/V$1
THE HISTORY OF THE TROMBONE FROM THE RENAISSANCE
TO THE EARLY ROdANTIC PERIOD
THESIS
Presented to the Graduate Counci. of the
North Texas State College in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
by 211818 Richard Highfill, B. Mus.
Memphis, Texas August, 1952 211818
PREFACE
The purpose of this thesis is to show the development
of the trombone, in form and music, and its use in the orches-
tra through the times of Beethoven and Schubert. Since very
little material has been presented concerning the history of
the trombone, it is hoped that the illustrations and explana-
tions contained herein will be a contribution toward a repre-
sentation of music from different composers and periods. The
music covered gives a picture of the use of the trombone from
the Renaissance through to the beginning of the Romantic
Period. The results of this study are presented in three
main sections: (1) The history of the trombone in the Renais-
sance; (2) The history of the trombone in the Baroque; (3) The
history of the trombone in the Classical Period, and up to the
time of Schubert.
In the first section, the trombone is described in its
original form and illustrations show its use in the music of
the Renaissance.
The use of the trombone in the Baroque era, and its place
in the various forms of sacred and secular music are presented in the second section. The third section is concerned mainly with the further
development of the trombone in orchestral literature,
iii culminating with the introduction and establishment of the instrument in the symphony.
iv TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS...... , vi
Chapter I. THE HISTORY OF THE TROMBONE TO THE END OF THE REUAISSANCE#*.. .*. .#. .. .0.1. I
II. THE HISTORY OF THE TROLBONE IN THE BAROQUE ERA ...... # . . 15
III. THE HISTORY OF THE TROMBONE THROUGH THE CLASSICAL AND EARLY ROMkNTIC PERIODS * . . 48
...... E6 BIBLIOGRAPHY 7
V LIST OF ILLUSTRATIONS
Figure Page 1. Partials Produced on the Modern Trombone . . . . 1
2. Range of the Trombone ...... 3
3. Position Of f' in First, Fourth, and Sixth Positions ...... # # a aa . *3
4. Guillaume Dufax's Gloria ad. modum tubar, Showing the HocVket" ect ...... 11
5. Antonius Romanus Motet,, Stirpe Mocenio . . . . 12
6. Providebam Dominum, Orlande de Lassus ...... 13
7. Giovanni Gabrieli, Sonate forte ...... 14
8. Orazio Benevoli,, Festmesse und Hn . . . . . 18
9. Heinrich Schutz, "Ist Nicht Ephraim mein theurer Bohn" . . 9 . . . . #.. 0- - .- 0 -0 19
10. Schutz, "Attendite,, popule meus, legem meam" . . 21
11.. Schutz, "Domine, labia mea aperies" ...... 22
12. Schutz, '"Veni, dilecte me,, ihortum meum" . . . . 23
13. Schutz,,"l50th Psalm" ...... 24
14. Schutz, i150th Psalmi ...... 26
15. Andreas iammerschmidt, "No. III, Dialogus a 3" . 27
16.. Andreas Hammerschmidt, "No. VI, Dialogus a 2" . 27
17. Johann Pezel,lTurmsonate.. o...... 30
18. Johann Pezel, "Intrade (NO 13)" ...... 31
19, Antonio Draghi,, "Missa Assumptionia," Kirchen- werke " -,, a in . x * l. .D.o, aK.r- *nwrk. . . 33 20. Draghi,,"Gloria in exoelsis Deo," Kirohenwerke , 34
vi Figure itPage 21 Draghi, "Credo in unum Deum," Kirchenwerke . .35
22. Buxtehude, "Ihr lieben Christen, freut euh nun," Abendmusiken und Kirchenkantaten . . . 37
23. Gottfried Reiche, "Turmsonate fur 4 Blasinstru- mente" . . . . .* ...... -...... *38
24. Johann Joseph Fux<. Mass .*.. .. * -39
25.. Fux, Sonato o Quatro. 40
26. Johann Sebastian Bach, Cantate 2 ...... 42
27. Bach, Cantata 22...... --43
28. George Friederich Handel, Saj,, Act II, p.& 24 . 44
29. Handel,, "Dead March," aul...... 45
30. Handel moses Gesang," Israel In 46
31. Gluck, Orfeo ed Euridice,.*.#.* . . . .49
32. Gluck, Orf o Euridice...fed ftftf. f ft ft .50
33.. Franz Joseph Haydn, Die Jahreszeiten . ft . .52
34. W. A. Mozart, Don Giovanni .0. .0.f . . 53
35. Mozart, Die Zauberflote ft .t ft t ft ft f ft . 54
36. Mozart, "Tuba mirum,i" Requiem . 0 . . . ft .. 0 57
37. Mozart, Requiem ...... ft .58
38. Beethoven,, Symphony No. 5 . . . . * t ft . . . .59
39. Beethoven, Symphony o.. 2 ...... f 61
