c. 1560-80—Nuremberg, Germany: Municipal Wind Players, an image from the Heldt’schen Trachtenbuch, shows a trombone playing in a wind band. The musicians wear the costume and badges of civic musicians (see below image; public domain) (Berlin, Kunstbibliothek).

Update: See this subsequent post for two additional versions of the below image, both probably preparatory sketches.

_______________

c. 1585—Munich, Germany: Pieter de Witte, court painter in Munich, paints David Singing God’s Praise, which features trombone among a mixed consort of angel-musicians. The upper half of the painting, show below, is meant to depict Saint Cecilia and angels. The lower half, not shown, depicts angels performing with David (Haarlem, Frans Hals Museum, photo A. Dingjan; Pieter Fischer 22; Bergquist xvii) (public domain image).

c. 1590—Munich, Germany: Johann Sadeler (Jan Sadeleer), court engraver in Munich, makes an engraving after Pieter de Witte’s painting that accompanies a setting of Psalm 150, Laudent Deum Cithara, by Orlando Lassus (see below image; public domain) (Mirimonde 67; Bergquist xvii).

A silver relief by Christoph Lencker is also modeled after the original Pieter de Witte painting (see below image; public domain) (Pieter Fischer 23).

And finally, a painted glass window in St. Helen’s church, Denton, England follows the same image. It is dated 1700 and signed by Giles of York (see below detail; public domain) (photo by Gordon Plumb):

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/clips-added-to-trombone-history-timeline/ http://www.kimballtrombone.com/2010/clips-added-to-trombone-history-timeline/#comments Mon, 19 Apr 2010 16:28:42 +0000 wkimball http://www.kimballtrombone.com/?p=5904 I decided to add audio/video clips to the Trombone History Timeline. This will probably be an ongoing thing, but initially I’ve added two dozen YouTube clips. Below is a breakdown by page, as well as a few highlights to grab your interest.

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.

trombonist angel, Abbey Eglise Saint-Pierre et Saint-Paul, Gonesse

angel musicians, Abbey Eglise Saint-Pierre et Saint-Paul, Gonesse

1508—Gonesse, France: In what may constitute the earliest non-Italian visual depiction of the trombone, a painted panel on the organ balcony at Abbey Eglise Saint-Pierre et Saint-Paul features an angel-trombonist. Other instruments depicted include viol, shawm, crumhorn, harp, lute, and organ (see detail, top, and full image, below; public domain). Click on full image for larger version (Fischer, Organology; Luri, Les Anges).

wide view, angel musicians and organ, Abbey Eglise Saint-Pierre et Saint-Paul

1466—Milan, Italy: The civic wind band consists of 4 pifferi and 2 trombones (D’Accone, Civic Muse 527).

1468—Milan, Italy: 6 trombones, 11 pifferi, and 33 trumpets play for a political gathering (Kurtzman, Trombe).

1469—Milan, Italy: Trombonists from Germany or the Low Countries are in the service of the Duke of Milan (Galpin, The Sackbut).

1490—Milan, Italy: At the Sforza court, a Festa del Paradiso is held in honor of Isabella d’Aragona. Shortly before the festa begins, “When everyone was seated, the piferi and trombones began to play. After they had played for a while, they stopped, and some tambourin players were ordered to play…” (Merkley 419).

1502—Louis XII of France travels to Milan, returning with 6 trombonists and shawmists, whom he employs at his court for 120 livres per year (Dobbins, Music 126; Cazeaux 240).

Milan, 1572

1553—Milan, Italy: Ferrante Gonzaga, governor of Milan, maintains a wind band that includes at least one trombone. When a trombonist by the name of Orfeo requests to be released from his service to play elsewhere, the leader of the ensemble expresses alarm, writing to the governor that it “would be in grand damage to the music of your Excellency” (Getz 170).

