Trombone History: 17th Century (first half)

A history of the trombone in timeline form. For sources see Trombone History Bibliography.

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Early 1600s—Bologna, Italy: Trombone is played by an angel among a group of angel-musicians in a painting by Ludovico Carracci located in the Church of San Paolo Maggiore (see facing image; public domain) (Komma 109).

Early 1600s—Kassel, Germany: A five-part pavan by Landgrave Moritz of Hesse-Kassel specifies four parts: Fiffaro, Cornetto, Trombone, and dolzano. Landgrave Moritz, incidentally, is the same man credited with the discovery and sponsorship of the young Heinrich Schütz (Boydell, Crumhorn 402).

Early 1600s—Rozmberk, Ceske Budcjovice district, Czech Republic: In Allegory of Music, an anonymous wall painting in the music alcove of the Knights’ Hall in the Lower Castle at Rozmberk, a female trombonist is depicted among several other female musicians (Volek pl. 107).

1600s—La Plata, Bolivia: Instruments used at La Plata Cathedral during most of the 17th century are cornett, 2 or 3 shawms, trombone, and 1 or 2 curtals (Bermúdez).

1600s—Southern Netherlands: An anonymous 17th century drawing portrays five angel-musicians, including a trombonist, performing from a balcony or platform. Separate leaves of music for four of the five players are pictured draped over the edge (see facing image; public domain) (Paris, Louvre; Wangermée vol. 1 287). The drawing is almost certainly either a preparatory sketch for or a copy of Guido Reni’s fresco, Gloria d’angeli (see 1609, below).

1600s—Italy: An anonymous Italian painting portrays an instrumental ensemble with diverse dress and a mixed grouping of winds, strings, and keyboard (see facing image; public domain).

1601—Marburg, Germany: A list of new instruments at the Marburg castle includes 1 trombone (Posaunn) (Baines, Two Cassel Inventories).

1601—Wolfenbüttel, Germany: A festival book for Landgrave Moritz of Hesse-Kassel includes an image of an ornately-dressed ensemble of musicians walking in procession, lead by a trombone and cornetto (see facing image; public domain) (Dilich 00135)

1601—Venice, Italy: The nucleus of instrumental musicians employed at St. Mark’s is 4 trombones and cornettos (Moore 81).

1601—Siena, Italy: In the palace wind band, trombonist Alberto Gregori, who has been serving in a temporary supernumerary post, becomes a permanent member of the group, replacing recently-deceased Tiverio Rivolti (D’Accone, Civic Muse 598).

1601—Siena, Italy: A musician by the name of Ottavio Basili is appointed as cathedral trombonist. He serves until 1610 (Reardon, Agostino Agazzari 53).

1601—Siena, Italy: A small core of professional musicians is assembled at the Santissima Annunziata, the church attached to the orphanage and school Santa Maria della Scala. The group consists of maestro di cappella and trombonist Alberto Gregori, trombonist Piergiovanni Odorini, and an organist. This professional ensemble is augmented by orphan apprentices from the school. Records of an official visit by the rector in 1610 show Gregori and Piergiovanni still on staff, although the ensemble probably disbands by 1612 due to financial woes (Reardon, Insegniar 130).

1602—Weikersheim Castle, Germany: An organ for the castle chapel is made by Georg Schweitzer. The case just below the organ contains a relief image of a trombonist performing with a flute, viol, and organ (see facing detail and full image below; public domain) (Völkl 39).

1602—Bologna, Italy: Pompeo Vizani, a Bolognese patrician, describes regular brass performances at the city’s piazza: “There on a beautiful arch or balcony of stone, trumpets are played every evening. And after the trumpets have finished, very pleasant music is played on trombones and cornettos at the same Piazza as well as the great building of the church of St. Petronio” (Smithers, Baroque Trumpet 77-78).

1602—Bologna, Italy: Pompeo Vizani describes local civic brass ensembles: “When they appear in public, these ‘Signori’ are dressed in rich robes of silk, and during the winter they are muffled up with very precious furs as well. They are accompanied by a very respectable household of eight trumpeters, with a drummer, or player of the nakers, who with these trumpets plays certain Morish drums. To both the drums and trumpets are attached banners with the arms of liberty; also eight excellent musicians with trombones and cornettos…” (Smithers, Baroque Trumpet 78).

1602—Venice, Italy: The nucleus of musicians at St. Mark’s, mentioned above (1601), expands for Christmas day, when 6 extra trombones are hired among the 14 extra instrumentalists (the others are 3 cornettos, 2 violins, and a violone) (Moore 81; Tim Carter, Music in Late 117).

1602—Lodovico da Viadana’s Cento concerti ecclesiastici includes O bone Jesu, which is scored for tenor voice and 2 trombones (Roche, North Italian 54). It also includes Canzon Francese in risposta, which is scored for 2 trombones, cornett, violin, and organ (Collver 72).

1602—Suffolk, England: Sir Thomas and Lady Kyston of Hengrave Hall, a wealthy Elizabethan family, employ madrigalist John Wilbye to manage their musical entertainment. Records show that Wilbye is supplied with 2 sackbuts, among other instruments (Boyd 124).

1602—Siena, Italy: Trombonist Giovanfrancesco di Benedetto is elected leader of the palace wind band. He had previously played for 15 years in the Medici court in Florence, Italy (D’Accone, Civic Muse 598).

1602—Cremona, Italy: Viadana specifies trombone in a collection of canzoni (Selfridge-Field, Instrumentation).

c. 1603—Permanent, salaried wind ensemble of 5 players, including trombone, is formed under duke Vincenzo I of Gonzaga. In addition to typical court functions, it performs in plays, intermedi, tournaments, jousts, and other court entertainments (Kurtzman, Trombe).

1603—England: A band of 6 Hoboies and Sagbuttes performs for the funeral of Queen Elizabeth (Whitwell, Renaissance 37).

1603—England: Records for the King’s Music begin listing “Hoboies and Sagbuttes” together instead of separately, clearly indicating that they are an ensemble of their own. The group consists of 7 (Woodfill 300).

1603—Suffolk, England: Merchant Thomas Kytson is found, upon his death, to own “One case (consort) of recorders, in number seven. Four cornutes, one being a mute cornute…. Two sackbuts….Three hoeboys, a curtall and a lysarden. Two flutes…” (Whitwell, Renaissance 153).

1603—York, England: York House Books show that the town waits own a sackbut (Woodfill 85).

1603—Venice, Italy: 5 trombones, 4 cornetts, 1 bassoon, 2 violins, and a violone perform for Christmas at St. Mark’s (Moore 81).

1603—Siena, Italy: Trombonist Alberto Gregori replaces trombonist Giovanfrancesco di Benedetto as leader of the civic wind band (D’Accone, Civic Muse 599).

1603—Venice, Italy: According to a treasurer’s note detailing the instruments employed at St. Mark’s at the midnight Mass and Christmas morning Mass, more trombones are employed than any other instrument. The instruments include 1 violin, 3 cornetti, 1 trumpet, 4 trombones, 1 bass violin, 1 bassoon, and 1 portatif (on the balcony), in addition to the 2 main organs.

1603—La Plata, Bolivia: Payment accounts for La Plata Cathedral record repairs to the sackbut (Bermúdez).

1604—Azores, Portugal: Vasco Pereira Lusitano paints Coroacão da Virgem, in which he depicts numerous instruments, including 2 trombones played by angels (see facing image) (Museu Carlos Machado, Ponta Delgada, Azores, Portugal) (public domain; source: wikimedia commons).

1604—Mainz, Germany: A Te Deum is performed in celebration of a coronation. Alternating verses are played by the civic wind band of cornetts and trombones and a trumpet and timpani ensemble (Whitwell, Baroque 206).

1604—Sansovino mentions Venetian musicians, “who on certain solemn days over the year play most excellently on trombones, cornettos and other, various and diverse instruments at Mass as well as at Vespers.”

1604—Duke Charles of Lorraine, wishing to procure trombonists for his court orchestra, sends to England for the best players (Daubeny 94).

1604—Mainz, Germany: The court of Johann Schweickard von Kronberg maintains a band of trombones and cornetts (Whitwell, Baroque 45).

1605—England: At Queen Anne’s, churching anthems are sung “with organ, cornetts, sackbut, and other excellent instruments of music” (Woodfill 190).

1605—Bologna, Italy: An attempt is made to teach 4 clerics at San Petronio to play trombone. The effort is apparently unsuccessful, as payments for their instruction only continue 4 months, after which 3 trombonists are recruited from Germany “per uso della Cappella” (Schnoebelen, Performance Practices at San Petronio, 44).

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).

1606—Italy: Leoni’s Sacri fiori includes two works that feature trombone: In te Domine speravi for 2 alto voices and two trombones, and Deus exaudi for 2 soprano voices, a trombone, and a violetta (Kurtzman, Monteverdi Vespers, 121).

1606-08—Padua, Italy: 5 “supernumeraries” (musicians not considered full-time), consisting of 4 trombones and one violin, are retained at the Basilica del Santo for music of “solemn occasions” (Roche, North Italian 22).

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.

1607—Jean-Baptiste Duval, French ambassador to Venice, attends the first Vespers of St. Theodore, at the Church of the Redeemer in Venice, and remarks, “There was a concert of the best musicians they had, singers as well as instrumentalists; mainly six small organs besides that of the church, which is very good, trombones or sackbuts, oboes, viols, violins, lutes, cornettos, recorders and flageolets (small flutes). Their harmony and music is very full, and they sing well according to their style which one does not relish at first, and does not find a pleasure, since it is different from our usage.”

1607—Jean-Baptiste Duval, French ambassador to Venice, visits St. Mark’s on Christmas day, hearing music in which “the double organs and different instruments, such as trombones, cornettos and treble violins were united with voices of the singers, and all this indeed filled the church and produced a grand harmony.”

1607—London, England: King James and his son, Prince Henry, feast at the hall of the Merchant Taylors Company. Among the entertainers, according to account books, are “Mr. Laneere, and four others of his Majesty’s musicians, players of wind instruments, being placed over the screen.” The “Laneere” referred to could be any of 5 different wind-playing Laniers, at least 3 of whom play trombone, who are all in court employ at this period (Duffin, To Entertain a King).

1607—England: Lord Hay commissions a masque at Whitehall by Thomas Campion to celebrate Lord Hay’s marriage. Present at the performance is King James I. The masque features several consorts, including a 10-member group with a double sackbut (double Sack-bott) (Long Study 47; Spitzer 46).

1607—Spain: An inventory of the instrument collection of Philip II made after his death includes “four silver sackbuts, with keys; a sliver sackbut of great dimension; a soprano sackbut; a brass sackbut” (Whitwell, Renaissance 101).

1607—Italy: Giulio Radino publishes a Magnificat which, though texted in all 16 parts, specifies Choro de Tromboni in 4 of the parts (Kurtzman, Monteverdi Vespers, 124).

1607—Italy: A posthumous print of Giulio Radino Padavano’s Concerti per sonare et cantare includes works by several composers. Amadio Freddi’s O Domine Iesu, which is included in the collection, is texted in all voices, but has a rubric calling for trombone in every part except the cantus. The Padavano collection also contains Media nocte, a 12-part motet by Orindio Bartolini that calls for trombone in the texted part-book (Kurtzman, Monteverdi Vespers, 121).

1607—Siena, Italy: Agostino Agazzari writes his first and most influential treatise, Del sonare sopra il basso. He includes trombone in the category of “ornamenting” instruments, responsible for embellishing the bass line with interpolated notes (passagi) and devising counterpoint. Agazzari also writes, “Sometimes in small consorts, when there are organetti in the octave above, the trombone replaces the double bass, but it must be well and softly played” (Agazzari 65).

1607—Germany: The title page to Michael Praetorius’s collection, Musicae Sionae, features an ornate woodcut that includes a depiction of trombone (see facing image) (public domain; source: wikimedia commons).

1607-1700—According to Anthony Baines, during this time span there exists a Nuremberg-made trombone “for about every three of four years, including at least seventeen in the tenor range, five basses (mostly pre-1650) and five altos (post 1660)” (Baines, Brass 111).

1608—Venice, Italy: English traveler Thomas Coryat attends a performance at the Scuola San Rocco that includes a 20-voice vocal choir and 24 instrumentalists: 10 trombones, 4 cornetts, 2 violas da gamba, 1 violin, and 7 organs. Clearly overwhelmed, Coryat remarks, “This feast consisted principally of Musicke, which was both vocall and instrumentall, so good, so delectable, so rare, so admirable, so super excellent, that it did even ravish and stupifie all those strangers that never heard the like” (Glixon, Honoring God 157).

1608—Florence, Italy: An intermedio that makes use of polychoral techniques includes trombones (Carter, A Florentine Wedding).

