The Sackbut: Its Evolution and History Author(s): George Case Source: The Musical Times, Vol. 48, No. 768 (Feb. 1, 1907), p. 110 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/904333 Accessed: 14-01-2016 00:42 UTC

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This content downloaded from 129.100.58.76 on Thu, 14 Jan 2016 00:42:28 UTC All use subject to JSTOR Terms and Conditions iio THE MUSICAL TIMES.-FEBRUARY I, I907.

As regards our conversation after the reading of my Correspondence. paper, it was necessarily curtailed, for I may remind the Professor that an excellent dinner was awaiting both of us, and I fear my unwillingness to be drawn into further THE SACKBUT: ITS EVOLUTION AND HISTORY. discussion at such a time laid me open to the charge of as those who were I had TO THE EDITOR OF ' THE MUSICAL TIMES.' ignoranoe. But, present know, already carefully explained and illustrated the origin and SIR,-It may be of interest to students of the history primitive shape of the sackbut (of which Mr. Case speaks), of musical instruments to offer some criticism on the paper and had on view a photograph of a I5th century representa- read by the Rev. F. W. Galpin at the Musical Association, tion of this earlier form, whilst I also had stated that a and reported in THE MUSICALTIMES for December last; I4th century representation of the instrument was known to otherwise there might be a danger that all the statements me: so that, much as I enjoyed and appreciated our after made would be accepted as authoritative and final, if only conversation, I was much more pleased to find my details because they appeared in print. and statements confirmed by Mr. Case. Perhaps I ought It was somewhat unfortunate that Mr. Galpin should have to have said so. undertaken to trace the evolution as well as the philological It seems to me that the reason of his protest is his history of the sackbut, as it came out in con- objection to the instrument I exhibited, which he says is particularly You versation, at the close of the paper, that he did not know not a sackbut becauseit is not a 14th century sackbut.. what the early forms of the sackbut and its sister instruments might as well say that a motor-car of to-day is not a motor- were like. car because it is not the first motor-car. The instrument The word 'sackbut' only expresses that form of instrument shown at the lecture was made in the I6th century by the making its way northwards from Spain to France and Great man who made these instruments for King Henry VIII. of Britain, for it came under other distinct names into other England, and the instruments he made were known in this countries, as far eastward as Constantinople. country at that time by one name only-Sagbut or Sackbut. Also, it is not correct to assert that the Latin term to So I consider that the name I gave it is legitimate and express the sackbut, in the Middle-Ages, namely, ' sambuca,' correct. With reference to the sambuca, my point is gained was a case of ' mistaken identity.' Latin being the universal when Professor Case admits that the sambuca was not the church language, it became necessary to find names in that sackbut. As regards the I8th century, it must be evident to language for all the church instruments, and the word any student of the orchestral works and treatises of that a sanzbucawas used, not to suggest that 'sackbut,' as a word, period, that sackbut playing in this coulntrywas in very was derived from it, but merely to indicate the shape of the bad way, in fact, almost forgotten, except by the musicians sackbut. of the King's Band, who were importations from the In the Middle-Ages names without meaning were not continent; for in Germany the posaune was still flourishing. bestowed on the instruments, and were given for the best I think Mr. Mahillon, in the well-known article of the of reasons. Encyclopadia Britannica, is alluding rather to the faulty Also it is incorrect to say that the use of the sackbut, method of its study than to any decline in its use in that or trombone, declined very considerably during the country. I8th This statement rests no doubt on an article I am sure that my critic will agree with me that the use century. the in the Encyclopsedia Britannica by M. V. Mahillon, who had of the trombone in military bands has not tended to the misfortune to from a writer second-hand cultivation of a smoother tone, and those who heard my paper quote giving I all brother information as to the trombone-playing of that period. will remember that did not lay the blame on my But the instrument had received a serious set-back in players. I am only sorry that owing to press of time the England in the I7th century, owing to the Civil War. The many notes appended to my paper were omitted at the original trombone parts to three of Handel's oratorios in his reading; they will, however, appear in the printed own handwriting, still existing in the Royal Library at Proceedings of the Musical Association with, I hope, such Buckingham Palace, go a long way to disprove any decline illustrations as may satisfy those interested in the subject. in the use of the instrument, and it is that all his I sincerely trust that my erroneous statements-from my probable him oratorios had similar parts, which were played by the King's critic's point of view-may be the means of inducing to Sackbuts, as they were still called, although the sackbut publish his monograph on the trombone upon which he has form of the instrument had given place to the perfected been engaged for many years, and which, had it been already trombone in Tudor times. in our hands, would have rendered my little contribution W. I am afraid that nowadays there is no chance of a return unnecessary and presumptuous.-F. GALPIN.] to what Mr. Galpin supposes was the tone of the sackbut in the I6th century, as, in the last hundred years, although the orchestras have the number of trombones doubled, remaining NAMES OF INSTRUMENTALISTS PRINTED IN the same, the players are expected to blow loud enough to dominate the whole orchestra. CONCERT PROGRAMMES. I wish to point out that nothing is more unfair, or betrays TO THE EDITOR OF 'THE MUSICAL TIMES.' ignorance of the facts in a greater degree, than the custom that obtains in this country of blaming the trombone-players, SIR,-I venture to suggest that the practice of printing the when the real offenders are to be found among the names of the members of the orchestra in the programmes of conductors or composers. musical festivals was not originated by Sir Michael Costa, as There only remains to be added that not one of the stated on p. 744 of your November issue. Copies of the instruments shown by Mr. Galpin could be described as programmes of the Birmingham Musical Festivals, held in sackbuts, as he seemed to think-they were trombones, pure I820, 1823, I829, I834, &c., are preserved in the Free and simple. Library of that city, and the names of the instrumental GEORGECASE, performersare given in each instance. A complete list of Professor of the Trombone at the Royal College of Music. the band and chorus who took part in the Festival of I834, at 88. of the 'Musical for the of the I venture to make a short appears p. Library Supplement' [By courtesy Editor, that year, and at p. 53 of the same publication the editor reply to Professor Case's criticisms on my recent paper. Let from the official a list of the me first of all assure him that I am far too conscious of the reproduces programme instrumental and vocal performerswho assisted at a Handel vast extent of unexplored material still before us to claim any Festival at Westminster in of that These of statements as 'authoritative and final.' I am sure that Abbey June year. my lists are very interesting. in any research work a great deal of mischief is done by R. B. P. those enthusiasts who are so certain that they are right to the exclusion of all others, past, present, and future; and [This is perfectly true; but we qualified the statement I hoped that I had guarded against such a calamity by with the word 'generally.' It was not until I846, when emphasizing the fact that my paper was based solely on Costa assumed the conductorship, that the Philharmonic those private conclusions to which my own individual Society printed the names of the orchestra for public inquiry, so far as it had gone, had led me. information.-Ed. M..T.]

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