40. Beethoven, Symphony No 2 ft f f.62 f
41. Beethoven, Overture to the Opera Fidelio (Leonore No..3) . # . * . . . # # # # # . . . 63
42. Beethoven,, lass (Missa Solemnis) ...... 64
43. Beethoven, Three E for Four Trombones, No,. l . 0.,.&.*. *.#.# . #.* #.-#-*.#.* .*.65
vii Figure Page 44. Beethoven,, Three Equali for Four Trombones, No. 2 .o.*.#.*.*.# #.o.*.#. . 0.. 0. -. 06 45., Beethoven,, Three Equali for Four Trombones, No,,. 3 .0..0. .0. .0. 0..* ..0. 6o
46. Franz Schubert,, Symphony in B minor ...... 67
47. Schubert, Syphony..n B minor .. 68
48. Schubert, Eine klfine Trauermusik ...... 70
49. Schubert, Jass inF ...... 71
50. Schubert, Anhans0 ...... 72
51. Schubert, Zur Feier de~s,hei--i 1n Opf ers der jesse nebst einem Anhange: as Gebet es Herrn 73
52. Schubert, Offertorium ...... 74
viii CHAPTER I
THE HISTORY OF THE TROMBONE TO THE END OF THE RENAISSANCE
In order to understand the history of any instrument, it is necessary to know something about its mechanism; therefore,, the first portion of this chapter will be devoted to acquainting the reader with the mechanics of the trombone.
The trombone is composed of a tube that is cylindro-o conoidal in bore with two-thirds of the length cylindrical, one-third conoidal, a bell of medium size, and a cup-shaped mouthpiece.
The tube itself produces the series of partials from 1 BB-flat on the modern or "tenor" trombone.
Fig. 1--Partials produced on the modern trombone
1 The first partial in this harmonic series is the fundamental BB-flat, and is called a "pedal tone." The other six positions move downward in semitones (i.e., the second position is one-half step lower than the first,, or closed position, etc.)
1 2
By means of an attached slide of cylindrical tubing, which
makes the instrument fold upon itself, the tube length may
be increased. Six similar series of partials are possible
from A (second position), A-flat (third position), G (fourth
position), G-flat (fifth position), F (sixth position), and
E (seventh position).
The tenor trombone cannot be made completely chromatic
because there is an interval of an augmented fourth between
the pedal tone2 of the first position (BB-flat) and the
lowest tone of the seventh position (E) which cannot be
filled without the addition of a valve or Quartventil. 4 When the natural overtones of all the positions are
superimposed, a complete chromatic scale from E to b-flat'
2 "Wind Instruments," Harvard Dictionary of Music. "Properly a pipe of given length which produces one tone only, e.g., a pipe of 8 feet in length produces the tone 0, of four feet in length the tone c, etc. However, by proper control of the breath and the lips, called "overblowing, a pipe can easily be made to sound not only its normal tone, the fundamental," but also its higher harmonics. According to this article, it is impossible to play the fundamental (pedal tone) on the trombone; actually, however, it is quite possible to play the fundamental (pedaltone) of each position. Amateurs have very little difficulty in playing BB-flat, Ak, and Ak-flat.
Nicholas Bessaraboff, Ancient European Musical Instru- ments, pp. 169-172. The author is in error when he states that valved instruments can play chromatically from the pedal tones up; unless, of course, he is discussing the rare four valved instruments instead of the standard three valved instruments. However, he does not make this differentiation.
The Quartventil is a trigger mechanism operated with the thumb of the left hand to extend the playing range downward a perfect fourth. 3
(Figure 2) becomes possible; above that, capable trombonists can extend the scale up to f'' (Figure 2); consequently, the complete range varies from two octaves and a fifth to approxi- mately three octaves.
Fig. 2--Range of the trombone
An important fact in trombone playing is that many of
the tones can be played in more than one position.5 Thus V'
can be played as the sixth partial in the first position,
the seventh partial in the fourth position,6 and the eighth
partial in the sixth position (Figure 3).