1608—Gravedona, Italy: Glory of God the Father and the Angels, a fresco by Giovanni Mauro della Rovere (also known as Fiammenghino), located in the Church of Santi Gusmeo e Matteo, includes a depiction of what could be a trombone. The instrument has characteristics of both slide trumpet and trombone; it could simply be an awkwardly-rendered depiction of either instrument. Other nearby angel-musicians play viol, organ, flute, and lute (see facing detail and medium detail below; public domain) (Angelis 43).

1608—Modena, Italy: During the visit of Isabella of Savoy, Paolo Bravusi conducts a performance of 5 trombones and 3 cornetts (Whitwell, Baroque 187).

1608—The earliest extant work by Heinrich Schütz, Ach wie sol lich doch in Freuden leben (Ah how shall I still live in joy), calls for 3 “choruses”: soprano voice with 3 lutes, soprano voice with 3 violas, and soprano voice with 3 trombones (Smallman 12).

1608—England: A decree at Exeter states that Peter Chambers “shalbe considered for his instruments, viz one doble Sackbutte and one single Sackbutte as shalbe in reason thoughte fitte” (Payne 146).

1608—England: Shakespeare includes the following reference to sackbut in Coriolanus: “The trumpets, sackbuts, psalteries, and fifes, Tabors and cymbals and the shouting Romans, Make the sun dance. Hark you!” (Long Histories 226).

1608—France: An engraving of the funeral of Charles III, Duke of Lorraine, depicts 2 trombonists performing with other musicians in a loft of the cathedral. (“Obsequies of Charles III, Duke of Lorraine,” Bibliotheque Nationale, Paris) (Lesure 60; Whitwell, Baroque 25).

1608—Venice, Italy: Tiburtio Massaino, maestro di cappella at Lodi from 1600 to 1608, writes for a pure consort of 8 trombones and continuo in Canzon 33 per 8 Tromboni from Canzoni per sonare con ogni sorte di stromenti (Massaino).

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 facing image; 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).

1609—Rome, Italy: Guido Reni’s Gloria d’angeli, a fresco located in S. Gregorio Magno, Cappella di S. Silvia, includes 2 trombones (see facing details and full image, below) (Cavalli, pl. 28 and 32; Pepper, pl. 30). A drawing pictured above (see 1600s—Southern Netherlands) is clearly either a preparatory sketch for or a copy of Reni’s painting.

1609—Jean-Baptiste Duval, French ambassador to Venice, again visits the Church of the Frari in Venice (see 1608, above), this time hearing music performed by “two portative organs, trombones, lutes, theorboes, cornettos and bass violins.” He then remarks, “Those who are accustomed to their music find it very good and full” (Kurtzman, Monteverdi Vespers 114).

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: “You will be doing me a kindness by letting the said Prince know that I have spoken to those cornett and trombone players [“sonatori di cornetto et trombone”], as he commissioned me to do, and that they told me they will come and serve His Highness, but on these two conditions: one, that they would like to be helped by His Highness with letters of request to the Count of Fuentes (or to whom it my concern) so that they can draw some wages which fall due after the Count of Fuentes leaves for the state of Milan; and so that Your Lordship may understand, these wages are due because they play in the castle at Cremona. And the other point is that the father and two sons who play all the wind instruments would each like 12 scudi a month. I objected to this at once, and told them that His Highness would go up to eight, with which (it seems to me) they should be contented. They have not said either yes or no about it. The two others, because they are not as competent as these three, could I believe be had for less salary. They play together well and readily both dance and chamber music, since they practise every day” (Stevens Letters 64).

1609—Bologna, Italy: Adriano Banchieri describes a mass he composed for 4 choirs that included, in addition to several continuo instruments, violins, viole da gamba, and 3 trombones (Schnoebelen Bologna 1580, 113).

1609—Italy: A number of Girolamo Giacobbi’s psalms are scored for coro ordinario (SATB) and coro grave (alto voice with 3 trombones) (Roche, North Italian 120).

1609—Italy: Lodovico da Viadana’s Cento concerti III includes Repleatur, a concertato work for alto voice, tenor voice, and 2 trombones. It also includes Benedicam Dominum in omni tempore for 2 tenor voices and 2 trombones (Roche, North Italian 82; Kurtzman, Monteverdi Vespers 123).

1609—Italy: A motet titled Cantate Domino contains the following rubric at the beginning of the piece: “To be concerted with two violins and two trombones” (Kurtzman, Monteverdi Vespers, 123).

1609—Italy: Ercole Porta calls for violin and trombone in his 2-part Sinfonia (Winkler 298).

1609—St. Omer, France: A document about musical practices at a Jesuit school describes the trombone as Tuba ductilis (Herbert, Sackbut 70).

1609—St. Omer, France: A document describes the elements of a good music education for boys, listing sackbuts and cornetts among suitable instruments (Herbert, Sackbut 78).

1609—Wittenberg, Germany: Johann Schein says, in his song Frisch auf, de edle Musikkunst from Venus Kräntzlein, “Summon with the noise of cornetts, the sound of trombones (Posaunen), curtals and Sordanen, with pommers too, the gentle sound of recorders, with crumhorns” (Boydell, Crumhorn 71).

c. 1610—Antwerp, Belgium: Hendrick van Balen’s painting, The Banquet of the Gods, includes a trombone resting on the ground among several other instruments (see bottom right of facing detail; public domain image). For other paintings by the same artist that include trombone, see c. 1615 and c. 1625.

c. 1610—Piacenza, Italy: A fresco by Lorenzo Gabrieri in the tribuna of the Duomo di Piacenza includes a depiction of an angel playing trombone with a diverse instrumental ensemble of other angel-musicians (see facing image; click for larger view; public domain) (Brogi plate 203).

c. 1610—An etching by Friedrich Brentel, titled Representation of the Burial of His Highness, the Duke Charles The Third of Lorraine, depicting the funeral ceremony of Duke Charles, includes at least 2 trombones in a music ensemble.

c. 1610—Rome, Italy: Lionello Spada’s painting, Concert, which shows a group of musicians presumably preparing for a performance, includes a clear depiction of a musician removing the outer slide of a trombone (see facing image; public domain) (Egan; Monducci 81).

1610—Canterbury, England: A quartet of instrumentalists consisting of 2 trombones and 2 cornetts is retained at the Canterbury Cathedral. The group’s functions is “to make music in the quire” of the Cathedral, on feast days, and on vigils (Bowers 440).

1610—Bologna, Italy: The instrumental ensemble of Santa Petronio includes 7 trombones, 2 cornetts, and 1 violin. Strings are gradually added later (Schnoebelen Bologna 1580, 106).

1610—Bologna, Italy: Adriano Banchieri writes a collection of 21 motets. Following the last page of music, the composer gives a table of several ways the motets may be performed; among the ways are “Trombone & Violino Stromenti” and “Basso Trombone & Soprano voce” (Collver 42).

1610—Siena, Italy: A musician by the name of Pietragnolo Maestri resumes employment as cathedral trombonist, where he contiues to serve until 1613. He had previously served from 1597 to 1601 (Reardon, Agostino Agazzari 53).

1610—France: Louis XIII maintains a court wind band that includes 2 trombones (Whitwell, Baroque 24).

1610—Italy: Claudo Monteverdi composes Vespers, which uses trombones prominently. Only 3 pieces in the collection specify particular instruments; in all 3 of these, trombone is named (Domine ad Adjuvandum, Sonata Sopra Sancta Maria Ora Pro Nobis, and Magnificat a Sette Voci) (Holman, Col nobilissimo; Kurtzman, Monteverdi Vespers, 412). In Sonata sopra Sancta Maria, not only does Monteverdi call for trombone, but he suggests the instrument as a substitute for the vivola da brazzo part (Bonta Violone 69). In Domine ad Adjuvandum, the instrumental bass part is marked, “Trombone, Contrabasso da gamba, & Viuola da brazzo” (Holman, Col nobilissimo).

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).

1610-1611—La Plata, Bolivia: La Plata Cathedral employs a trombonist by the name of Antón de Toledo. Accounts also contain records of repairs for shawms, trombones, and curtals (Bermúdez).

1611—London, England: John Adson, a London wait, composes Courtly Masquing Ayres composed to 5 and 6 Parts for Violins, Consorts, and Cornets. Three of the 5-part works are specifically scored for “sackbuts and cornets” (Boyd 163; Whitwell, Catalog Baroque 12).

1611—Italy: Arcangelo Borsaro’s Novo giardino de concerti specifies optional substitution of trombones for the lower 2 voices in each of its 20 motets (Kurtzman, Monteverdi Vespers 123).

1611—Mantua, Italy: In a letter from Claudio Monteverdi to Prince Francesco Gonzaga (governor of Mantuan province of Monferrato), Monteverdi reveals that he is still trying to help the prince establish a wind band (see 1609 entry, above). He says, “Your Highness left instruction with Messer Giulio Cesare [Bianchi] the Cremonese (who plays the cornetto) that if someone could be found who would play the recorder, cornetto, trombone, flute and bassoon—for want of a fifth part in Your Highness’s wind band—you would be pleased to take him on. I therefore approach this letter of mine to let Your Highness know that there is a young man here of about twenty-six or twenty-eight (I do not know whether he is passing through or has come on purpose) who can play on the afore-mentioned instruments very readily at least, and with assurance, because I have heard him play both recorder and cornetto; moreover he says that he can also play the gamba and the viola….As is my custom, I sounded him out and told him: ‘If His Highness the Prince were pleased to take you on, this gentleman very much likes not only to hear a variety of wind instruments, he also likes to have the said musicians play in private, in church, in procession, and atop city walls; now madrigals, now French songs, now airs, and now dance-songs.’ And he told me in reply that he would do everything, as he will always consider it great good fortune, this becoming fit to be allowed to serve the likes of Their Highnesses in some way” (Stevens Letters 81).

1611—Lima, Peru: The chapel hires a trombone player (Mendoza de Arce 140).

1611—Mexico City, Mexico: The cathedral trombonist receives a raise (Stevenson, Mexico City Cathedral Music).

1611—Italy: Amante Franzoni writes Canzon francese for 2 trombones, cornetto, and organ. The piece is part of a large collection called Concerti ecclesiastici (Collver 50).

1611/12—England: A shagbutt is repaired at Trinity (Payne 146).

1612—Manufacture date of the bass trombone that historian Anthony Baines calls “the most beautiful trombone in existence” (Young 22). It is also, according, to Robin Gregory, “the oldest known Quintbass trombone in existence” (Gregory 33). In addition to the flat stays, conical bell, and hinged slide extension typical of this period, it has two extra turns of tubing at the top, with a supplementary slide extension for this upper section of tubing. The manufacture location is Nuremberg, a city famous for brass instrument manufacturing (Germanisches Nationalmuseum, Nuremberg) (Montagu 105).

1612—According to Philip Bate, a trombone with a double slide, made by Jobst Schnitzer, survives from this date (Bate 136).

1612—Italy: Lodovico da Viadana’s Salmi a Quattro chori contains instructions for performing his polychoral works for 4 choirs. In the third choir, he instructs, “the tenor is sung by several voices, with trombones.” In the fourth choir, “the [second] part is in a comfortable tenor register, sung by a number of voices with trombones; the third part is a baritone—again, this should have good voices or trombones, with violins. The bass is always low, so it should be sung by deep voices with trombones…” (Roche, North Italian 118).

1612—Bologna, Italy: Adriono Banchieri composes his Moderna armonia di canzoni alla francese. In the foreword, he suggests trombone as one of many options for performing the work (Collver 42). Numbers 11 through 25 are 2-part works (trombone and cornett), and numbers 26 and 27 are 4-part works (2 trombones and 2 cornetts) (Winkler 298).

1612—England: Records for the King’s Music list Sackbuts and Hautboys together rather than separately. The group consists of 7 (Woodfill 301).

1612—Cuenca, Spain: A musician by the name of Juan García Sotos Albos is appointed as a trombonist at Cuenca Cathedral (De Pascual).

1612—Madrid, Spain: Trombonist Bartolomé de Selma leaves employment as trombonist at Cuenca Cathedral to become instrument maker to the royal chapel in Madrid.