1559—Milan, Italy: Carnival celebrations at the Milanese court include “an excellent music of bowed viols, trombones [tromboni], cornets, and voices…playing their instruments so sweetly and harmoniously [soavemente che all'armonia]” (Getz 201).

1574—Milan, Italy: A mascherata held in honor of Duke Johann of Austria includes a pastoral scene in which numerous instruments are used: “5 trombetti…cornetto, trombone, cornamusa, fifre, dolzana, flauto, diana, spinetta, viola di gamba, violino, liuto, lira, cetera, piva, doulcemele, contralto di viola, triangolo, tamborino e zufolo, arpa, buttafoco, sordina e mantica, tiorba, quattro viole da braccio” (Boydell, Crumhorn 296).

Luini, Musical Angels

c. 1580—Milan, Italy: Aureliano Luini depicts an angel playing trombone in his fresco, Musical Angels (see facing image; public domain) (Milan, S. Simpliciano; Kendrick, Sounds of Milan 77).

1605-06—­­Milan Italy: During a diocesan inquiry about monks’ use of outside musicians at St. Amrogio, witnesses, including a paid trombonist himself, testify to the presence of singers, violins, trombones, and cornetto, along with an occasional lute (Kendrick, Sounds of Milan 79).

1610—Milan, Italy: Giovanni Paolo Cima specifies trombone in works from his collection Concerti ecclesiastici, including Sonata (trombone or violone) and Cappriccio d’Andrea Cima a 4 (1 trombone) (Collver 47).

1620—Milan, Italy: Francesco Rognione’s improvisational treatise, Selva di varii passaggi,includes a setting of Lassus’s song, Susanne un jour. Marked “Modo di passegiar il violone over trombone alla bastarda,” it features rapid technical passages to be played on either violone or trombone (Baines, Brass 114; Guion, Short History; Herbert, Trombone 87).

1649—Milan, Italy: Biagio Marini calls for trombone in a collection of his works (Selfridge-Field, Instrumentation).

1808—Milan, Italy: The Milan Conservatory is founded. A studio of horn, trumpet, and trombone is established, taught by the horn instructor. The first trombone class is established in 1882, with Gaetano Falda as instructor (Herbert, Trombone 130).

La Scala, 19th century

1814—Milan, Italy: La Scala orchestra includes 1 trombone (Herbert, Trombone 333).

1824—Milan, Italy: Francesco Mirecki, a Polish musician active in Italy, mentions trombone in his treatise, the earliest known Italian orchestration treatise. He considers bass trombone a useful alternative to serpent as the effective bass of the brass family (Meucci).

1825—Milan, Italy: La Scala orchestra includes 3 trombones (in contrast to 1 in 1814) (Herbert, Trombone 334).

1844—Milan, Italy: Fermo Bellini’s Teoriche musicali discusses the use of trombone with ophicleide: “The modern custom, adopted by some composers, of forming a quartet consisting of three trombones and an ophicleide does not seem very sensible, given that the tone colour of the trombones, so dominant and in high relief, is very different from that of the ophicleide; it would be better for this instrument to double the bottom line, or else to find some way to give the trombones a good cantabile bass whenever they are on their own” (Meucci).

Giuseppe Verdi

1871—Milan, Italy: Giuseppe Verdi makes the following comment about bass trombone in a letter to his publisher about the forthcoming Italian premiere of Aida: “I must insist on the fourth trombone. That bombardon is impossible. Tell Faccio [the conductor] to consult the first trombonist if he thinks fit, to see what should be done. I should prefer a bass trombone, which is of the same family as the others: but if it proves too tiring and difficult to play, take one of the usual ophicleides which go down to low B. In short, do whatever you please, but not that devil of a bombardon which does not blend with the others” (Leavis, Cimbasso).

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).

