (like the vast majority of written sources), valve and slide tenors in B-flat, and bass in F (see facing image; public domain) (Herbert, Trombone 192).

1888—Bethlehem, Pennsylvania: An engraving published in Harper’s Weekly features the Bethlehem Moravian trombone choir playing by torchlight for arrivals at the Easter Dawn service (see above image; public domain) (Harper’s, March 31, 1888).

1896—Bethlehem, Pennsylvania: A painting by Alice Barber Stephens depicts the Bethlehem Moravian trombone choir at an Easter Dawn service. A bass trombone with extension handle is clearly shown in the front row. The tower of the Central Moravian Church, from which the trombone choir frequently performs, can be seen in the background (see above image; public domain) (Sweitzer 8).

One of the things worth noting about the music in question is the freedom with which instrumentation is treated. Many, many of the composers are loose with instrumentation, providing several different options for which instruments may be used. At times there is so much latitude that instrumentation instructions come across as suggestions rather than requirements. In earlier eras, of course, instrumentation wasn’t even labeled at all. Based on this and other evidence, I would be suspicious of anyone who puts too much emphasis on precise labeling in early music (including alto versus tenor trombone). By all accounts, labeling was really quite free!

New Timeline Entries:

1648—Johann Rosenmüller scores for soprano voice, 2 violas or trombones, violone or trombone, and basso continuo in Lieber Herre Gott (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1648—Johann Rosenmüller scores for alto voices, 3 violas or trombones, violone or trombone, and basso continuo in O admirabile commercium (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1652—Zittau, Germany: Andreas Hammerschmidt calls for 3 trombones in Lob- und Danck Lied aus dem 84 Psalm (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1652/53—Johann Rosenmüller scores for alto voice, 2 violas or trombones, violone or trombone, and basso continuo in O dives omnium bonarum dapum (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1652/53—Johann Rosenmüller scores for soprano and alto voices, 2 violas or trombones, violone or trombone, and basso continuo in O dulcis Christe, bone Jesu Charitas (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1652/53—Johann Rosenmüller scores for alto voices, 3 violas or trombone, violone or trombone, and basso continuo in Amo te Deus meus amore magno (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1657—Johann Rudolph Ahle scores for alto voice, 2 violas or trombones, violone or trombone, and basso continuo in Gehe aus auf die Landstrassen (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1657—Johann Rudolph Ahle scores for alto voice, 3 violas or trombones, a violone or trombone, and basso continuo in Jesu dulcis memoria (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1657—Johann Rudolph Ahle scores for SATB, cornetto or violin, 2 violas or trombones, a violone or trombone, and basso continuo in his Magnificat (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1657—Johann Rudolph Ahle scores for SATB, 2 violins, 3 trombones or violas, trombone or violone, and basso continuo in his Missa a 10 (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1658—Johann Rudolph Ahle scores for bass voice, viola or trombone, violone or trombone, and basso continuo in Herr, nun läst du deinen Diener (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1658—Johann Rudolph Ahle scores for soprano, alto, and tenor voice; 3 flutes or violins; flute or trombone or violone; and basso continuo in Seht euch für den falschen Propheten (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1658—Johann Rudolph Ahle scores for voices, trombone or bassoon or viola, trombone or bassoon, 2 bassoons, and basso continuo in Fürchtet euch nicht (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1658—Johann Rudolph Ahle scores for voices, 2 violins, 2 violas or trombones, 2 flutes, 2 trombones, and basso continuo in Meine Seele erhebet den Herren (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1658—Johann Rudolph Ahle scores for SATB, 2 violins, 3 trombones, and basso continuo in Erschienen ist der herrliche Tag (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1658—Johann Rudolph Ahle scores for voices, 3 trombones or violas, “trombone majore,” and basso continuo in his Magnificat (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1658—Briegel scores for voices, 2 cornetti, 4 trombones, and basso continuo in his Nun lob mein Seel (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1662—Zittau, Germany: Andreas Hammerschmidt scores for soprano voice, 2 trombette, 4 trombones, violone, and basso continuo in Nun lob mein Seel (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1662—Zittau, Germany: Andreas Hammerschmidt scores for alto voice, 2 clarinos, 4 trombones, violone, and basso continuo in Herr hadre and Gelobet systu Jesu Christi (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1662— Zittau, Germany: Andreas Hammerschmidt scores for voices, 2 violins, 3 trombones, and basso continuo in his Missa XIII (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1663— Zittau, Germany: Andreas Hammerschmidt scores for voices, 2 violins, 4 trombones, and basso continuo in his Missa XVI (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1663—Johann Rudolph Ahle scores for voices, 2 violins, 2 trombette, 2 cornetti, 2 trombones, 2 flauti, and basso continuo in Sie ist fest gegründet (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1664—Bernhard’s multichoral Benedic anima mea calls for 4 trombones (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1665—Johann Rudolph Ahle scores for voices, 2 violins, 4 trombones, and basso continuo in Zwingt die Saiten in Cithara (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1665—Johann Rudolph Ahle scores for voices, 2 violins, 4 trombones, and basso continuo in Wie bin ich doch so herzlich froh (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1665—Johann Rudolph Ahle scores for voices, 2 trombette, 3 trombones, and basso continuo in his Benedicamus (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1665—Johann Rudolph Ahle calls for 4 trombones in his Gloria in excelsis Deo (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1672—Knüpfer calls for 4 trombones in Quare fremuerent gentes (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1674—Becker scores for voices, 2 violins or trombette, 2 trombones or violas, trombone or bassoon or violone, and basso continuo in Das Blut Jesu Christi (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