1613—Heidelberg, Germany: The welcoming festivities for Elector Friedrich V of the Rhine Palatinate and his Bride, Princess Elizabeth of England, include a series of triumphal arches constructed along the streets by the faculties of the University of Heidelberg. At the first arch, staged by the Faculty of Philosophy, “pleasing music was [performed] by trombones and cornetts.” The festival record continues, “His Highness the Elector, as well as his spouse, were received with a cordial and very lovely musical [performance with] all kinds of string-playing and [other] instruments. Up high [on the stage] stood an angel who blew on two [sic] sackbuts….When His Highness the Elector, as well as the princes, were escorted in the procession by the four faculties of the world-famous University of Heidelberg, [they] passed through four triumphal arches [surrounded by] many well-wishers. Upon the first archway, which was hung with tapestries, sweet music by sackbuts and cornetts was presented” (Bowles, Musical Ensembles 188). A graphic representation of the welcoming ceremonies depicts a group of musicians, including 3 trombones, performing on a triumphal arch (see facing image; public domain) (Bowles, Musical Ensembles 190).

1613—Kassel, Germany: The Hofkapelle includes 2 trombonists on staff (Baines, Two Cassel Inventories).

1613—Kassel, Germany: An inventory of the Hofkapelle includes several sizes of trombones, along with various parts of these instruments: “1 great posaune with its E…[?] or joints [gliedern] mounted with silver, partly gilded; with slides [zugen] and crooks [bogen]; also 2 silver mouthpieces and a silver image [biltlein],” “1 bad posaune with its slide and crooks,” “4 Tenor and Alt posaunen, with 7 crooks and shanks [aufgesticktes],” “2 small Alt or Discant posaune with 3 crooks and shanks,” “1 Quart posaune with crooks and slide,” and “1 bell [glocke] of a posaune without appurtenances and front section” (Baines, Two Cassel Inventories).

1613—Siena, Italy: Alberto Gregori, whom Montebuoni Buondelmonti praises as “a most singular trombone player, perhaps the best in Italy,” is hired at the cathedral. He serves there until 1618, then again from 1627 to 1641. He is also employed at various times throughout his career at Siena’s Palazzo Pubblico and Santa Maria della Scala (Reardon, Insegniar 127).

1613—Naples Italy: Pietro Cerone writes his Spanish-language treatise, Melopeo y Maestro. He classifies trombones [sacabuches] among instruments de viento, also noting that ensembles [conciertos] are found comprised of trombones, curtals, Doppioni, recorders, dolzaine, cornetts, Cornamusas, and crumhorns (Cerone 1038).

1613—Mantua, Italy: Amante Franzoni includes “Concerto a cinque” for 4 trombones and tenor voice, as well as Sancta Maria ora pro nobis for 4 trombones and soprano voice, in the collection Appartato Musicale di Messa (Kurtzman, Monteverdi Vespers 32).

1613—London, England: A performance of Shakespeare’s Silenus features a loud, broken consort that includes 2 sackbuts.

1613—England: Drayton’s Polyolbion relates a musical contest between the Welsh and the English: “So were there some again, in this their leaned strife, Loud Instruments that loved, the cornet and the fife, The Hoboy, sagbut deep, recorder and the flute: Even from the shrillest shawm unto the cornamute” (Whitwell, Renaissance 38).

1613—Bologna, Italy: Records from the convent Santa Margherita show that a woman named Suor (sister) Olimpia Ghisilieri and another nun both own trombones (Monson, Disembodied 47).

1613—Freistadt, Austria: Civic musician Wolf Hueber is found to own, upon his death, 3 trombones, 4 trumpets, 5 cornetts, a shawm, 9 “Querpfeifen,” 8 violins, and a zither.” Historian David Whitwell has speculated that “some civic musicians, perhaps unwilling to trust the town to have the necessary instruments available and in good repair, owned large personal collections of all the instruments they might need” (Whitwell, Renaissance 152).

1613—Imola, Italy: Giulio Belli writes Concerti ecclesiastici a due et a tre voci, which calls for trombone (Collver 43). Specifically, Canzona No. 33 is a 2-part work that specifies trombone and cornett, which Canzona No. 34 is a 3-part work calling for 2 cornetts or violins and one trombone (Winkler 299).

1613—Italy: Ercole Porta’s Canzona 33, a 2-part work, calls for cornett and trombone. Canzona 34, a 3-part work, calls for 2 cornetts or violins and one trombone (Winkler 299).

1614—Italy: Usper’s Intonuit is scored for 2 voices and 4 trombones (Whitwell, Baroque 213).

1614—Vienna, Austria: Giovanni Bassano presents the Doge with a request to make his piffari e tromboni a “union of instrumentalists” with the privilege of playing “both in the churches and the scuole grande within and outside of Venice.” The request is approved and detailed bylaws are drawn up two years later (Moore 82).

1614—Brescia, Italy: Pietro Lappi calls for trombone in his Sacrae melodiae (Collver 129).

1614—Venice, Italy: An official roster for the orchestra at St. Marks’s indicates that there are at least 3 trombones on payroll (Selfridge-Field, Bassano and the Orchestra of St Mark’s).

1614/15—England: The Colledge Sagbutt is repaired at Trinity (Payne 146).

c. 1615—Cislago, Italy: The Church of Santa Maria della Neve contains an anonymous fresco lunette featuring several angel musicians, including a trombonist. The trombone is particularly noteworthy because it is a rear-facing (sometimes called “over-the-shoulder”) instrument, an unusual configuration for this early date (see facing image; public domain) (Morandi; Farioli). For another early rear-facing instrument, see 1578 in the 16th century timeline, where a cherub-trombonist is featured. In later centuries, particularly the 19th century, rear-facing trombones become much more common; the 19th century timeline includes at least 9 such images.

c. 1615—Antwerp, Belgium: Hendrick van Balen’s painting, Minerva among the Muses, on the cover of a virginal belonging to Queen Maria Kazimiera Sobieski, features a trombone among several instruments resting on the ground. The trombone is somewhat unusual because of the double loop of tubing on the back of the instrument, similar to the one portrayed by Brueghel and Rubens in Allegory of Hearing (1617-18). Queen Maria, originally from Poland, marries King James Stuart and spends most of her life in Rome. Hendrick van Balen, the artist, is a mannerist from the Antwerp School (see facing detail and full image, below) (source: wikimedia commons).

c. 1615—St. Omer, France: Pas de Calais, headmaster of the College of St. Omers, describes the musical activities of the school. Sackbut is included among the category of “Other wind instruments [that] require more lung-power” (Long Study 28).

c. 1615—Graz, Austria: Giovanni Valentini (c. 1582-1649) writes Canzon a 2 for trombone, cornett, and continuo; Sonata a 4 for trombone, cornettino, bassoon, and organ; and Sonata a 5 for trombone, 2 cornetts, 2 violins, and continuo (Collver 71).

1615-16—Brussels, Belgium: Archduchess Isabella visits Brussels and subsequently commissions several paintings to portray the related celebrations. Denis van Alsloot, painter for the archdukes of Brussels, depicts a “procession of guilds.” The “loud” instruments pictured, which include a trombone, cornett, curtal, and 3 shawms, presumably constitute the civic wind band of Brussels. They occupy a place of honor between the relics and the statue (Denis van Alsloot, Procession en l’honneur de Notre-Dame du Sablon a Bruxelles le 31 mai, Museo Prado, Madrid) (see facing detail; Lesure 94-95; Forney, Antwerp 363;  Whitwell, Baroque 181; Wangermée, vol. 1 241; ). Public domain image. Another artist, Antoine Sallaert, also depicts the procession, portraying the wind band in nearly the exact same posture and configuration as Alsloot, then in a slightly different configuration (see facing detail and detail below; public domain).

1615—Modena, Italy: Modena Cathedral possesses a musical establishment of approximately 15 singers, a cornettist, a trombonist, and an organist (Kurtzman, Monteverdi Vespers 381).

1615—Siena, Italy: Authorities grant trombonist Alberto Gregori permission to augment his salary by playing at the church of Santa Maria di Provenzano (Reardon, Insegniar 136). The same year, Lorenzo Scala, a full-time member of the chapel and former student of Gregori, petitions for permission to supplement his income by playing trombone at the Santa Maria di Provenzano; his request is approved on condition that he play no more than 2 times a month at the church (Reardon, Music and Musicians).

1615—Reggio Emilia, Italy: Lionello Spada’s fresco in the cupola of the Chiesa della Ghiara includes depictions of numerous angel-musicians, including an angel playing trombone (see facing image; public domain) (Quintavelle, plate 81; Monducci 130).

1615—Venice, Italy: A collection of Giovanni Gabrieli’s works is published 3 years after his death. Trombone is featured prominently. For example, Jubilate Deo is scored for alto voice, tenor voice, 5 trombones, 2 cornetts, and bassoon. Surrexit Christus is scored for alto voice, tenor voice, bass voice, 4 trombones, 2 cornetts, and 2 violins, and features extended instrumental sections (Roche, North Italian 115).Canzon XVIII a 14 calls for 10 trombones and 4 cornetts (Collver 51). Canzon XX calls for 2 trombones and 1 cornett (Winkler 299).

1615—Italy: Arcangelo Borsaro writes for 2 cornettos (or violins), trombone, and organ in his La Matusaleme a tre from Odarati fiori (Collver 45).

1616—Stuttgart, Germany: A highly symbolic series of engravings by Esaias van Husen depicts trombones with various combinations of instruments. The players are said to represent town musicians (stadtpfeifer) who entertain at peasant weddings, baptisms, fairs, and dances. In the facing image, bass trombone performs with 2 cornetts (see facing image; public domain) (Naylor 28, 194).

1616—London, England: Beaumont and Fletcher’s tragicomedy, The Mad Lover, uses trombones for a solemn scene, indicated by the following stage direction: “A dead march within of drums and sackbuts” (Long Study 37).

1616—Stuttgart, Germany: Festivities celebrating the baptism of Prince Friedrich von Württemberg feature trombone extensively. First, at the service itself, the “Assum Version” festival book records, “The charming piece by Gregor Aichinger, Laudate Dominum &c. for eight voices, with two cornetts, four trombones and two bassoons was executed by the most select vocalists, ending most appropriately.” Following the baptism, a Te Deum by Salomon is sung, utilizing 3 ensembles: “The first, with a positive organ, four fiddles, two lutes, a small pipe and large contrabass viols, besides four singers. The other, with regal, one cornett, two trombones, a bassoon and four vocal soloists. The third also with a regal, three trombones, a serpent, in addition to four musicians. Whenever the three ensembles played together [there was added] the great organ, a cornett and a contra bassoon [Pommerten Vagoten].” Later, trombone is again involved, this time during a banquet: “For this, the Kapellmeister of the prince directed a warm, intense chamber and banquet music for the assembled company with select members of the ensemble, in the Italian, English and French manner, with instruments [such as] portative organ, cornetts, trombones, bassoons, lutes, fiddles, viole bastarde, small pipes and live voices, the best soloists, [all] in various combinations.” Two days later there is a procession incorporating instrumentalists dressed as the Nine Muses that includes a trio of trombone and 2 cornetts (See image above; public domain) (Bowles 199-200, 207).

1616—Stuttgart, Germany: In a separate account of festivities celebrating the baptism of Prince Friedrich von Württemberg (as distinct from the “Assum Version” cited above), the author of the “Weckherlin Version” renders the account into English himself, taking note of the banquet: “None may doubte of the plentie of costlie meate and any kind of daintinesse, and rich shew’s of fountaines, images, beasts and other prettinesse set upon the boord, dressed most artificially, no lesse as of sweet musicke. For there were heard three severall companes th’ one after the’ other, so that when the first (that did sound, after the Italian fashion, instruments and voices together) did finish, the second (playing according to the English manner with cornets and sack-botts) did beginne…” The author then describes a “Ballet of Nations” that follows, in which characters representing various nations crawl out of 4 large heads. Of the trombone’s role he says, “The third that came forthe of the second head was a Laponian, covered with the skinne of a beare, and trampling about at the sound, such an other fellow of Lappie did tune with a sackbotte” (see facing image; public domain) (Bowles 209-11).

1616—Halle, Germany: As part of festivities celebrating the baptism of Sophie Elisabeth, first daughter of Markgraf Christian Wilhelm of Brandenburg, there is an enormous introductory procession that includes a group of 3 gypsies on horseback, escorted by a musical trio of 2 viol players and a trombonist (see facing image; public domain) (Bowles 203, 220).

c. 1617—Antwerp, Belgium: Hendrick van Balen and Jan Brueghel collaborate on a painting called An Allegory of the Five Senses, which includes a trombone among several instruments in the foreground (see facing detail; public domain) (Haeften, pl. 8). For other depictions of the trombone by the same painter, see c. 1610 (Banquet of the Gods), c. 1615 (Minerva among the Muses), and c. 1625 (Allegory of Music).

1617—Dresden, Germany: In a letter from Heinrich Schütz to Heinrich Posthumus of Reuss-Gera (Germany), Schütz recommends that 2 boys of the court ensemble be trained on trombone (Spagnoli 69-70).