1881—Milan, Italy: The newspaper Gazzetta Musicale di Milano runs an article titled “Visit by Verdi to the Pelitti factory,” detailing Verdi’s interest in the contrabass trombone. It says, in part, “Verdi having, however, expressed certain wishes regarding the range of the trombone basso, Cav. Pelitti undertook to build a new one for the following Thursday which would satisfy the Maestro’s requirements. Verdi, accompanied by maestro Boito and signor Giulio Ricordi, went accordingly on that day to the Pelitti factory where repeated experiments were made with the new trombone in B flat pitched one octave lower than the tenor. The new instrument gave splendid results regarding range, timbre, sonority, power, ease and facility of execution, blending perfectly with the other trombones. Resulting from this, two B flat tenor trombones, a bass trombone in F and the new bass trombone in B flat are necessary in order to achieve a trombone quartet that is perfect, homogeneous and effective without bringing into the orchestra a timbre from the band that would affect the instrumental blending of the various instruments” (Meucci).

1893—Milan, Italy: Giuseppe Ascalone says the following about the timbre of trombones in his Manualetto: “While on its own the bass tuba is an excellent orchestral instrument on account of its gentle voice, both agile and weighty, its dark sound is unpleasing to the ear when heard in conjunction with the clear tone of the trombones” (Meucci).

1912—Milan, Italy: In Ettore Panizza’s 2nd revised and updated Italian edition of Berlioz’s orchestration treatise, Panizza discusses contrabass trombone: “Berlioz does not mention the contrabass trombone. Its pitch corresponds to an octave below that of the tenor trombone. In Italy the introduction of a new instrument of this type was due to Giuseppe Verdi, and it adopted the name of this great musician. I refer to the ‘trombone basso Verdi’ in B flat. Its tone is fine, mellow and homogeneous, especially in its middle range, while being slightly weak in the bottom and high register. It is notated at concert pitch, that is the written note is the actual note sounded, in spite of the instrument being pitched in B flat. Verdi, who, as we have seen, had been its inspiration, wrote an important part for it in his Otello and later in Falstaff. Today this trombone has become very common in Italian orchestras, and almost all the parts for ophicleide or for tuba are played on the trombone Verdi” (Meucci).

Cazzani rotary valve trombone

1912—Milan, Italy: Rotary valve trombone by Giovan Battista Cazzani is manufactured sometime before this date (see facing image; used by permission of Brass Players Museum: www.neillins.com/brass.htm).

1920—Milan, Italy: Vittorio Ricci mentions bass trombone in connection with the term cimbasso in his orchestration text: “In Aida Verdi uses cimbasso (a kind of contrabass trombone) as the bass of the trombones” (Meucci).

c. 1520—Spain: The Engagement of St. Ursula and Prince Etherius, sometimes also titled St. Ursula and Prince Etherius Making a Solemn Vow, a panel painting from the Master of Saint Auta Altarpiece, depicts a trombonist with a wind band performing from a loft or window. The painting may represent the earliest visual depiction of a black trombonist (see below detail and full image; public domain) (Lisbon, Museu Nacional de Arte Antiga, Inv. No. 597) (Bowles, Musikleben 30-31).

1538—Germany: Heinrich Aldegrever portrays a trio of trombone and 2 trumpets in a woodcut titled The Brass Players (Die Posaunisten) from the series The Great Wedding Dances (see below image; public domain) (Duffin, Trompette des Menestrels).

1549—Munich, Germany: Outdoor Feast, a painting by Hans Mielich (Müelich), court painter for Duke Albrecht V, depicts an outdoor wedding banquet. The music ensemble includes 2 trombone players, one of whom appears to have multiple instruments in his hands and is apparently in the act of switching from one trombone to another. The painting also shows, in a different area, a dance band consisting of 2 trombones and another instrument (probably a shawm) (see below image; public domain) (Kenton plate 14; Buchner plate 95).

1566—Giorgio Vasari’s image of a muse holding an instrument features what Edmund Bowles labels an alto trombone. If it is indeed a trombone, it is a somewhat awkwardly-rendered depiction. The image 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 below image from festival book; public domain) (Bowles, Musical Ensembles 55).

