Mulcahy’s alto playing encompasses many of the best elements writers have historically found in the alto trombone (see Alto Quotes): purity (Kastner, 1839); soft brilliancy (William Alexander Barrett, 1879); admirable timbre (Charles Widor, 1904); a certain transparency, even gracility, in general effect; (Horatio Parker 1917); and a lighter, sweeter sound than the tenor (Blatter, 1980).

Below the video I have added a selection of entries and pictures from the Trombone History Timeline that highlight the trombone’s role in dance music, a major aspect of membership in the alta capella (Renaissance wind band typically formed around members of the shawm family). Lasting well over a century, the trombone’s dance role appears to peak in the 16th century and is perhaps somewhat under-represented in literature on the history of the trombone.

1459—Florence, Italy: At a dance hosted by Cosimo de’ Medici, an observer reports, “In this time shawms and trombones began to play a saltarello based on art and reason. Then every courteous and nimble squire took wives and damsels and began to dance this or that; some promenading around, others skipping, others changing hands, some stopping and some inviting, some in twos or in threes doing lovely dancing” (Sparti 135; Gombosi, About Dance).

1460s—Augsburg, Germany: The city is temporarily without a trombonist for their civic wind band, but continues to hire a trombonist “for especially important dances” (Polk, German 118).

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).

1520—France: King Henry VIII of England meets with King Francis I of France at the Field of the Cloth of Gold. An one point in related celebrations at nearby Guines (France), King Francis leads a dance accompanied by his own fifes and trombones (Russell 164).

c. 1545—Nuremberg, Germany: An anonymous depiction of a dance, Fastnachtstanz von Metzgern im Jahre 1519 (Carnival Dance of the Butchers in the Year 1519), portrays a trombone as a member of a wind instrument trio providing music for a Nuremberg carnival dance (see upper-right of below image; click on image for larger version; public domain) (Salmen, Musikleben im 16 78-79).

c. 1550—Nuremberg, Germany: Patriziertanz im Grossen Nürnberger Rathaussaal, an anonymous image depicting a dance in Nuremberg’s town hall, includes 2 trombonists among the 5 wind musicians providing the dance music from the balcony. One of the unusual aspects of the image is that both trombonists have banners hanging from their slides (see upper-left of below image; click on image for larger version; public domain) (Nuremberg, Stadtavchiv; Salmen, Tanz im 17 148).

1588—France: Thoinot Arbeau mentions the trombone in Orchesography, his treatise on dancing. First, he complains, “Nowadays there is no workman so humble that he does not wish to have hautboys and sackbuts at his wedding” (Arbeau 51). Later, he describes use of the instrument by royalty for dances on solemn feast days: “On solemn feast days the pavan is employed by kings, princes and great noblemen to display themselves in their fine mantles and ceremonial robes. They are accompanied by queens, princesses and great ladies, the long trains of their dresses loosened and sweeping behind them, sometimes borne by damsels. And it is the said pavans, played by hautboys and sackbuts, that announce the grand ball and are arranged to last until the dancers have circled the hall two or three times, unless they prefer to dance it by advancing and retreating. Pavans are also used in masquerades to herald the entrance of the gods and goddesses in their triumphal chariots or emperors and kings in full majesty” (Arbeau 59).

c. 1600—Augsburg, Germany: An oil painting by Abraham Schelhas titled Augsburger Geschlechtertanz depicts an aristocratic dance in Augsburg. The 4 wind musicians providing the music play from a balcony and include a trombonist; the other instruments appear to be shawms (see below detail and full image below that; public domain) (Augsburg, Städtische Kunstsammlung; Salmen, Tanz im 17 151).

c. 1600—Fackeltanz bei Fürstenhochzeit, an anonymous image, possibly from Germany, depicts a torch dance at a prince’s wedding. Instrumentalists supplying the dance music from a balcony include a tombonist (see upper portion of below image; public domain) (Salmen, Tanz im 17 153).

1609—Prince Francesco, setting up his court as governor of the Mantuan province of Monferrato, seeks assistance of Ercole Gonzaga in hiring group of pifferi from Cremona (Kurtzman, Trombe). Claudio Monteverdi is also engaged in assisting Prince Francesco, and refers to the players he is recruiting in a letter to the court secretary. In his description of their abilities he mentions, “They play together well and readily both dance and chamber music, since they practise every day” (Stevens Letters 64).