1617—Dresden, Germany: A 3-day celebration is held to mark the centenary of the start of the Reformation. For the occasion, Heinrich Schütz writes several richly scored Psalm settings that include cornetts, trumpets, trombones, and timpani (Smallman 29).

1617—Venice, Italy: Biagio Marini’s Affetti musicali includes La Giustiniana, which is scored for 2 cornettos (or violins), trombone, and continuo; La Foscarina, which is scored for 2 cornettos (or violins), trombone, and continuo, La Hiacinta, which is scored for cornetto, trombone, and continuo (Collver 45); La Giacintina, for 2 cornetts (or violins) and trombone; and La Marina for cornett (or violin) and 2 trombones (Winkler 299).

1617-1626—Bologna, Italy: Camillo Cortellini, leader of the Concerto Palatino, publishes numerous concerted masses that include trombone. For example, his Messe a otto voce (1617) includes 3 trombones (Schnoebelen, Bologna 1580, 113; Guion, Missing Link).

1617-1618—Antwerp, Belgium: Jan Brueghel the Elder and Peter Paul Rubens collaborate on a series of paintings on the subject of the 5 senses. The Sense of Hearing or Allegory of Hearing depicts a trombone among the many instruments in the room. All of the paintings in the series are “portrayed against a backdrop of princely collections that together seem to paint an idealized picture of the court of the Habsburg rulers of the Southern Netherlands, the archdukes Albert and Isabella, whose castles in and near Brussels are depicted in the distance” (see facing detail; public domain) (Woollett, 91-92; Museo del Prado, Madrid).

1618—Venice, Italy: Trombonist Alvise Grani becomes a member of the ducal pifferi. At some point, he also becomes a teacher at the Pieta in Venice—the earliest known hiring of an external maestro at that institution (Baldauf-Berdes 188).

1618—Stuttgart, Germany: Town musicians are forbidden to play cornetts or trombones at “common” weddings; rather, fiddles and other stringed instruments are encouraged for such occasions (Marcuse 811).

1618—Italy: Bastiano Miseroca writes Canzon a 3 for 2 cornetts, trombone, and continuo. The work is part of a larger collection called I pietosi affetti (Collver 62).

1618—Bologna, Italy: Suor (sister) Angela Maria Rugieri brings a trombone and bass viol with her to the convent Santa Caterina (Monson, Disembodied 263).

1618—Pieter Lastmann’s altar scene, David in the Temple, portrays a trombone performing with voices, tamborine, pommer, and 2 string instruments (see facing image; public domain) (Kinsky 177; Buchner 254).

1618—Leipzig, Germany: Heinrich Schütz (1585-1672) includes trombones in the Concert mit 11 Stimmen, which he writes for the wedding of Michael Thomes and Anna Schules (Collver 167). 1618—Leipzig, Germany: Johann Hermann Schein (1586-1630) writes Das Te Deum Laudamus, which calls for 2 trombones (Collver 163). 1618—Bremen, Germany: An anonymous oil painting depicts a wedding procession led by 4 town musicians—alto, tenor, and bass trombones with cornett (instrument identification according to Walter Salmen). The wedding party is apparently wealthy and the musicians are elegantly dressed. The painting is set against the backdrop of the Hanseatic town of Bremen (Salmen, Status).

1618—London, England: Records for the King’s Music list Hautboys and Sackbuts together instead of separately. The group consists of 6 (Woodfill 302).

1618—Wolfenbüttel, Germany: The title page from Polyhymnia panegyrica by Michael Praetorius depicts 3 angels playing trombone among a compact jumble of other musicians (see facing image; public domain) (Naylor 216).

1618—A trombonist is depicted as part of an all-female ensemble performing on what appears to be a pageant wagon decorated as an outdoor scene. The engraving, titled Festlicher Aufzug mit Instrumenten, is probably by E.V. Hulsen (see facing image; public domain) (Komma 128).

1618-1624—Christof Angermair’s ivory carving from the coin cabinet of Elizabeth of Lorraine depicts a number of musicians, including a trombonist in the foreground, performing with Pan, the shepherd’s god (see facing image; public domain) (Munich: Bayerische Staatsgemäldesammlung; Salmen, Gartenmusik 75; Hindley 164).

1619—Wolfenbüttel, Germany: In his Syntagma Musicum II, Michael Praetorius calls the trombone (posaun) the “wind instrument par excellence in concerted music of any kind.” He continues, “A skilled player can play at will in all sorts of keys through tones and semitones, and can go beyond the compass in either direction; not only by inserting and extracting the crook (called cromette) and the other extension-piece (polette), but also by practiced control of embouchure and wind-pressure, without using the slide at all.” Praetorius uses the term posaun, but lists the following additional terms for the instrument: trombone, tuba ductilis, tuba oblonga, trombetta (Praetorius-Crookes II 44; Praetorius II 35).

1619—Wolfenbüttel,Germany: Michael Praetorius, discussing tuning in his Syntagma Musicum II, reveals qualities valued in contemporary trombone performance, asserting that the lower the trombones are tuned, “the more solemn and stately they will sound” (Praetorius-Crookes II 31).

1619—Wolfenbüttel, Germany: Michael Praetorius claims that there is no better guide to a correct pitch standard than a tenor trombone of Nuremberg make, with the slide extended by a width of two fingers. (Trombones from the period do seem reasonably standardized in dimensions, according to historians, and provide a pitch of roughly a’=460).

1619—Wolfenbüttel, Germany: Praetorius, discussing tuning, reveals some qualities that are valued in trombone playing at the time, asserting that the lower tuned the trombones are, “the more solemnly and majestically they present themselves” (Praetorius-Crookes II 31). 1619—Wolfenbüttel, Germany: In his Syntagma Musicum II, Praetorius details an acceptable way of performing Quo properas, a double-choir, 10-voice motet by Orlando di Lasso. He recommends trombone in 8 of the 14 sections, thus using the trombone more than any other instrument. 1619—Wolfenbüttel, Germany: In his Syntagma Musicum II, Praetorius includes the following paragraph about some noteworthy trombone players: “Some players, however—among them Phileno, the famous Munich virtuoso—have taken this instrument to even greater lengths by assiduous practice. They can play without discomfort from bottom D to top c, d, or e in the soprano register. In fact, I myself have heard in Dresden the player Erhardus Borussus, who is supposed to be living in Poland now: he could take this instrument almost as high as a cornett (reaching the top g sol re ut) and as low as a quart-posaun, down to A. He was capable of the fast coloratura divisions that are played on a viola bastarda or a cornett” (Praetorius-Crookes II 43). 1619—Wolfenbüttel, Germany: In his discussion of cornetto torto, a cornetto pitched in the tenor range, Praetorius states, “However, since its sound is unpleasantly horn-like [hornhafftig], I think it better to use a trombone in its place” (Praetorius-Crookes II 47). 1619—Wolfenbüttel, Germany: Michael Praetorius, in his Syntagma Musicum III, writes enthusiastically about a mixed consort he says is in use in England: “The English quite appropriately refer to a consortio as ‘consort,’ when several people with assorted instruments, such as harpsichord [Clavicymbeln] or double harpsichord [Großspinet], large lyra viol, double harp, lutes, theorbos, pandoras, penorcon, cittern, violas da gamba, small discant violin [Geig], transverse flute or recorder, sometimes also a soft trombone or recorder, play harmoniously together, softly and sweetly in a charming ensemble (Praetorius-Kite-Powell III 19).

1619—Wolfenbüttel,Germany: Praetorius, in his Syntagma Musicum III, discusses use of various instrumental configurations: “In the instrumental choir it is only instruments such as trombones, cornetts, curtals, flutes, or violins [Geigen] that perform; it is added to the vocal choir; that is, to the concertato voices, for the sake of greater weight and a fuller, more pleasing sound” (Praetorius-Kite-Powell III 126). Discussing the Italian style of vocal soloists with accompaniment, he says, “They do not like this style as they believe it is too sparse, and that it has no particular attraction or harm for those who have no understanding of music. Therefore I had to come up with the solution of adding a four-part choir or consort of either trombones or violins [Geigen] that could play along at all times. And because such a sound is somewhat more pleasing to the ear when arranged in this fashion in the church, I have earned the public’s approbation” (Praetorius-Kite-Powell III 126).

1619—Wolfenbüttel, Germany: Praetorius, explaining the expectations of table musicians in his Syntagma Musicum III, recommends alternating voices with various instruments, including trombone.

1619—Wolfenbüttel, Germany: Praetorius, discussing canzoni in his Syntagma Musicum III, mentions various groups of wind instruments, detailing specific transpositions. He says, “And both of these (nos. 3 & 4), as well as the first two in the Hypoionian mode, can be played on 6 crumhorns if they are transposed up a tone. The following, however, is played at pitch on crumhorns, but a fifth lower on curtals, pommers and trombones [posaunen].” Elsewhere he suggests an ensemble of one chor of 4 crumhorns and another chor of 4 trombones (posaunen). Given the music and clefs he shows, Praetorius recommends that the entire ensemble transpose down a fourth.

1619—Date of trombone made in Nuremberg for George Ehe. The Ehe family is a major brass dynasty in Nuremberg. The instrument has the bore of a tenor trombone, but the tube length is longer than normal, making it a major 2nd or minor 3rd below standard pitch. (Young 43). One expert has remarked specifically on the craftsmanship of the instrument: “Perhaps the finest example of the solderer’s art on a musical instrument can be seen on the flawless toothed bell seam…” (Barclay 34).

1619—Polyhymnia caduceatrix et panegyrica, a collection by Michael Praetorius of compositions based on Lutheran hymns, includes vater unser im Himmelreich, a hymn accompanied by contrasting groups of 4-part strings and 4-part trombones (Leaver 281).

1619—Dresden, Germany: Heinrich Schütz publishes Psalmen Davids, his first major collection of German church works. Many of the works include prominent trombone parts and obbligato roles (Smallman 35, 37, 42). Herr unser Herrscher and Zion spricht, der Herr hat mich Verlassen both call for 4 trombones, for example, while Ist nicht Ephraim mein theurer Sohn and Wol dem, der den Herren fürchtet call for 3 trombones (Collver 168).

1619—London, England: Robert Parker successfully competes against Henry Field for an open position with the town waits. Parker is reportedly especially good on wind instruments; among his many instruments are double sackbut, violen, and low tenor violin. He holds his position until 1649 (Woodfill 249).

1619—Greiz, Germany: The Stadtpfeifer play “spiritual songs” on trombones at 3:00 am, 9:00 am, and 7:00 pm. (At 9:00 am and 4:00 pm they play on trumpets) (Whitwell, Baroque 156).

1619—Parma, Italy: An Assumption Day celebration at the cathedral includes 21 singers accompanied by cornettos and trombones (Kurtzman, Monteverdi Vespers 381).

1619—Italy: Francesco Usper writes Compositioni armoniche, which includes Sonata a 8, for 4 trombones, 2 cornetts, 2 violins, and continuo (Collver 71).

1619—Siena, Italy: Lorenzo Mini, who has been singing with the choir since 1617, replaces his former teacher, Alberto Gregori, as cathedral trombonist. He holds the trombone post until his death in 1626, whereupon Alberto Gregori resumes the role (Reardon, Agostino Agazzari 53).

c. 1620—An anonymous mannerist print titled Genius of the Arts includes a trombone (Moir pl. 44). Located at the foot of the angel (whose toga is apparently on the move), the instrument is noteworthy for its bell flare, which would appear to be slightly more pronounced than that of other trombones of the period. The print belongs to an interesting group of allegorical art works from the 17th century that feature trombones, including Brueghel’s Allegory of Hearing, Van Kessel’s Allegory of Music, and a Czech wall painting from Rozmberk Castle titled Allegory of Music.

c. 1620—Valencia, Spain: Composer Juan Bautista writes a vernacular song, “Quién será aquel caballero,” with a texted voice labeled Tiple and 3 untexted voices labeled Bajoncillo, Sacabuche, and Bajón grande (Kreitner, Minstrels in Spanish Churches).

c. 1620-24—Seville, Spain: The altarpiece of the Virgin of the Rosary of the Parish of Santa Ana, probably painted by Diego López Bueno and Miguel Cano, includes a depiction of an angel playing trombone (see bottom-right of image; public domain image) (Alonso Cano 613).

1620—Germany: Woodcuts of the various members of the trombone family appear in Michael Praetorius’s Sciagraphia, a collection of illustrations appended to Syntagma musicum (Treatise of Music). The trombones pictured include alt or discant posaun (comparable to modern alto), gemeine posaun (comparable to modern tenor), quart- or quint-posaun (bass trombones, fourth and fifth below tenor), and octav posaun (contrabass, an octave below tenor) (Praetorius II, plate 8; public domain).