1580—Innsbruck, Austria: A procession to a tournament that is part of marriage celebrations of Johann Lipsteinsky von Kolowrat and Katharina von Boymont und Pairsberg includes a trio of dulzian and 2 trombones (see below image from festival book; public domain) (Bowles, Musical Ensembles 85, 89).

1582—Dresden, Germany: In a procession celebrating the marriage of Christian I of Saxony, a symbolic entourage of Bacchus includes a quartet of 2 trombones, cornett, and tenor shawm (see below image from festival book; public domain) (Bowles 103-4).

1584—Dresden, Germany: A procession during wedding festivities for Balthasar Wurm and Anton von Sahlhausen at the court of Saxony, includes 8 musicians dressed as women, playing trombone, lute, cittern, treble viol, bass recorder, tenor viol, transverse flute, and clavichord; a graphic representation of the procession shows the trombone at the head of the group (see below image from festival book; public domain). Another ensemble in the procession consists of bass recorder, cornetts, bombard, and trombones (Bowles, Musical Ensembles 105, 107).

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 below image; public domain) (Salmen, Tanz im 17 153).

1609—Stuttgart, Germany: At the wedding celebrations of Archduke Johann Friedrich of Württemberg-Teck and Markgräfin Barbara Sophia of Brandenburg, a trio of trombone, cornetto, and bombard is featured in the Entourage of Young Court Noblemen (see below image from festival book; public domain) (Bowles, Musical Ensembles 177). In a separate performance, “As soon as the noble party had arrived at the [court] chapel, there could be heard the trombones, trumpets and kettledrums [along] with two choruses placed opposite each other” (Bowles, Timpani 370). Also in connection with the celebrations, according to records of the time, “There was a completely glorious musical performance, with 20 voices and five ensembles with all kinds of instruments, such as lutes, fiddles, bassoons, dulzians, cornetts, trombones and others” (Bowles, Musical Ensembles 167).

1650—Turin, Italy: Marriage festivities for Princess Adelaide of Savoy and Prince Ferdinand Maria of Bavaria include trombones. First, on the way to the Cathedral of San Giovanni for the service itself, “Swiss Guards and arquebusiers of Their Majesties…lent their presence to the retinue setting out for the cathedral from the great hall of the palace [along] with trumpets, trombones, oboes and drums.” After the wedding service there are “signals by trumpets and trombones to those present who, because of the huge crowd, couldn’t observe the nuptials.” Later, during a series of races in the palace courtyard, races alternate with musical performances by musicians in a gallery (see below image from festival book; public domain): “From the other palace, above the gallery, among the various events alternating with the races was the reverberation of the sound of an ensemble of instruments; that is, trumpets which, animated by the virtue of such glorious love [of the newlyweds] became the voices of Fame; trombones, which, with harmonious notes echoed the praises of everyone, rousing more ardently by the hour the affections…” (Bowles 275-279).

c. 1855—Artist Albert Kindler includes a trombonist in his painting After the Wedding. The trombonist stands in the musicians’ boat in the background (see below detail and full image below; public domain).

c. 1860—Peru: Artist Pancho Fierro depicts a trombonist performing with a wind band for a Peruvian wedding celebration in Fiesta de Matrimonio (see below detail and full image below; public domain) (Lavalle 38).

c. 1885—Norway: A wood engraving titled A Gay Procession, signed by Günther, depicts what is probably a wedding procession in the Norwegian countryside. A trombonist leads the way, accompanied by trumpet and horn (see below image; public domain) (source: New York Public Library Digital Gallery).

c. 1890—Italy: Antonio Lonza’s painting, Newly Married Couple, includes a trombonist as part of an ensemble performing outdoors for a wedding celebration. The trombone appears to have a double slide (see below image, after Lonza painting; public domain) (Seidl, vol. 2, 325).