1700s—The Netherlands: An anonymous eighteenth-century Dutch etching features trombone and cornetto, seemingly dancing as they perform. The text reads, “I have to bend down, holding my instrument of pipes, so as to direct it so it will give a sound. Look how my club hangs from my body, as a result of my movements. Hear my bells ring. I blow the zink and make it sound distinguished. With it I can easily cure the sick. Though I can lower and raise the sound, my lungs remain full of air, and my pochet remains empty” (see below image; public domain) (Naylor 63).

Continue to Trombone and the Dance, part II

]]> http://www.kimballtrombone.com/2010/early-trombone-and-the-dance/feed/ 0 http://www.kimballtrombone.com/2010/the-trombone-and-death-16-requiem-settings/ http://www.kimballtrombone.com/2010/the-trombone-and-death-16-requiem-settings/#comments Tue, 18 May 2010 00:34:26 +0000 wkimball http://www.kimballtrombone.com/?p=6366 Feeling dark? I recently added quite a few more clips to the Trombone History Timeline, including 16 requiems–musical settings of the requiem mass, or mass for the dead. The trombone has a long history in sacred music in general, requiem settings in particular. It’s noteworthy how frequently and how prominently trombones feature in this very specific genre of music, stretching over centuries and eras of music history. The most famous requiem for trombonists and non-trombonists alike is, of course, Mozart’s, which features obbligato trombone in the “Tuba Mirum” portion. As you can see below, however, there are many other settings, highlighting both the historical tradition that Mozart drew upon, as well as the trombone-heavy requiem tradition that continued to run through settings after Mozart.

Robert Chase’s Dies Irae: A Guide to Requiem Music is an excellent source for learning about many of these works. The clips here represent only a fraction of those that could be included. YouTube is hit-and-miss, and I obviously didn’t find all of the requiems ever to include trombone, but 16 is a nice sampling. Here they all are, below, along with their captions from the Timeline. In terms of trombone solos that shaped Mozart’s trombone solo in particular, I would point to the first one below, Emperor’s Requiem by J.J. Fux (Vienna, 1720) as a starting point.

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1720—Vienna, Austria: Johann Joseph Fux, Kapellmeister at the Imperial Court, writes the Emperor’s Requiem for the funeral of the widow of Emperor Leopold I. The work, which reportedly continues to be used at royal funeral services up until 1743, utilizes 2 trombones to double the lower vocal lines and for an obbligato role in the “Tuba Mirum.” The obbligato use of trombone in the “Tuba Mirum,” of course, foreshadows Mozart’s Requiem (Chase 153). (The “Tuba Mirum” in the YouTube clip below begins at :43.)

c. 1740—Dresden, Germany: Bohemian composer Jan Dismas Zelenka, an important contemporary of Bach and Handel, composes his Requiem in C Minor. The piece utilizes 3 trombones, which perform in every movement, often doubling the lower vocal lines (Chase 181). Trombones, which are the only brass in the work, play a particularly prominent role in the “Dies Irae.”

1760—Paris, France: François-Joseph Gossec composes Messe des morts, a Requiem Mass first performed at the Jacobean monastery of the rue St. Jacques, and subsequently performed at least a dozen times in Paris before the Revolution. Three trombones, along with several other wind instruments, appear offstage in the “Tuba mirum” (Guion, Trombone 169; Chase 200). Later, Gossec makes the following comment about the piece: “In the two strophes Tuba mirum and Mors stupebit et natura of the Dies irae, people were frightened by the terrible effect of three trombones with four clarinets, four trumpets, four horns, and eight bassoons hidden in the distance and in an elevated place in the church to announce the last judgment” (Guion, Trombone 170). For the “Tuba Mirum,” see 2:52 in the below YouTube clip.

c. 1785—Carl Ditters von Dittersdorf, colleague and personal friend of both Mozart and Haydn, writes his Requiem in C minor. The work calls for 3 trombones that double the lower vocal parts (Chase 195).

1791—Vienna, Austria: Mozart writes his Requiem, which includes the famous “Tuba Mirum” solo. The first 18 measures are composed by Mozart; the following portion is added later by Süssmayr (Guion, Trombone 139).

1803—Vienna, Austria: Joseph Leopold Eybler’s Requiem in C minor, which includes alto, tenor, and bass trombone, is performed at the funeral of Emperor Leopold II (Chase 197).

1803-09—Vienna, Austria: Bohemian composer Anton Reicha, teacher of Liszt, Berlioz, and Franck, writes his Missa pro defunctis. The requiem utilizes 3 trombones that double the lower vocal parts (Chase 221).

1804—Vienna, Austria: Antonio Salieri, teacher of Beethoven, Schubert, and Liszt, writes his Requiem in C minor. The piece, which calls for 3 trombones, is later performed at Salieri’s own funeral. Regarding Salieri’s use of trombone in the work, one commentator notes, “The bulk of the orchestration is for strings, but when the composer wanted to suggest solemnity, he used the trombones” (Chase 224).