1620—Germany: Also included, on a separate plate of Praetorius’s Sciagraphia, is a highly-decorated bass trombone similar to an extant trombone by Johann Isaac Ehe (Nuremberg, 1612) (Praetorius II, plate 6; Naylor 196; public domain image).

1620—England: A chronicler records that when King James travels in state to St. Paul’s Cathedral, “by them conducted into the Quire; where having heard the Divine service for that day most solemnly performed with Organs, Cornets, and Sagbots, they went to a prepared place…” (Heylyn 20).

1620—Bergamo, Italy: At Santa Maria Maggiore, musical records list 4 instruments: 2 violins, cornett, and trombone (Roche, Maggiore).

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).

1620—Italy: Ercole Porta’s Mass is scored for five-part choir, 3 trombones, and 2 violins (Roche, North Italian 140).

1620—Italy: Ercole Porta’s L’Animosa and La Spensierata, both 2-part works, are scored for trombone and violin (Winkler 300).

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).

1620—Venice, Italy: Giovanni Battista Riccio calls for trombone in a collection of canzoni (Selfridge-Field, Instrumentation). Specific examples include Canzon La Fineta, a 2-part work for trombone and violin; Canzon La Savoldi, a 2-part work for trombone and violin; Canzon La Picchi, a 2-part work fro trombone and violin; Canzon La Rubina, a 3-part work for 2 violins or cornetts and trombone, and Canzon La Moceniga, a 3-part work for 2 violins and 2 trombones (Winkler 300).

1620—England: King James visits St. Paul’s cathedral, where musicians “with solemn singing brought the king into the quire [and] they began to celebrate Divine Service, which was solemnly performed with organs, cornetts, and sackbuts” (Woodfill 149).

1620—Leipzig, Germany: Johann Hermann Schein writes Lyrica Davidica, which calls for trombone (Collver 163).

1620—Tröchtelborn, Germany: Michael Altenburg (1584-1640) publishes the collection Der dritte Theil, which includes at least 2 intradas that call for trombone (Collver 76).

1620—Bologna, Italy: Banchieri’s collection of sonatas specifies trombone and violone (Selfridge-Field, Instrumentation). Specifically, Sonata sopra l’Aria del Gran Duca calls for trombone and 2 violins (Winkler 299).

1620—Germany: The title page of Praetorius’s Sciagraphia (a collection of illustrations appended to Syntagma musicum) depicts a performance of several church musicians, including 2 trombones (see facing image; public domain) (Praetorius II).

1620s—Italy: Francesco Gregori is employed as trombonist and cornettist at music chapels in Malta and Caltagirone (Reardon, Insegniar 127).

1621—Germany: An ordinance at the Württemberg court of Duke Johann Friedrich requires the trombone and cornett players to appear without fail for the choir rehearsals during the week (Whitwell, Baroque 206).

1621—Venice, Italy: Dario Castello, a member of the piffaro (wind band), composes numerous chamber compositions with parts for 1 or 2 trombones, particularly in his Quinta Sonata from Book I (Selfridge-Field, Instrumentation; Wigness 9). Referring to the virtuosic technical demands of the trombone parts in these sonatas, the second edition of Book 1 includes the following note: “He says, in short, that they are the consequence of the new style everyone is observing and hopes that the players will not give up on the first try” (Wigness 10). Specific pieces include Quarta Sonata (No. 47), Quinta Sonata (No. 48), and Sesta Sonata (No. 49), all of which are 2-part works scored for soprano and trombone or violetta, as well as Duodecima Sonata (No. 50), which is a 3-part work scored for 2 violins and trombone or violetta (Winkler 300).

1621—Venice, Italy: Stefano Bernardi’s (1585-1636) 7 Canzonas a 3 from Madrigaletti a due et a tre voci specify the following for the bottom musical line: theorbo or bassoon or trombone. The other 2 voices are to be played by either 2 cornetts or 2 violins (Collver 43).

1621—Johann Schein’s, Musica Boscareccia, which contains music of 3 melody lines, specifies the following for the third line: “bass voice or trombone or bassoon or violone” (Dart, Interpretation 128).

1621—Munich, Germany: At the Bavarian court, cornettist and trombonist Giulio Martino Cesare writes a collection of 28 instrumental and vocal works titled Musicali Melodie. It includes “La Hieronyma,” the earliest known solo work to specify trombone. Also included are “La Augustana,” for cornett (or violin) and trombone, “La Costanza,” for 2 cornetts (or violins) and trombone, “La Famosa,” for 2 cornetts (or violins) and trombone, “La Gioia,” for 2 cornetts (or violins) and trombone, “La Bavara,” for 4 trombones, “La Monachina,” for 3 cornetts and trombone, “La Fenice,” for 2 cornetts and 2 trombones, and “La Vittoria,” for 3 cornetts and 3 trombones (Whitwell, Catalog Baroque 122; Collver 47; Winkler 300). Also included is a motet for one voice and 3 trombones (Dickey, Cornett and Sackbut 107).

1621—London, England: Richard Brathwaite’s Some Rules and Orders for the Government of the House of an Earle describes use of trombones at banquets: “At great feasts, when the earl’s service is going to the table, they are to play upon shagbut, cornetts, shawms, and such other instruments going with wind” (Bowles, Musical Ensembles 125).

1621—Vienna, Austria: At the Habsburg Court, Giovanni Valentini’s motet, “Messa, Magnificat et Iubilate Deo,” calls for 2 trombones with optional string substitutions, labeled “Alto Trombone o Violetta primo” and “Viola o trombone secondo” (Saunders).

1621—Bergamo, Italy: At Santa Maria Maggiore, music for the feast of the Assumption includes 2 trombones (Roche, Maggiore).

1622—Siena, Italy: At the church Santa Maria di Provenzano, the 4-singer chapel is augmented with a trombone for the Christmas season (Reardon, Music and Musicians).

1622—Italy: Adriano Banchieri writes several works scored for violin, trombone, and organ: Prima Sonata, Seconda Sonata, Terza Sonata, and Quarta Sonata (Winkler 300).

1622—Italy: P.A. Mariani writes Canzon Per il Deo Gratias, a 2-part work for violin and trombone (Winkler 300).

1622—Norwich, England: A document dealing with the town waits indicates that the group owns at least 3 trombones (Whitwell, Baroque 170).

1622—Vincenz Jelic [Jelich] writes Parnassia militia, which contains 4 ricercari for cornett, trombone, and continuo (Whitwell, Catalog Baroque 131; Collver 54).

1622—Giacinto Bondioli (1596-1636) includes 7 canzoni in his collection, Soavi fiori colti, that call for cornetto (or violin), trombone (or bassoon), and organ (Collver 44).

1622—La Plata, Bolivia: A silversmith is paid for repairs to the trombone owned by La Plata Cathedral (Bermúdez).

c. 1623—Lima, Peru: The permanent instrumental ensemble at the chapel includes a trombone (Mendoza de Arce 140).

1623—Varese, Italy: Cappella XI, cappella della Resurrezione, of Sacro Monte, is completed. The semicircular apse features a fresco by Isidoro Bianchi that includes what is probably a trombone among one group of angel-musicians (see facing detail and bottom-left of full image, below; click for larger image; public domain) (Angelis 147).

1623—York, England: The York House Books show that the town waits own a sackbut (Woodfill 85).

1623—Casalmaggiore, Lombardy: Ignazio Donati’s psalm collection, Salmi boscarecci, features instrumental accompaniment of 3 trombones and 3 violins. The composer instructs, “If one wishes to use the last six books for both voices and instruments, it should be noted that where it says solo, only the singer should sing, and where it says trombone or violin, only the instrument should play; in passages marked tutti, they both sing and play in unison” (Roche, North Italian 132).

1623—In his collection of grand concertos in 6 parts titled Salmi boscarecci, Ignatio Donati enumerates a large variety of performance arrangements, including trombone playing with violin and trombone playing in unison with voice (Buelow, History 49).

1623—Siena, Italy: At the church Santa Maria di Provenzano, the 4-singer chapel is augmented with a trombone for the Christmas season (Reardon, Music and Musicians).

1623—Leipzig, Germany: The title page of Johann Hermann Schein’s Fontana d’Israel features a pure consort of 3 trombonists in one of the panels performing under the direction of a conductor (see facing image; public domain) (Naylor 215).

1624—Venice, Italy: A priest by the name of Giovanni Francesco Castello is engaged as a trombonist at San Marco (Selfridge-Field, Dario Castello).

1624—Italy: A Mass by Giovanni Priuli includes ornate parts for trombone, cornett, and violin (Roche, North Italian 140).

1624—Italy: Stefano Bernardi scores for 4 trombones, 4 cornetts, and 4 violins in Sonata ottava a 12 from Il terzo libro de madrigali (Collver 43).

1624—Brescia, Italy: Pietro Lappi calls for trombone in the ripieno of his Messa secondo libro (Collver 129).

1624-25—England: Records for the King’s Music show livery payments for the following Sagbutts: John Snowesman, Richard Blagrave, Clement Lanier (Ashbee, Records III 133).

c. 1625—A painting attributed to Jan van Kessel, Hendrik van Balen, and Jan Brueghel titled Allegory of Music features depictions of numerous instruments, including trombone (see facing detail; public domain) (Wangermée vol. I, 292; Saint-Germain-en-Laye, Musée municipal).

c. 1625—Lübeck, Germany: As part of the city’s extensive ordinances for musicians, weddings are allowed to include processions to and from the church, accompanied by trombones decorated with banners (Buelow, Protestant 203).

c. 1625—Ascona, Italy: Giovanni Serodine paints Coronation of the Virgin with Saints in Ascona’s parish church. The image features a consort of angel-musicians playing 2 viols, cornetto, and trombone (see facing detail of top portion of painting; public domain).

c. 1625—Padua, Italy: Leandro Gallerano, maestro at the Basilica del Santo, uses 2 violins and a trombone as obbligato instruments in a hymn setting in honor of St. Anthony (Roche, North Italian 22).

c. 1625—Italy: A painting by Italian Pietro Paolini (or his school), entitled Gruppo di giovani suonatori con vaso di fiori, offers a clear representation of a female trombonist among a group of musicians (see facing image; public domain) (Giusti 158).

1625—Florence, Italy: Francesca Caccini’s ballet-opera La liberazione di Ruggiero is performed to honor a visiting Polish prince (Guion, Short History). Caccini uses 4 trombones, 4 viols, a positive organ, and keyboard instruments to depict an infernal scene (Weaver, Sixteenth-Century Instrumentation).

1625—England: Records for the King’s Music list Hautboys and Sackbuts together instead of separately. The group consists of 11 players (Woodfill 303). Elsewhere, the Sagbutts are listed as John Snowesman, Richard Blagrave, Clement Lanier (Ashbee, Records III 136).

1625—England: the Salisbury cathedral employs cornetts and sackbuts (Woodbury 149).

1625—England: 2 trombones are used at the funeral of James I in Westminster Abby (Daubeny 95).

1625—Canterbury, England: At the Canterbury Cathedral, repairs are made to the “Sackbut book,” indicating the players are reading from written notation (Bowers 445).

1625—Venice, Italy: Giovanni Picchi calls for trombone frequently in his collection of sonatas and canzoni. Specifically, Canzon Terza is scored for violin and trombone, Sonata Sesta is scored for violin and trombone, Canzon Settima is scored for 2 violins and trombone, Canzon Ottava is scored for 2 violins and trombone, Canzon Decima is scored for 2 flutes and trombone, Canzon Undecima is scored for 2 cornetts and 2 trombones, Canzon Duodecima is scored for 2 violins and 2 trombones, Canzon Decima Terza is scored for 2 cornetts and 2 trombones, Canzon Decima Quarta is scored for 2 violins or cornetts and 4 trombones, Canzon Decima Quinta is scored for 2 violins and 4 trombones, and Sonata Decima Sesta is scored for 2 violins, 2 flutes, trombone, and bassoon (Winkler 301; Selfridge-Field, Instrumentation).

1625-1630—Belgium: The Royal Palace at Brussels, a painting attributed to Sebastian Vranckx and Jan Brueghel the Younger, includes a depiction of a trombone. The trombone rests on the ground, along with a dulcian, near an ensemble of 2 voices and 3 strings that is informally performing outdoors (see facing image; public domain) (Kenyon de Pascual, Two Contributions).

1626—London, England: Francis Bacon says in his Sylva Sylvarum, “All instruments that have either return as trumpets or flexions as cornets, or are drawn up and put from as sackbuts, have a purling [murmuring] sound; but the recorder or flute, that have none of these inequalities, give a clear sound” (Bacon 50).