Fig. 3-Position of f in first, fourth, and sixth positions.
5Nicholas Bessaraboff, Ancient European Musical Instru- ments, p. 409, fn. 375. According to the author, this fact was known to Mersenne. (Presumably from the Harmonie Universelle, 1636).
6A true fourth position f' would be flat in pitch, and it is necessary to sharpen the position slightly by pulling the slide toward third position. 4
The possibilities of producing the same pitch in two or more positions increase in the upper register of the instru- ment because there are more tones of which a high tone can be a partial. The trombonist has an inherent advantage over the players of the valve brass instruments in that he is not dependent upon an imperfect mechanism, but can produce an accurate pitch by a minute adjustment of the slide, just as a string player can by minute adjustments of the hand on the strings.
One of the earliest traceable names given to the medieval form of the instrument (fifteenth century) was the Spanish name sacabuche, which in a musical sense means
"draw tube," but literally translated means "ship's pump."
The French names follow the Spanish very closely: sapuebute, sagueboute ("pull-push"). Finally, the English had their own- versions (shakbusse,, sabut, and eventually sackbut)7 which no doubt came from either the French or Spanish. How-
ever, the German follows the line traced to the Latin buccina. 8
T Francis W. Galpin,, "Trombone," Grove's Dic tionary of Music and Musicians., The, earliest mention of the word sacks but iJnglish literature occurs in Hawse's Passetyme of Pleasure (1506). Ibid.
8 "Trumpet," Harvard Dictionary of usic. The buccina was a Roman trumpet of a circular form which was carried by their armies over Europe. After A.D. 1000, the instrument acquired the shape of a long and slim pipe with a funnel shaped bell. This instrument was called the buisine which in German became busaune. Ibid. 5
The term "sackbut" and its cognates and the name
"buccina" and variants seem to be -applied to the same type of instrument comprising a sectional tube with slide exten- sion and cup mouthpiece.
The exact date when the word "trombone" came into use is not known, but the earliest piece of music in which the word "tromboni" (trombone) occurs is in the Sonate iian e forte (1597) by Giovanni Gabrieli which will be discussed
later. The name, which is the augmentative form of "tromba" and means "large trumpet," was probably in use earlier.
Another name was the tromba spezzata, or "broken trumpet,"
referring to the fact that it was constructed in sections
and not in one piece of tubing.
However, the name Posaune seems to have been in use
much earlier than the word tromboni as can be seen in the
work Providebam Dominum (1568) by Orlande de Lassus, which
will be discussed later. As has been pointed out the names
trombone (Italian), posaune (German), and sackbut (English)
appear to be synonymous, and therefore, for convenience sake,
the name sackbut will be used until the actual appearance of
the name "trombone" in the late sixteenth century.
The locale of the development of the sackbut cannot be
traced, but there have been speculations as to the country
in which it first appeared. Kathleen Schlesinger places the
origin of the instrument in the Netherlands or South Germany,
if indeed it was not an oriental reimportation of the ancient 6
]2ujina through the Arabs. She sets forth this possibility
in her discussion of the derivation of the sackbut from the buccina since there was an Arabic trumpet called "buk" or
"buque." This instrument is mentioned in a treatise of the
fourteenth century as being among the musical instruments
then in use in Spain.9
There is in an eleventh century psalter at Bologna, a
drawing of an instrument which bears a great resemblance to
a sackbut deprived of its bell.1 0 However, Galpin disputes
this by identifying the pictured instrument as being a
"fanciful delineation of the sambuke, an ancient four
stringed lyre." 1 1 He further states that the sackbut
evolved from the trumpet about the year 1300, and in his book
Old English Instruments of Music, places the origin of the
sackbut in Northern Italy or Southern France, but he gives
no evidence to substantiate this claim.1 2
9Kathleen Schlesinger, "Sackbut," Encyclopedia Britannica.
1 0Kathleen Schlesinger, "Trombone," Encyclopedia Britannica. According to Arthur Elson in his b0o Orchestral Instruments and Their Use, there is a reference to musical contrivances that use the slide in the writings on Greek accents, by the Greek grammarian Arcadius (second century, A.D.). Parkhurst and DeBekker in their book Encyclopedia of Music and Musicians, p. 609, attribute the invention of the slide to Osiris,, and then to Tyrtaeus, in the seventh century, B. C.