1816—Paris, France: Luigi Cherubini composes his Requiem in C Minor, which calls for 3 trombones. Commissioned by Louis XVIII to commemorate the deaths of Louis XVI and his wife, Marie Antoinette, it is first performed at the Crypt of St. Denis. Considered by some to be among Cherubini best works, it is the model that Beethoven said he would use if he ever composed a requiem. Although Beethoven, of course, never composes a requiem, the Cherubini’s requiem is performed at Beethoven’s funeral (Chase 192).

1818—Paris, France: Portugese composer João Bomtempo writes Messe de requiem consacrée a Cameos, which calls for 2 trombones and features a brass fanfare at the opening of the “Tuba mirum” (Chase 247). The “Tuba mirum” in the clip below begins at 2:16.

1837—Hector Berlioz writes Messe des Morts, a requiem which is one of the earliest works by a major composer to call for trombone pedal notes (the earliest known example is actually Hérold’s Zampa, 1831). Berlioz later remarks that “although at the first rehearsal of this work five or six of the eight trombone players exclaimed with indignation that this was impossible,” they were able to get the notes to sound “quite full and pure—played by artists who did not believe in the existence of these notes” (Burton 173). Berlioz includes the following sentence in the score: “These notes are on the instrument and the players must get them out” (Gregory 60). Regarding this passage, Cecil Forsyth, who had never heard it, later says, “It probably sounds very nasty,” to which Gordon Jacob responds, “The present writer has heard the passage. It does!” (Macdonald 217). The requiem, which calls for 16 trombones, is premiered at the entombment of General Charles de Damremont (Chase 245).

1849—Anton Bruckner writes his Requiem in D Minor in honor of his friend, Franz Seiler. The orchestra consists solely of strings and 3 trombones, with a horn briefly replacing one of the trombones in the Benedictus (Chase 251).

1855—Franz von Suppé, famous for his German operettas, writes his Requiem in D Minor for his deceased friend, Franz Pokorny. Von Suppé utilizes 3 trombones prominently for the dramatic choral recitative, “Domine Jesu Christe,” as well as for an introduction and postlude in the “Tuba mirum” (Chase 298).

1874—Giuseppe Verdi composes his Manzoni Requiem, often called his “greatest opera,” in honor of poet-patriot Alessandro Manzoni. Premiered a year later at the Church of San Marco, Milan, the work calls for 3 trombones. The “Dies irae,” in particular, in which “volcanic anger is depicted by the powerful brass and timpani,” utilizes trombone prominently (Chase 300).

1890—Antonin Dvorak composes his Requiem, which calls for 4 trombones (Chase 260).

1980-84—Krzysztof Penderecki writes his Polish Requiem, which requires 4 trombones. Trombones take part in a powerful brass chorus in the “Tuba mirum” (Chase 347), which begins in the clip below at 1:37.

19th Century (1st half): Rossini, La Gazza Ladra; Schubert, Symphony No. 9; Berlioz, Symphony Fantastique; Wagner, Tannhauser; Berlioz, Hungarian March

19th Century (2nd half): Verdi, Requiem; Wagner, Ride of the Valkyries

The problem with YouTube clips for this kind of stuff is that it’s hit and miss: some are excellent (e.g., I was excited to find the old Chicago section playing Tannhauser under Solti), but many are less than desirable. Hopefully the ones included in the timeline are good enough to at least provide a taste for the trombone part and its role in the piece. I’ve embedded a few of the clips below to pique your interest; see the Timeline for the others!

1830—Hector Berlioz writes Symphony Fantastique, one of the earliest orchestral works to give trombones a prominent, independent role.

1845—Richard Wagner, Tannhauser (trombone soli in clip below is at 2:37).

1874—Giuseppe Verdi composes his Manzoni Requiem, often called his “greatest opera,” in honor of poet-patriot Alessandro Manzoni. Premiered a year later at the Church of San Marco, Milan, the work calls for 3 trombones. The “Dies irae,” in particular, in which “volcanic anger is depicted by the powerful brass and timpani,” utilizes trombone prominently (Chase 300).

1917—New Orleans, Louisiana: Trombonist Eddy Edwards, performing as a member of the Original Dixieland Jazz Band, participates in the first commercial recordings of what is advertised as jazz. Edwards is considered by some to be the first jazz trombonist to gain national fame (Dietrich 17).