1626—Leipzig, Germany: Johann Hermann Schein, director of music at the Thomaskirche, publishes the collection Opella nova, ander Theil, geistlicher Concerten, which features numerous chamber motets in 4 or 5 parts that include trombone: “O Maria, gebenedeiet bist du” (“trombone o fagotto”), “Siehe, das ist mein Knecht” (“fagot o trombone”), “Also heilig ist der Tag” (1 trombone), “Uns ist ein Kind geboren” (1 trombone), “Selig sind, die da geistlich arm sind” (3 trombones), “Vater unser, der du bist im Himmel” (2 trombones), “Mach dich auf, werde Licht,” (3 trombones), and Nun ist das Heil und die Kraft (3 trombones) (Hadden 128; Collver 163).

1626—Bologna, Italy: Camillo Cortellini’s collection of concerted masses, Messe concertante a otto voce, includes specific instructions on how instruments are to be used: “The Mass In Domino confido has the concerted Gloria, and where the text is in capital letters, the singer will sing the solo, and where the text is replaced by lines, the trombones or other similar instruments will play soli for the accompaniment of the parts. This can be done without organ if instruments are present…” (Guion, Missing Link).

1626—Venice, Italy: Rovetta specifies trombone in a collection of canzoni. Specifically, Canzon Seconda, a 3-voice work, calls for 2 violins or cornetts and trombone (Winkler 301; Selfridge-Field, Instrumentation).

1626—Bavaria, Germany: Biagio Marini calls for trombone in a collection of canzoni and other works (Selfridge-Field, Instrumentation).

1627—Bergamo, Italy: Payment records for Assumption Day celebrations at Santa Maria Maggiore show 2 trombones among the 13 instrumentalists (Roche, North Italian 142).

1627-1629—Dublin, Ireland: William Bedell serves as provost of Trinity College of Dublin. A contemporary biographer describes him as being “much dissatisfied with the pompous service at Christ’s church in Dublin, which was attended and celebrated with all manner of instrumental musicke, as organs, sackbuts, cornets, viols, &c, as if it had been at the dedication of Nebuchadnezar’s golden image in the plain of Dura…” (Boydell, Cathedral 140; Parrott, Grett and Solompne Singing).

1628—London, England: Records from the court of Charles I list 9 hoboies and sackbuts (De Lafontaine 66; Ashbee, Records III 32). Elsewhere the following are listed separately as Sagbuttes: John Snowesman, Richard Blagrave, Clement Lanier (Ashbee, Records III 139).

1628—Durham, England: Peter Smart, Prebendary of Durham Cathedral, expresses his puritan disgust with the use of instruments in church: “This makes me call to remembrance, a strange speech little better then blasphemy, uttered lately by a young man, in the presence of his Lord, and many learned men: ‘I had rather goe forty miles to a good service, then two miles to a Sermon.’ And what meant he by a good service? His meaning was manifest; where goodly Babylinish robes were worne, imbroydered with images. Where he might heare a delicate noise of singers, with Shakebuts, and Cornets, and Organs, and if it were possible, all kinde of Musicke, used at the dedication of Nabuchodonosors golden Image” (Smart Sermon 22). Smart brings a lawsuit against John Cosin, fellow-Prebendary and Bishop of Durham, complaining about Consin’s “Popish” activities. Among Smart’s specific complaints are the following: “Article 7: He has divided the morning service into two parts; the six o’clock service which used to be read only and not sung, he chants with organs, sackbuts and cornetts, which yield a hideous noise….Article 8: He enjoins all the people to stand up at the Nicene Creed…which he commands to be sung with organs, sackbuts and cornetts…” (Buttrey). The following year, Smart publishes “A Short Treatise of Altars, Altar-furniture, Altar-cringing, and Musick of all the Quire, Singing-men and Choristers,” wherein he asks, “Can such paltry toyes bring to our memory Christ and his blood-shedding? Crosses, Crucifixes, Tapers, Candlesticks…sumptuous Organs, with Sackbuts & Cornets piping so loud at the Communion table, that they may be heard halfe a mile from the Church?” (Smart Altar 19).

1628—Italy: Ottavio Maria Grandi calls for trombone in Sonata Decima Nona, a 5-voice work for violin and 4 trombones, and Sonata Vigesima, a 6-voice work for 3 violins and 3 trombones (Winkler 301).

1628-29—London, England: A payment record from the court of Charles I is made: “To Anthony Bassano, one of his Majesty’s Musitions for the wynd Instruments…for two setts of new hautboyes & Sackbutts & for new Cases to putt them in” (Ashbee, Records III 141).

1629—Heinrich Schütz’s collection of works, Symphoniae Sacrae, utilizes trombone extensively, drawing on both the German church tower tradition and Italian polychoral methods. Noteworthy examples include “Fili mi, Absalon” (bass voice accompanied by 4 trombones and organ), “Attendite, popule meus” (bass voice accompanied by 4 trombones and organ), and “Veni, dilecte mi” (3 solo voices accompanied by 3 trombones) (Beulow 274; Whitwell, Catalog Baroque 144).

1629—Venice, Italy: Numerous works by Biagio Marini specify trombone: Sonata Octava for 2 bassoons or trombones; Sonata Nona for 2 bassoons or trombones; Sonata Duodecima for violin and optional trombone; Sinfonia Terza for 2 cornetts and trombone; Sinfonia Quarta for 2 cornetts and trombone; Canzon Terza for 4 trombones or viols; Canzon Quarta for 2 violins or cornetts and 2 optional trombones; Canzon Sesta for 2 cornetts and 2 optional trombones; Canzon Septima for 2 voices, basso, and 3 trombones; Canzon Octava for 2 violins and 4 trombones; Canzon Nona for 4 viols and 3 trombones; Canzon Decima for 2 violins or cornetts and 4 viols or trombones; and Sonata per l’Organo for organ, violin or cornetts, and trombone or violin or cornett (Winkler 301).

1629—Bergamo, Italy: Alessandro Grandi’s O beate Benedicte from the Motetti con sinfonie III is scored for soprano voice, tenor voice, trombone, and violin (Roche, North Italian 86).

1629—Venice, Italy: Carlo Milanuzzi’s Missa primi tone from his Messe a tre voce contrasts a group of 3 vocal soloists with a 4-part vocal choir and another choir of 2 violins and 2 trombones. The trombone lines are independent of the vocal lines (Schnoebelen, The Role of the Violin).

1629—Palermo, Italy: Bartolomeo Mont’Albano specifies trombone in a collection of his works. Specifically both Sinfonia Settima Castelletti and Sinfonia Octava Fiumicello are 3-part works scored for 2 violins and trombone (Winkler 302; Selfridge-Field, Instrumentation).

1629—Pallanza, Italy: Gasparo Pietragrua calls for trombone in a collection of sonatas and canzoni. Specifially, Canzone La Nozente is a 2-part work scored for violin and violone or cornett and trombone (Winkler 302; Selfridge-Field, Instrumentation).

1629—Brescia, Italy: Pietro Lappi specifies trombone or cornett or violin in his 8-voice Canzon L’Anconitana (Winkler 301).

1629—Venice, Italy: Dario Castello, a member of the piffaro, calls extensively for trombone in a collection of sonatas. Specifically, Sonata Quinta is scored for soprano voice and trombone or violetta; Sonata Sesta is scored for soprano voice and trombone or violetta; Sonata Undecima is scored for 2 soprano voices and trombone or violetta; Sonata Duodecima is scored for 2 soprano voices and trombone or violetta; Sonata Decima Terza is scored for 2 soprano voices and 2 trombones or violette; and Sonata Decima Quarta is scored for 2 soprano voices and 2 trombones or violette (Winkler 301; Selfridge-Field, Instrumentation).

c. 1630—Antwerp, Belgium: A painting on the lid of a harpsichord by Franz Francke (1581-1643) depicts Belshazzar’s feast. A trombone is pictured performing with string instruments and a keyboard (see facing image) (Munich, Bayerisches Nationalmuseum. Cat. No. 174; Hirt, Stringed Keyboard Instruments 263).

c. 1630—Italian artist Ortensio Crespi’s St. Cecilia includes one fairly clear depiction of a trombone at the foot of the painting, as well as what appear to be two additional partially-obscured trombones on the other side of the viol (see facing image; public domain).

1630—Bergamo, Italy: Alessandro Grandi utilitzes trombone extensively in the collection, Raccolta Terza di Leonardo Simonetti. For example, Sinfonia avanti il Gloria is written for cornetto, trombone, and continuo. Several other works in the collection call for trombone prominently as well (Collver 118).

1630—Bologna, Italy: The plague kills nearly a quarter of the city’s population, including Camillo Cortellini, trombonist and leader of the musici, the trombone and cornett subset of the town wind band (Guion, Missing Link).

1630s—Members of the violin family replace cornett and trombone as the favored instruments in Italian sacred music (Bonta Ensemble 38).

1630—Durham, England: A preacher expresses his disgust with the current use of music in worship services: “Our Durhamers have been so eager upon piping and singing, that instead of the Morning Prayer at 6 of the clock, which was wont to be read distinctly and plainly…they brought in a solemne Service, with singing and Organs, Sackbuts and Cornets, little whereof could be understood of the people, neither would they suffer the Sacrament to be administered without a continuall noise of Musick, both instrumentall and vocal, to the great disturbance of these holy actions” (Whitwell, Baroque 195).

1630—Venice, Italy: The Ospedale (or Hospital) di San Lazaro e dei Mendicanti, an orphanage and school, replaces an old trombone that has been in their possession, indicating the nuns there have probably played and taught the instrument for some time. Indeed, other sources indicate that trombone is one of the instruments taught at ospedali, and inventories from the Mendicanti from slightly later include multiple trombones (Baldauf-Berdes 130, 141, 171).

1630—Venice, Italy: Alessandro Grandi’s collection of large-scale church works, Raccolta terza, is published posthumously. It contains numerous works that use trombones prominently. For example, Nisi Dominus is scored for SATT soloist, SATB ripieno, and 3 trombones. The trombones play in both tuttis and solos (Roche, North Italian 127). In Messa concertata, trombones are featured among several different solo groupings (Roche, North Italian 143).

1630—Venice, Italy: Giovanni Croce’s Laudate pueri, which would have been written before his death in 1609, is published posthumously. The work features three 4-part choirs, at least one of which includes trombones (Kurtzman Monteverdi Vespers, 124).

1631—Monteverdi’s Selva morale, probably written to celebrate the founding of Santa Maria della Salute, contains a Gloria and Credo scored for an instrumental ensemble of nothing but 4 trombones (Rosand 79).

1632—Bologna, Italy: In the convent Santa Cristina, nuns accompany themselves, according to contemporary Mauro Ruggeri, “with various instruments, violins, trombones, harps, and such like” (Monson, Disembodied 52).

1632—London: Edward Kellie, Master of the Chapel Royal in Scotland, visits London and “…carryed home an organist and two men for playing on cornetts and sackbuts…most exquisite in their severall faculties” (Parrott, Grett and Solompne Singing; Whitwell, Baroque 194).

1632-33—Durham, England: Cathedral records show employment of 2 sackbut players, 2 cornett players, and 2 organists (Buttrey).

1633—Biecz, Poland: A carving in an ivory coin cabinet, made by Christoph Angermaier for Elizabeth, wife of Maximilian I of Bavaria, depicts a group of town musicians, including a trombonist (Town Musicians in Poland, Biecz Museum, Poland) (Lesure 14; Whitwell, Baroque 3; Buchner 106). See facing image; public domain.

1633—Italy: Sienese priest Montebuoni-Buondelmonti is greatly impressed with the playing of Alberto Gregori, a trombonist employed at the Siena cathedral. He remarks that Gregori “needs only the mouthpiece to play anything for which other players need the entire instrument” (Onde con il bocchetto solamente ha fatto esperienza di tutto cio che fanno gl’altri con il trombone intero). Gregori also served as maestro di cappella at the Palazzo Pubblico and director of musical activities at the hospital church of the Santissima Annunziata (Reardon Agostino Agazzari 53).

1634—Italy: A collection of Masses by Chinelli is scored for voices and trombones (Whitwell, Baroque 213).

1634—Canterbury, England: records show that the Canterbury Cathedral has substituted two corniters and two sackbutters for the deacon and subdeacon called for by authorities (Woodfill 149).

1634—England: James Shirley’s masque, The Triumph of Peace, includes several sackbuts; 6 musicians are listed under the heading “Hautboy and Sackbutts,” while another player, listed under “King’s Musicians for the Violins,” is described as “low tenor violin, hautboy and sackbut, also musician for the wind instruments, also a wait of the city of London” (Lefkowitz, The Longleat Papers).

