WILL KIMBALL» Vienna

Viennese Angel-Trombonist

wkimball — Sat, 03 Sep 2011 23:53:53 +0000

I just added the following image to the 18th century Trombone History Timeline. I also added it to the HubPages articles Angel Trombonists Throughout History and How to Hold a Sackbut: The Grip of the Early Trombone in Pictures.

1725-30—Vienna, Austria: A fresco by Johann Michael Rottmayr in the Karlskirche (St. Charles’s Church) includes a trombone-playing angel (see below image; public domain).

Trombone History: The Trombone in Settings of the Crucifixus

wkimball — Fri, 20 Nov 2009 22:14:38 +0000

Added the below entries to the 18th Century Timeline from Cameron’s The Crucifixion in Music (Cameron, Jasmin Melissa. The Crucifixion in Music: An Analytical Survey of Settings of the Crucifixus between 1680 and 1800. Contextual Bach studies, no. 1. Lanham, MD: Scarecrow Press, 2006). As it turns out, they are all works originating in Austria, which is not surprising, given the span of dates (1680-1800) and the fact that Austria was one of the areas of greatest trombone activity during this era in the history of the trombone.

1701—Salzburg, Austria: Heinrich Biber uses trombones to double voices in his Missa St. Henrici (Cameron 81).

c. 1720—Vienna, Austria: Antonio Caldara uses trombones to double strings in his Mass for 4 Voices (Cameron 84).

c. 1758—Austria: Leopold Hofmann alternates strings with trombones and continuo in his Missa in Honorem Sanctae Theresiae in C (Cameron 83).

1788—Vienna, Austria: Antonio Salieri uses trombones in his Mass in D to double alto and tenor vocal lines (Cameron 83).

Update to Alto in Treatises Page

wkimball — Thu, 20 Aug 2009 21:16:35 +0000

Made the below update about Seyfried’s edition of Albrechtsberger’s treatise to the Alto in Treatises page. This is a significant piece of the puzzle in the history of the alto trombone because 1) the original Albrechtsberger treatise does not provide enough information to definitively distinguish the key of the alto trombone, particularly if you acknowledge the relatively-common historical practice of “falset tone” technique–lipping notes–in brass performance practice; 2) Seyfried was in a uniquely qualified position to clarify the issue, given that he was not only a student of Albrechtsberger’s, but he was also a particularly active Viennese composer and conductor who was intimately familiar with Viennese instrumentation practices; and 3) Seyfried’s edition clearly establishes the Viennese alto trombone as an instrument in E-flat.

1826—Vienna, Austria: Ignaz von Seyfried, in his revision of Albrechtsberger’s treatise of 1790 (Sämmtliche Schriften), clarifies the pitch of the alto trombone as E-flat, appending the facing alto trombone position chart (see facing image; public domain) (Albrechtsberger-Seyfried). Not only was Seyfried in the unique position of having been a pupil of Albrechtsberger’s, but he proceeded to become an active Viennese composer and conductor as well. “His versatility,” explains Grove’s, “won him a unique place in Vienna’s musical life.” He regularly conducted at least 2 orchestras in Vienna, supplying them with numerous works himself, and was on friendly terms with many prominent musicians of Vienna, including Mozart and Beethoven. Seyfried conducted the premiere of Fidelio,along with many other early performances of important works of the era (New Grove, Seyfried 184).