1920s—Kid Ory (1890-1973), one of the first bonafide jazz trombonists, is a member of Louis Armstrong’s famous Hot Five and helps define the role of trombone in Dixieland playing. In the words of Leonard Feather, “Ory is the most famous of the original ‘tailgate’ trombone men, using the instrument for rhythm effect, fills and glissandi, but also playing solos in a rough, forceful style” (Feather 373).

1923—A photo shows valve trombone player Juan Tizol with Duke Ellington’s orchestra (see facing image; public domain; source: wikipedia commons). A Puerto Rican native, Tizol becomes a longstanding member of Ellington’s orchestra, performing with the group from 1929 to 1944. He also evolves into a well-respected composer, writing such Ellington standards as “Perdido” and “Caravan.”

1926—“Tricky Sam” (Joe) Nanton joins Duke Ellington band. Specializing in use of plunger mute and “wa-wa” solos, he remains with Ellington until his death in 1948 (Feather 347). In the clip below from 1943, Nanton’s solo starts at :54.

1928—Jazz trombonist Jack Teagarden (1905-64) becomes the first white musician to record with a black band (Louis Armstrong, “Knockin’ a Jug”). On Teagarden’s influence at this time, Leonard Feather later says, “The advent of Jack Teagarden on the jazz scene in the late 1920s brought a new style to the annals of both jazz singing and trombone: a style that defies classification and has moved musicians of every school to the expression of unqualified enthusiasm” (Feather 438). The clip below from 1951 shows Teagarden’s famous technique of substituting a glass for the instrument’s bell section.

1954—J. J. Johnson and Kai Winding team up to tour and record as a quintet. The duo continues to play together off and on for decades; the clip below is from 1982.

1620—Italy: Ercole Porta’s Corda Deo dabimus, contained in the collection Sacro convito, is scored for soprano voice, alto voice, and 3 trombones. Historian Jerome Roche later coins the phrase “trombone motet” for this type of piece, a genre that culminates in Schütz’s Absalom fili mi (1629) (Roche, North Italian 82). Also from the same collection is Porta’s Messe secunda toni, which calls for 2 violins and 3 trombones to accompany a 5-part choir; when doublings occur, trombones double the 3 lowest voices (Schnoebelen, The Role of the Violin).

New Clips:
16th century: Striggio, Gabrieli (multiple)
17th century (1st half): Monteverdi (multiple), Massaino, Schütz, Schein, Grandi, Marini
17th century (2nd half): Hake, Locke, Schütz, Biber
18th century: Fux (multiple), Gossec, Mozart (multiple)
19th century: Schumann
20th century: Stravinsky, Bartok

Highlights:
1597—Venice: Giovanni Gabrieli writes several works that feature trombone prominently. Sonata pian e forte is an 8-part canzona for two choirs; the first calls for 3 trombones and a cornetto, the second for 3 trombones and a violin. Canzon Quarti Toni is a 15-part work that calls for violin, 2 cornetts, and 12 trombones. Canzon in Echo Duodecimi Toni is scored for 8 cornetts and 2 trombones, while Canzon sudetta accomodata per concertar con l’Organo calls for 8 cornetts, 2 trombones, and organ (Winkler 298). Many additional Gabrieli works feature trombone prominently, ranging from 4-part canzonas (1 cornett and 3 trombones) to 22-part canzonas. A large body of Gabrieli’s concerted music for voices with instruments also features trombone prominently; for example, Quem vidistis pastores a 14, which utilizes 3 trombones, and Surrexit Christus a 16, which calls for 4 trombones. According to musicologist David Schulenberg, “the most important instruments in this music [Venetian polychoral works]—after the organ, which furnished the basso continuo—were the cornetto and the sackbut.”

1607—Mantua, Italy: Monteverdi’s L’Orfeo, considered by many the first true opera, uses 5 trombones (2 altos, 2 tenors, and a bass). Trombones are particularly prominent in the underworld scenes (Daubeny 95). An ensemble of trombones and cornettos plays in acts III and IV.

1664—Heinrich Schütz writes his Christmas History, which includes a pair of trombones acting as obbligato instruments and specifically representing high priests (Smallman 151).

1767—Salzburg, Austria: The skeptical Archbishop locks 11-year-old Mozart in a room by himself to see if he can really compose without help from his father. Mozart writes the cantata Die Schuldigkeit des ersten Gebots, K 35, which uses solo alto trombone in Christ’s aria, “Jener Donnerworte Kraft.”

1918—Igor Stravinsky’s septet, The Soldier’s Tale, makes extensive soloistic use of trombone. The performance in the below YouTube clip begins at 11:40.