1634-1635—Canterbury, England: Payment is made at the Canterbury Cathedral “for prickinge one service in both Sackbut bookes” (Bowers 445).

c. 1635—Copenhagen, Denmark: A ceiling painting in the Rosenburg Castle depicts musicians of the court of Christian IV of Denmark (1577-1648), including 3 trombonsits (see facing image; public domain) (Hindley plate 17).

c. 1635—In Naples, Italy, according to an inventory probably taken in the 1630s, the Conservatorio dei Poveri di Gesu Cristo owns 2 trombones, 3 cornetts, and violins of various sizes (Guion, Missing Link).

1635—England: The verse anthem “When the mountains were brought forth” by William Lawes is described in the Chapel Royal Anthem Book as “An Anthem with verses for Cornetts and Sagbutts” (Morehen 141; Woodfill 191).

1635—Germany: An engraving of Johann Andreas Herbst, Kapellmeister in Darmstadt, Frankfurt, and Nuremberg, by Sebastian Fürck, features a depiction of a trombone in the outside border (middle right) (see facing image; public domain) (Kinsky 167).

1635—England: Records for the King’s Music list Hautboys and Sackbuts together instead of separately. The group consists of 12 players (Woodfill 305).

1636—Paris, France: Mersenne writes, “If another method is not used to play the trombone [sacquebute] than to play the trumpet, it imitates the tone of the aforesaid trumpet, which is considered vicious and unsuited for concerts (Mersenne 272; Mersenne-Chapman 343). Speaking of the trombone’s technical abilities, he remarks, “Those who use it [the trombone] well perform diminutions of sixteen notes to the measure” (Mersenne 272; Mersenne-Chapman 343). Mersenne also observes, “Musicians have invented many instruments to mingle with voices, and to make up for the defect of those who perform the bass and treble, since singers who have low bass voices are very rare. That is why the bassoon is used, and the sackbut and the serpent, just as the cornet is used to supplement those of the treble which are not usually good.” Mersenne includes an engraving of a trombone (see facing image; public domain) (Mersenne-Chapman, 348).

1636—France: Mersenne, describing the shawm band, explains that it is used for large assemblies, such as ballets (though violins have replaced shawms there), weddings, village festivals, and other public celebrations. His musical example includes 2 treble shawms, 2 tenor shawms (or alt pommern), sackbut, and bass.

1636—France: Mersenne explains that in France, it is customary to create a bass trombone by simply adding a crook or tortil to the tenor trombone, lowering the pitch by a fourth (Bate 136).

1636—London, England: Charles Butler voices his opinion against using strings in church services in his Principles of Musick: “Becaus Entata [string instruments] ar often out of tun; (which soomtime happeneth in the mids of the Musik, when it is neither good to continue, nor to correct the fault) therefore, to avoid all offence (where the least shoolde not bee givn) in our Chyrch-solemnities onely the Winde-instruments (whose Notes ar constant) bee in use” (Parrott, Grett and Solompne Singing).

1636—Assissi, Italy: Giovanni Battista Buonamente uses trombones prominently in his collection, Sonate et canzoni a due, tre, quattro, cinque et a sei voci. Specific works include Canzon a 5 for 2 cornetts or violins, 3 trombones, and continuo; Sonata a 5 for violin, cornett, 3 trombones (“trombone contralto, trombone tenor, trombone basso”), and continuo; Sonata a 6 for violin, cornett, 3 trombones (“trombone contralto, trombone tenor, trombone basso”), theorbo, and continuo; Sonata a 6 for 2 cornetts or violins, 4 trombones, and continuo; and Canzon a 6 for 2 violins and 4 trombones (Collver 46; Winkler 302; Allsop 148).

1636—Württemberg, Germany: The court chapel inventory includes 2 trombones (Whitwell, Baroque 203).

1636—Biagio Marini, Canzon from Sonate, symphonie… for 4 trombones and continuo (Marini).

1636—Santo Domingo, Colombia: Juan Criollo, a Creole slave and professional musician from Santafé, becomes a trombonist at the Santo Domingo Convent. He calls himself sacabuche de chirimía (“sackbut player of a group of shawms”) (Bermúdez).

1636—San Francisco, Colombia: Juan Sacabuche, a slave and professional musician from Cartagena, becomes a trombonist at San Francisco Convent (Bermúdez).

1637—Italy: Francesco Fiamengo scores for 2 violins, viola, and trombone (or tiorba) in his Sonata Pastorale (Winkler 302).

1637—Bologna, Italy: A government document defines the city’s piffari (wind band) as an ensemble consisting of 4 cornetts and 4 trombones (Dickey, Cornett and Sackbut 113).

1637—Bergamo, Italy: Music for Assumptiontide at Santa Maria Maggiore includes trombone (Roche, Maggiore).

1637—Asolo, Italy: J. Ganassi calls for trombone in a collection of canzoni (Selfridge-Field, Instrumentation). Specifically, he scores for violin and trombone in Canzon Prima, Canzon Seconda, and Canzon Terza (Winkler 302).

1637—Leipzig, Germany: Tobias Michael, director of music at the Thomaskirche, publishes Musicalischer Seelen-Lust ander Theil. A collection of works for voice and a variety of instruments, it features numerous works that include trombone: “Wo der Herr nicht das Haus bauet” (2 trombones), “Wie lieblich sind auff den Bergen” (“trombone grosso”), “Gott schweige doch nicht also” (single trombone) (Hadden 130).

1637—England: Exeter requires “two new Shagbutts and two new Cornetts to be provided for the service of the Quire with all convenient speed” (Payne 146).

1637—Netherlands: A drawing by Cornelis Saftleven depicts a seated trombonist holding the instrument in what would appear to be a somewhat unorthodox manner (see facing image) (Naylor 97).

1637-45—Ferdinand III reigns as emperor of Austria. An avid supporter of music, he is also an amateur composer himself who uses trombones in many of his compositions (Guion, Trombone 4).

1637-69—Vienna, Austria: Antonio Bertali (1605-1669) is employed at the Imperial Court, where he writes several sonatas that employ trombone (Wigness 3).

1638—Dublin, Ireland: Records show that Two Sagbutts and two Cornetts are paid for their regular services at Christ Church Cathedral (Boydell, Cathedral 140; Boydell, Music at Christ Church, 70). Elsewhere in the same record, the same year, the terms Sakebutt and Sacke-but are used (Boydell, Music at Christ Church, 72, 83).

1638—Dublin, Ireland: A petition is made by the dean for the payment of salaries due to the choir and the sackboots at the Christ Church Cathedral (Boydell, Cathedral 142).

1638—London, England: Records for household of King Charles I include “Warrant to swear Robert Strong a musician to his Majesty for the wind instruments, who is to wayte and serve upon the double sackbut and among the violins, in the room and absence of Robert Parker who through infirmities incident to old age is almost past service” (De Lafontaine 100).

1638—Orvieto, Italy: Molli calls for violino, liuto, and trombone in a collection of his works (Selfridge-Field, Instrumentation). In addition, he scores for 2 violins and trombone in Sinfonia La Liera and Sinfonia La Viviana, and he scores for 3 violins and trombone in Sinfonia L’Anguillona and Sinfonia La Ludovisia (Winkler 302).

1639—Spain: Juan Ricci’s painting, The Virgin of Montserrat, depicts a choir accompanied by cornett, 2 shawms, trombone, and curtall (see facing image; public domain; Museum of Montserrat, Barcelona, Spain) (Remnant West 203).

1639—Assisi, Italy: Repairs done on a trombone owned by San Francesco cathedral indicate the likely use of the instrument. The years later, in 1641, an inventory of the contents of the chambers of the maestro di cappella includes trombone (Allsop 88).

1639—Modena, Italy: Marco Uccellini calls for trombone in a collection of his works (Selfridge-Field, Instrumentation). Specifically, his Sonata Prima is scored for violin and trombone, and his Sonata Duodecima is scored for 3 violins and trombone or bassoon (Winkler 303).

1639—Stockholm, Sweden: An instrument that is possibly the oldest surviving contrabass trombone is manufactured by Georg Nikolaus Oller. The instrument is very long and does not utilize a double slide (Gregory 34). It is held in Musikmuseet, Stockholm (Herbert, Trombone 312).

c. 1640—Spain: Alonso Cano’s The Virgin of Monserrat, a painting very similar to Ricci’s 1639 painting of the same name (see above) includes a depiction of what appears to be a child perfoming on trombone (see facing image; public domain) (Usandizaga 61; Museum of Real Academia de Bellas Artes de San Fernando). Yet another 17th century painting of the same name, Francisco Chiwant’ito’s 1693 painting from Cuzco (Peru), also includes a child-trombonist in the foreground of the image (see 1693, below).

c. 1640—Poland: Marcin Mielczewski’s Missa Cerviensiana calls for alto trombone, 2 tenor trombones, and bass trombone (Przybyszewska-Jarminska, Baroque part I, 543).

c. 1640—Poland: Marcin Mielczewski’s Missa Sancta Anna calls for alto trombone and 2 tenor trombones (Przybyszewska-Jarminska, Baroque part I, 543).

c. 1640—Poland: Marcin Mielczewski’s Missa triumphalis calls for alto trombone, 2 tenor trombones, and bass trombone (Przybyszewska-Jarminska, Baroque part I, 543).

c. 1640—Poland: Marcin Mielczewski’s Vesperae Dominicales II calls for alto trombone as a substitute for alto voice, tenor trombone as a substitute for tenor voice, and bass trombone as a substitute for bass voice in 2 of 4 choirs (Przybyszewska-Jarminska, Baroque part I, 544).

c. 1640—England: Henry Loosemore (d. 1670) writes A Verse for y Organ A Sagbot Cornute & Violin (Collver 59).

c. 1640—Antwerp, Belgium: Jan van Kessel’s Allegory of Hearing depicts a room with numerous instruments, including a trombone leaning against a stool (see facing detail; public domain). The image is similar to a painting on which the artist collaborated with Hendrik van Balen and Jan Brueghel (see c. 1625, above).

1640—Italy: Sinfonia La Barbisona by Gregorius Urbanus is scored for 2 cornetts and trombone (Winkler 303).

1640—King’s Music (England) includes as many as 11 sackbut players. Many of them play other instruments as well.

1640—Italy: Gregorio Urbano writes Sacri armonici, which includes a work for trombone, 2 cornetts, and organ (Collver 70).

1640—Prague, Czech Republic: A ceiling painting in the Pauline monastery in Prague depicts what appears to be a pure consort of 3 trombonists being led by a Kapellmeister (see facing image; public domain) (Volek plate 147).

1640-49—England: Inventories of Cambridge University Musicians list a Sackbutt, held by university musitian William Tawyer (d. 1640).

1641—London, England: As part of festivities connected to the entry into London of Charles I on his return from Scotland, “After dinner, the Lord Major, with his brethren the Aldermen and the 500 horse conducted his Majesty from the Guild Hall with 14 trumpets with Banners, in Scarlet Cloaks, Sac-buts, Cornets, and all instruments of musick usuall, with Bells ringing at 121 parish Churches, where there was no failings in expressions of love and loyalty by the people, as appear’d by their shouts and acclamations…” (Englands Comfort 005).

c. 1641—Prosto di Piuro, Valchiavenna, Italy: A fresco in the vault of the presbytery of chiesa dell’Assunta painted by either Giovan Battista Recchi or his brother, Giovan Paolo Recchi, includes a trombonist among several angel musicians (see facing image; public domain) (Pescarmona 77).

1641—Italy: Monteverdi’s “Gloria” that appears in his Selva morale specifies an instrumental ensemble of 4 viole da brazzo or 4 trombones, and 2 violins (Schnoebelen, The Role of the Violin). His setting of “Beatus vir” (Psalm 111) requires 3 viole da brazzo or trombones (Tim Carter, Music in Late 232).

1641—Johann Vierdanck (c.1605-1646) calls for trombone in several works contained in the collection Erster Theil newer Pavanen, Gagliarden, Balletten und Correnten. Highlights include 2 sonatas scored for cornett, 3 trombones, and continuo, as well as a sonata for 2 cornetts and 3 trombones (Collver 72).

1641—Bologna, Italy: Giacomo Predieri begins a long career as trombonist in Concerto Palatino, the city wind band, where he continues until 1694. According to Crowther, this ensemble performs at wide variety of ceremonial activities: “By the mid-seventeenth century the band’s duties were largely ceremonial. It played daily on the balcony of the Palazzo Comunale, and had a writ to play on the streets and in the city churches. Its home ground, however, was the Piazza Maggiore, ‘a space where the sacred and the profane could meet on equal terms for all civic religious ceremonies.’” Giacomo also serves as a singer at San Petronio (1636-1657) and vice maestro di cappella (1650-1657) (Guion, Missing Link; Crowther, Oratorio in Bologna 37).