11F. W. Galpin, "Trombone," Grove's Dionr of Music and Musicians.
1 2F. W. Galpin, Old E Instruments of Music, pp. 207-214. 7
In the development of the sackbut from its original parent,, the buccina,. a long trumpet, there were at least three processes involved. The busine (buccina), originally made in one piece, came to be made in sections, each over- lapping the other to form sliding joints. An example of this instrument was found in miniature executed in South
France during the thirteenth century.13 The second step was the bending of the tube into three parallel branches
like a flattened S. An example of this was found on the woodwork of the Abbey of Cluny, dated the thirteenth
century.14
aalpin states that the fourteenth century use of the words "sacabuche" and"saquebute" imply the use of the
slide, and that there is a representation of the instrument,
together with shawms,15 on an ivory chessboard in the
National Museum at Florence. The instrument is also men-
tioned as forming a part of an orchestra which played in a
13This miniature is now located at the University of Munich.
1 4 These two miniatures may be seen reproduced in Kathleen Schlesinger's article, "Sackbut," sEncyclopedia Britannica.
1 5 "Oboe," Harvard Dictionary of Music. The early European double reed instruments are referred to col- lectively as "shawms." They were the predecessors of the modern oboe, english horn, etc. 8
feast held in Lombardy at the close of the fourteenth
century.16
The third and last transition was the discovery of
the double slide, shaped like a U, which was drawn out to
lower the pitch., An illustration of an instrument with
this development is found in the painting, "The Wedding of
the Adimari" (Florence, ca. 1420),17 and somewhat later
in early German translations of Vegetius's De Re Military (1470) the buccina is described (bk III, 5) as the trumpet or posaun which is drawn in and out showing that the instrument was not only well known, but that it had been identified as the descendant of the buccina.*l During the fifteenth century in the "Privy purse
expenses of Henry VII," there appears the following entry:
"1495, May 5. To foure shakbusshes for their wages& vii."19
The sackbut of this period may be seen in pictures of
different artists of the fifteenth century. For example,
Gentile Bellini's "Procession in Piazza S. Marco" (1496).20
16 F. W. Galpin, Old English Instruments of Music., pp. 207-214.
1 7 Heinrich Besseler,, Musik Des Mittelmasters Und Der Renaissance, p. 184. Another illustration of a similar instrument is to be found in a miniature by Taddeo Orivelli in the Borso Bible 1450-1471 (Schlesinger, "Sackbut" a*p. cit.).
18Schlesinger, "Trombone, " a.- cit. 1 9 F. W Galpin, _OldEnglish Instruments of Music, Rp. 207-214. Galpin did not place a monetary figure after vii. 2 0 The reproduction of this picture may be seen in the preface of G. Gabrieli's score to Canzoni Septimi Toni as well as in Life's Picture History of Western Man, pp. 114- 115. 9
In Spain, during this period, there was listed among the instruments of Queen Isabella (c. 1500) "bne Sacabuehe of silver in three pieces . . . another sacabuche of silver in two pieces." 2 1 There are also several woodcuts of the "Triomphe de Maximilia&' (1512) by Burgkmair,, showing musicians playing sackbuts, and Robert Haas in his
Auff uhrunspraxis has a picture (1556) taken from a trea-
tise by Herman Finck (Musica Practica) showing the instru- ment being played.
The oldest known sackbut in existence is one made by
Jorg Nueschel of Nuremberg,, in.1557,2 who was the son of Hans Nueschel, the most famous player and maker of "posaunen"
of the fifteenth century.. In fact, he made several trombones
for Pope Leo X, and visited Rome where his playing was
greatly admired. 2 4
The preserved and dated instruments of Jorg Nueschel, Anton Schnitzer (1597), Cunrat Linczer (1587), and
2 1 Jeffrey Pulver, .Dictionay of Old English tusic and Musical Instruments, pp. 200-201.
2 2 Albert Lavignac, Encyclop4die De La Musique, p. 1199. Another of this series of pictures may be seen in the book Military Music by H. a. Farmer, p.. 15. Also reproduced in Militarmusik in Gesichte und Gegenwart by Dr. Peter Panoff, pp. 23,724, abb. 14 and l37,and in Auffihrunspraxis by Robert Haas, p. 125.
23A reproduction of this instrument may be seen in Grove' sa Dictionary of Music and Musicians, Vol. IV, p. 496, plate LXVIII.