c. 1675—Johann Rosenmüller calls for 5 trombones in his Als der Tag der Pfingsten erfüllet war (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

c. 1675—Johann Rosenmüller calls for 5 trombones in his Nun gibst du, Gott, einen gnädigen Regen (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1678—Johann Rudolph Ahle scores for soprano voices, 2 trombette, 3 trombones, and basso continuo in his Freudenlied (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1686—J.P. Krieger scores for soprano voices, violin, and viola da gamba or trombone in Ich bin eine Blume zu Saron (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

c. 1690—Schulze calls for trombone (or bassoon or violone) in his Historia Resurrectionis Domini nostri (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

c. 1690—Knüpfer calls for 4 trombones in Komm heilger Geist (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1690—Johann Rosenmüller calls for 4 trombones in Siehe eine Jungfrau ist (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

1700—Knüpfer scores for voices, 2 violins or cornettini, viola da gamba or bambardo or trombone, and organ in O benignissime Jesu (Leonard, The Role of the Trombone…Mid- and Late Seventeenth Century).

c. 1915—United States: American illustrator John Wolcott Adams (1874-1925) depicts a trombone ensemble playing from a belfry in The Trombone Players Climb the Steep Belfry Stairs to Blow Stately Chords (see below image; public domain). For a similar image, see 1903; for additional images of 20th century tower-trombonists, see 1904, 1906.

Adams, Trombone Players

1903—Bethlehem, Pennsylvania: Harper’s Weekly publishes an engraving depicting a trombone ensemble performing from a church tower at the beginning of the city’s famous Bach festival. The caption reads, “The Trombone Choir: Announcing the beginning of the performances from the belfry” (see below image; public domain) (Harper’s Weekly, 1903, Issue 5/16, p. 800).

"The Trombone Choir"

Detail from A.R. Waud, Moravians at Bethlehem

1874—Bethlehem, Pennsylvania: The Moravians at Bethlehem, Pennsylvania, an engraving by Alfred Waud published in Harper’s Weekly, depicts trombone ensembles performing from a church tower (“Funeral Notes”) and at a graveside service (“Burial Service”) (see above detail; public domain) (Harper’s Weekly, 1874, Issue 4/18, p. 346).

"The Trombone Choir"

1903—Bethlehem, Pennsylvania: Harper’s Weekly publishes an engraving depicting a trombone ensemble performing from a church tower at the beginning of the city’s famous Bach festival. The caption reads, “The Trombone Choir: Announcing the beginning of the performances from the belfry” (see above image; public domain) (Harper’s Weekly, 1903, Issue 5/16, p. 800).

Taken by Howard R. Hollem, the above 3 photographs date from 1944 and bear the title “The Moravian trombone choir which plays chorales before the opening of each performance of the Bach choir.” They belong to the American Memory collection of the Library of Congress.

1843—Hudson, Ohio: An advertisement in the Ohio Observer labeled simply “Boston,” (though offering a Cleveland street address) mentions numerous musical instruments for sale, including “Alto & Tenor Trombone” (Ohio Observer).

1852—Milwaukee, Wisconsin: Among a number of instruments lost to members of the Milwaukee Musical Society in a fire is a “trombone alto” (Milwaukee Daily Sentinel).

1882—Raleigh, North Carolina: Dodworth of New York advertises several instruments for sale, including an alto trombone in E-flat (Raleigh News and Observer).

Hans Dürer, Dances in the Open Air

Recently I came across an interesting image from the early 16th century that features an instrument bearing something of a resemblance to a trombone. Titled Dances in the Open Air, the painting, by Hans Dürer (brother of the more famous Albrecht Dürer) is a detail of a frieze located in the Hall of the Envoys of the Royal Castle at Wawel (Cracow, Poland). It dates from 1532 (see above image; public domain) (Suchodolski pl. 428).

Giorgio Vasari, Muse for Genealogy of the Gods

That image brought to mind another from the 16th century, this one featuring what Edmund Bowles labels an alto trombone. If it is indeed a trombone, it is a somewhat awkwardly-rendered depiction. The image, dated from 1566, is by Giorgio Vasari. It is associated with a performance of The Genealogy of the Gods for the wedding festivities of Prince Francesco de’ Medici and Johanna of Austria (see facing image; public domain) (Bowles, Musical Ensembles 55).

Both of the images could be proto-trombones: instruments marking the evolution of trumpet into what we know as trombone. They could also simply be awkwardly-rendered trombones by artists not overly concerned with being literal. Or they could be separate instruments entirely. The images do call to mind some descriptions that scholars suspect may refer to very early trombones:

1407—Siena, Italy: German musician Angelo d’Arrigo joins the Palace trumpeters as a player of tuba grossa. There is speculation that this term, tuba grossa (Latin: large trumpet), could be a clerk’s best effort at describing a trombone, which would have been a very new instrument at the time (D’Accone, Civic Muse 443, 517).

1445—Florence, Italy: An account describes the trombone as “trombon grosso…che e tromba torta” (a “large trombone…that is a twisted trumpet” (Polk, Foreign 326; Polk, Archival Documents).

1518—The betrothal of Princess Mary, daughter of Henry VIII, to François, eldest son of François I, King of France, takes place in Greenwich, with a repeat performance in Paris. Festivities include a dance performed by a wind band that probably consists of 3 shawms and 2 trombones (“two brass which were bent back”) (Shaw).