1642—Hamburg, Germany: Kantor Thomas Selle, in his guidelines for instrumentalists, recommends that each of the 5 performers (minimum) be proficient on a number of instruments: 2 cornettists should also bring violins and recorders, an alto trombonist should also play violin and recorder, another trombonist should be capable of playing tenor trombone, bass trombone, tenor violin, and recorder, and a string bass player should also play bassoon, dulcian, and bass trombone (Buelow, Protestant 192).

1642—Modena, Italy: Marco Uccellini scores for trombone and violin in his 2-part Sonata Seconda La Bucefalsca (Winkler 303; Selfridge-Field, Instrumentation).

1642—Brussels, Belgium: Nicolas a Kempis writes Symphonia 2. XXI for 3 strings and trombone, Symphonia XXII for 4 strings and trombone, and Symphonia XXIII for 4 strings and 2 trombones (Winkler 303).

1643—London, England: A painting on an the case of an organ by Christian Smith depicts a trombonist (see facing image; public domain) (Parrott, Grett and Solompne Singing).

1643—Nuremberg, Germany: A male chorus and 4 trombones perform a “funeral composition” at a pageant-concert given by Nuremberg civic musicians. According to Whitwell, among German civic musicians, “The most frequently used instruments, and the highest ranking in [their] hierarchy, were the cornetts and trombones” (Whitwell, Baroque 150).

1643—Johann Erasmus Kindermann publishes a collection of works that includes Symphonia in D-flat, Sonata, Sonata in D, Symphonia in D, Symphonia in F, and Rittornello in G, all for trombone, 2 cornetts, and basso continuo. Also included are Symphonia in E for 3 trombones, Intrada in C for 2 trombones and 3 cornetts, and Symphonia for 3 trombones and 2 cornetts (Whitwell, Catalog Baroque 132).

1643—Hamburg, Germany: Kantor Thomas Selle composes a St. John Passion that features prominent use of trombone (Buelow, Protestant 191).

1643—Berne, Niedersachsen, Germany: Renovations of the organ at St. Aegidius Church are completed by Harmen Kröger. It is probably at this time (or possibly at the 1714 renovation by Christian Vater) that a sculpture of a trombonist is added to the organ case (see detail on far left and full image, adjacent; public domain) (Seggermann 29, 53).

1644—Rome, Italy: Trombones are among musicians in the Piazza Navona who perform to celebrate the accession of Innocent X to the papacy. 30 vocalists are accompanied by an ensemble of 6 trombones, 2 cornetti, four violins, a violone, and an organ (Spitzer 63).

1644—London, England: Expressing a Puritan element within the Anglican church, Sir Edward Dering says, “One single groan in the Spirit, is worth the Diapson of all the Church-Musick in the world. Organs, Sackbuts, Recorders, Cornets, &c. and voices are mingled together, as if we would catch God Almighty with the fine ayre of an Anthem, whilst few present do or can understand” (Parrott, Grett and Solompne Singing).

1644—Paul Schäffer calls for 2 trombones in his Jauchzet dem Herrn alle Welt (Collver 162).

1645—Leipzig, Germany: The title page of Michel Christian’s Auf das Clavier-Instrument includes a depiction of a female trombonist performing with a diverse ensemble of other instrumentalists (see facing image; public domain) (Kinsky 179).

1646—Andreas Hammerschmidt (c. 1611-1675) publishes the collection Vierdter Theil, which calls for trombone extensively. For example, Wer waltzet uns den Stein, Herr höre und sey mir gnädig, Laudate servi Domini, Verleih uns Friede genädiglich, and Alleluia lobet den Herren in seinem Heiligthumb all call for 3 trombones (Collver 119).

1646-47—Sassuolo, Italy: Artists Angelo Michele Colonna (sometimes known as Michelangelo Colonna) and Agostino Mitelli collaborate on a mural in the Palazzo Ducale di Sassuolo that depicts a trombone and 3 other instruments playing in a balcony (see facing image; public domain) (Southorn, front jacket; Sala della Guardia, Palazzo Ducale, Sassuolo).

1647—Venice, Italy: Trombonist-composer Paul Hainlein, who is visiting from Germany, complains about the quality of trombonists in Venice: “I have no desire to study with what passes as a trombonist here, for I have heard much better players before. I don’t think that much attention is given to this instrument in all of Italy—even in Rome. I wouldn’t know at this time where a really good artist on this instrument could be found. I also have no desire to spend much money on this, because all I need is practice” (Samuel 15).

1647—Soraya, Peru: The Church of Soraya (Aymaraes) lists in its inventory a trombone, a cornett, an organ, a set of shawms, two bajones, a consort of 7 recorders, and a bajonçillo (Baker, Imposing Harmony 200).

1647—Germany: Friedrich Behaim, patron of composer-trombonist Paul Hainlein’s studies in Italy, summarizes his answer to Hainlein’s letter (above): “It is most important now that he try by whatever means to learn the language and also look—even outside Venice—for a good trombone teacher. So that he will be more acceptable to the teacher, he should present him with a good trombone. He shall practice this instrument industriously and perfect himself on it, as well as on the violin and clavier, so that he will be able to bring back a good style, to instruct others, and to organize a good musical life here.” To this end, a trombone is actually purchased by his father and sent to the son, but no record exists that it is ever presented to a teacher (Samuel 16).

1647—Venice, Italy: Trombonist-composer Paul Hainlein records in his diary that, while visiting in Venice, he hears in the Church of Saints Giovanni and Paolo an alto vocalist accompanied by 4 trombones, with another vocalist echoing from afar (Marcuse 811).

1647—Hainlein’s description of a Vespers service in San Francesco della Vigna says the orchestra includes 4 trombones.

1647—Antwerp, Belgium: Nicolaus a Kempis scores specifically for trombone in 3 works: Symphonia 1 for cornett, violin, and trombone, Symphonie 1 for trombone and 3 strings, and Symphonie 2 for trombone and 3 strings (Winkler 303).

1647—England: Popular playwright John Fletcher writes The Little French Lawyer. In the play, a group of women imprisoned in a dark cave are terrified by “A Horrid noise of Musique within….A strange Musick. Sackbut & Troop Music” (Ingram 90).

1648—An engraving by Michael Frommer on title page from Currus Triumphalia by Andreas Rauch depicts 4 angels playing trombone among other angel musicians (see facing image; public domain) (Naylor 217).

1648—Nuremberg, Germany: City payrolls show 3 trombones on salary. One of the 3 players is also an instrument maker (Samuel 9).

1648—Stephan Otto writes the collection Kronen Krönlein, several pieces of which call for trombones (Collver 142).

1648—Bergamo, Italy: Cazzati calls for trombone in a collection of sonatas and canzoni (Selfridge-Field, Instrumentation).

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).

1649—An engraving by Georg Daniel Heumann depicting the visit of the Field Marshall, who later became King Karl Gustav, to the Nuremberg Courthouse, includes several trombonists in the antiphonal ensembles.

1649—Nuremberg, Germany: Johann Andreas Herbst writes the cantata Danket dem Herrn, den er ist freundlich, which calls for 3 choirs: a choir of solo voices, a choir of violins, and a choir of trombones (Samuel 77). The same year, Herbst also writes Danck- und Lobgesang, which uses 4 trombones (Collver 122).

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

1649—Emperor Ferdinand III composes Hymnus de Nativitate, a work for chorus and instruments that includes 2 trombones (Whitwell, Catalog Baroque 3).

1649—J. Hentzschel writes Canzon for 8 trombones or violdigamben and basso continuo (Whitwell, Catalog Baroque 130).

1649—Antwerp, Belgium: Nicolaus a Kempis writes several symphonias in which he scores specifically for trombone: Symphonia 1. XVIII for 2 violins and trombone; Symphonia 2. XIX for horn, violin, and trombone; Symphonia XXII for 2 violins, tenore viola or trombone, and basso viola; Symphonia 2. XXIII for 2 violins, tenore viola or trombone, and bass viola (Winkler 304).

1649—Vienna, Austria: Perro calls for trombone in his collection of sonatas (Selfridge-Field, Instrumentation).

1649—Italy: Marco Antonio Ferro scores for trombone in 3 of his sonatas: Sonata 5 for violin, tenore da gamba, viola da gamba or horn, trombone, and tiorba; Sonata 8 for violin, violetta da braccio, viola da gamba or 2 horns, trombone, and tiorba; Sonata 11 for 2 violins, violetta da braccio, viola da gamba or 2 horns, trombone, and bassoon (Winkler 303).

1649-1701—Nuremberg, Germany: Wolff Birckholtz manufactures what is possibly the earliest extant alto trombone. The instrument is held in Marienkirche, Gdansk (Herbert, Trombone 313).

c. 1650—Italy: Swiss-born artist Pier Francesco Mola includes a trombone at the foot of his painting, Young Musician Playing a Viola da Gamba. Although it is impossible determine with certainty, the instrument may be an alto trombone, given its size relative to the nearby instruments and music pages, in addition to its proportion relative to the musician (see facing detail and full image, below; public domain) (Mola 161).

c. 1650—Mexico City, Mexico: The Martyrdom of St. Lawrence, an oil painting by José Juárez, depicts a trombone-playing angel with several other angel-musicians (see facing detail and full image below; public domain) (Toussaint 227; Juárez 156).

c. 1650—Poland: Bartlomiej Pekiel’s Missa Concertata La Lombardesca calls for an instrumental accompaniment of 2 violins and 3 trombones (labeled alto, tenore, and grosso) (Przybyszewska-Jarminska, Baroque part I, 261).

c. 1650—Bologna, Italy: Francesco Albani’s painting, The Trinity with the Virgin Mary and Musical Angels depicts angels playing trombone, harp, and viol (Rowland-Jones, Art Off the Beaten Track).

c. 1650—Venice, Italy: A performance at the Basilica di SS. Giovanni e Paolo before and during High Mass and at Vespers for the Dominican Order’s Feast of the Holy Rosary consists of music composed and conducted by Giovanni Rovetta. Four antiphonal choirs include about 40 singers, 6 violinists, 4 trombonists, and an organist (Baldauf-Berdes 39).

c. 1650—Anonymous, 4 Sonatas for 5 trombones or bombardi (shawms) and basso continuo ad.lib. (Gorxheim: Parow’sche Musikalien, 1994).

c. 1650—Vienna, Austria: Antonio Bertali writes 6 Sonate a 6, which call for “2 violini o cornetti e 3 viole o tromboni col basso per l’organo” (Bertali, 13 sonate manoscritte).

c. 1650—Instrumentälischer Bettlermantl (”An Instrumental Patchwork”), an anonymous musical compendium written in German and Latin, offers illustrations of 4 sizes of trombones with their respective slide positions (Campbell, Instrumentälischer).

c. 1650—Netherlands: Cesar van Everdingen includes what appears to be a trombone among several instruments at the bottom of the image in his painting, Four Muses and Pegasus on Parnassus (see facing image; public domain) (Huis ten Bosch, The Hague).

1650—Hamburg, Germany: A service of thanksgiving for the peace includes a civic wind band of trombones, cornetts, and dulcians (Whitwell, Baroque 204).

1650—Nuremberg, Germany: Johann Andreas Herbst writes the cantata, Wenn wir in Höchsten Nöten sein, which calls for 4 trombones in one of 3 choirs (Samuel 93).

1650—Rome, Italy: Athanasius Kircher depicts and briefly describes the trombone in his Musurgia universalis. He labels the trombone Tuba ductilis, as opposed to the trumpet, labeled Tuba ordinaria (see facing image; public domain, source: wikimedia commons) (Guion, Missing Link).

1650—Florence, Italy: Severo Bonini’s Discorsi e Regole mentions trombones: “Many other wind instruments came from the pipe such as flutes (which were introduced into Italy by the Gauls) and transverse flutes (which were introduced by the Swiss). Later, the more artful and difficult cornetts and trombones [tromboni] were invented. The Saxons invented trombones, and in Nuremberg they fashion them perfectly” (Bonini 34). Speaking of funeral music, Bonini says, “Even today this practice is maintained, particularly in the Romagna, where they accompany [the dead] with mournful songs and the playing of trombones [tromboni]” (Bonini 79).

1650—An engraving by Tomasso Borgonio titled Gli Hercoli domatori depicts musicians performing at festivities for the wedding of Princess Adelaide of Savoy and Prince Ferdinand Maria of Bavaria. Many musicians, including a trombonist, perform from a balcony (Tim Carter, North Italian 42).

1650—Bologna, Italy: Reference is made to an instrumentalist named Giovanni Battista degli Antonii, who is admitted as a member of Concerto Palatino: “It was ordered that the Palatine Musicians should be called to play with the said G.B., flautist and trombonist” (Allsop, Secular Influences).

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 facing image): “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).

Continue to 17th Century (second half)