2 4Adam Carse, Musical Wind Instruments,, pp. 252-253. 10
Pierre Colbert (1593)25 provide evidence that the instrument
of some three hundredL and fifty or more years ago was in all
its essentials a finished product which did not need further
improvement. The early history of performance is obscure. It may
be assumed that the instrument was frequently used in the middle ages for doubling or replacing voices. By the four-
teenth century, however, it apparently had begun to play an
important part in tower music as we shall see later. Although the earliest known composition calling for
certain instruments to play specified parts is the well
known Sonate pj e_ forte (1597) by Giovanni Gabrieli, there
are several pieces that pre-date this work that use trom-
bone. However, while the instrumentation is known, the
exact instrumental assignments have been lost, and we can
only speculate as to what instruments play what parts. The
earliest of these seems to be Guillaume Dufay's celebrated
jlja _a.d modum tubae from the early fifteenth century,
Since the two canonic parts for the "tubae"--a generic
name at that time for all brass instruments 2 7 --are con-
fined to the third, fourth,, fifth and sixth partials of the
25Georg Kinsky, A Histoy of Music in Pictures, p. 150. 2 %uido Adler und Oswald Koller, Denkm6ler der Tonkunst in Osterreich (Sechs Trienter Codices TTTVols. XIV and XV rJahrgang VII), p., 147.
270harles van den Borren,, Guillame Dufay .. . .. p. 143.. 11
C series, they could be played on the natural trumpet and would not require the trombone with its slide, although Van den Borren thinks the latter the best instrument of the time for rendering the part.28 It is interesting to note that Dufay used the "'hocket" 9 effect in the Gloria adi modum tubae.
Fig. 4--uillaume Dufays t loria ad mou tuae show- mne "hocket" effect.
In the case of the Antonius Romanus Motet, Stirps Mocenigo (Figure 5), written for the induction of Tommaso Mocenigo as Doge of Venice (1413), the trombones suggested
28Charles van den Borren,, Guillaume Dua . . .. p. 143
29"liocket," Earvard Di onr of Music. In medieval polyphony (thirteenth and fourteenth centurieB) the truin- cation of a melodic line into fragments (frequently single notes) which are given to two parts in alternation. 12
by Schering3 0 though not specified in the original,, are the
only brass instruments of the time that c-ould have played
the parts.
Ar PoTtfPp ~PMO S I NIA + I wSl air K P" U Cflf4 pq all fct. es lot. 1014 Pn AO A IL Ar FT- 1% r ..... M 19 aw ar*$.Shoo vee. M wit#r de b I Loh 'aLIwIW71Y
mw
Fig. 5..-Antonius Romanus Motet, Stirp MoceniEo
Another work pre-dating the Sonate P.an. e forte is a
Copenhagen manuscript of about 1541. This piece,, referred
to by Haas, is an eight part Laudate dominum calling for
"4 zinken und 4 posaunen."131
Massimo Trojano in his Discorsi certifies to the use
of the sackbut in his account of the wedding festivities of
William V of Bavaria, and Renata of Lorraine in 1568. At
the wedding banquet on the 22nd of February of that year,
3 0 Arno~d Schering,, Geschichte Der Musik In Beispielen, pp. 5 and 2
3 1 Robert Haas, Auff'hru~n~spraxis, p.. 135. Unfortunately, this manuscript is not available, according to Haas, ibid. 13
the Tafelmusik, according to Trojano,, included a; seven voice motet by Lassus for 5 cornett132 (Figure 6) and
2 sackbuts, and aasix voice madrigal by Alessandro Striggio for six large sackbuts of which the bass sounded an octave lower than the normal sackbut. 3 3
UP
I rr AV ralff
I
_7I ......
CoEI AM AM ;N Id ."Immamow- it -MAO~t OL I I si
Ar To
do* its m O I
of - tIaII_tIk
'I I I AW I ___I _ t Fig. 6v-Providebam Dominum,7 4 Orlande de Lassus (1568)
3 2 "Cornett," Harvard Diction of _f. Music. A fifteenth and sixteenth century instrument in the form of a straight or slightly bent tube made of wood (or occasionally,, of ivoryy) with a surface octagonal in cross section, with six fingerholes and provided with a cup-*shaped mouthpiece.
3O. Kinkeldey, Orgel Und Klavier In Der Musik Des 16. Jahrhunderts, pp. 179*-i8O. Unf ortunatel y,for our purpose, Kinkeldey uses the German term "posaune without directly quoting Trojano.. Since Trojano s own work was not available for this study, the writer cannot say whether Trojano. used the term trombone,, as is quite possible. 3 4 Orlande de Lassus,, Providebam Dominum,, edited by Robert D. King. 14
As it has been stated previously, the first known work calling for the trombone to play a specific part, is found in Giovanni Gabrieli's Sonate pian e forte (1597). In fact, this work can make claims to two precedences. It was the first piece of instrumental ensemble music to show a detailed indication of the instruments,, and it was the first known work to make use of the dynamic contrast between piano and forte. Obviously,, Gabrieli thought so much of the latter innovation that he titled this sonata in that manner.. For these reasons,- this work stands at the beginning of the history of orchestration. The following example gives the original instrumentation and the placement of the instruments.3 5
Prr
Fig., 7.Giovanni Gabrieli, Sonate piiare forte
35 Giovanni Gabrieli,, "Sonate pian e forte," Harvard Anthology.of Music, p. 1981 No. 173. CHAPTER II
THE HISTORY OF THE TROMBONE
IN THE BAROQUE ERA
In order to fully understand the beginning of the
Baroque era in music, it is necessary to consider the com- poser who more or less bridged the gap between the Renais- sance and Baroque periods. This composer, Giovanni Gabrieli, in his later works (composed probably after 1600) was the person who laid the groundwork for the musical innovations of the Baroque composers. While it is true that his works did not make a complete break with the Renaissance style, his later experiments in composition breathed a revolutionary spirit affecting especially the art of orchestration since the later works contained specific directions as to the com- bination of voices and instruments, directions which are usually lacking in contemporary scores. Several compositions are scored for voices and instrumental ensembles consisting of violins, cornetti, trombones,, bassoons, and bass viols in highly coloristic combinations.1 For example,, his Suscipe clementissime has a six-voice chorus opposed to a second choir of six trombones.2 The magnificent twelve-voice motet
kManfred Bukofzer, Music in the Baroque Era,, p.. 24.
2Ibid. This score is not available for this study.
15 16
In Ecclesiis3 calls for an orchestra of three cornetti, viola, and two trombones, and contrasts a full chorus or "cappella" with a solo quartet.
The novel style of Gabrieli inspired but few of his kindred Italian composers to continue in his path.. The greatest of these was Claudio Monteverdi.t Gabrieli also influenced the German school through his pupil Heinrich
Schutz, who will be discussed later.
Following in the footsteps of Gabrieli, expanding and adding many innovations of his own, Monteverdi combined the
"Riforma Melodrammatica, " the French "airs de cour," "ballets," and embodied a host of technical details borrowed from the
Italian madrigalists and organists, and reached an early peak in his career when he wrote the opera Orfeo..5
In the listing of instrumentation at the beginning of the opera, Monteverdi calls for "quattro tromboni"; however, in1 the third act, he lists his instrumentation as follows: "coro di spirito,, di un regale, organo di legno,, cinque JsictJ tromboni, duoi basso da gamba, e un contrabasso de viola.' In calling for five trombone parts,, ionteverdi increases the
3"No. 157 Giovanni Gabrieli," Harvard Anthology of usic, p. 175,.
4 Bukofzer, Music in the Baroque Era., pp. 1-85. 5 "Monteverdi," Grove's Dictionay _of Music and Musicians, Vol. III.
Claudio Monteverdi,, Orfeo,. "Act three;,," Series Tutte Le Opera,, Vol. Xl, edited by G. F. Malipiero,, 17
instrumental participation. It is unfortunate that Monteverdi does not call for the trombone to play a specific part, and it is therefore not possible to show a specific example from this work.
Another example of the use of trombones in the orchestra of this period is the balletto La Liberazione Di Ruagiero by
Francesca Caccini, 7 daughter of Giulo Caccini, and wife of Giovambattista Signorini Malaspina,, both musicians in their own rights. She was approximately forty-four years of age when she completed the music for this work. The balletto was composed in 1625 for the festivities in honor of Wladislaw
Sigismund, Prince of Poland, who visited the Medici court from
January 26 to February 13, 1625. It is again unfortunate that Francesca Caccini, like Monteverdi, did not specify parts, and it is impossible to show an exact trombone example.
As maestro di cappella to the Vatican, Orazio Benevoli
(1602-1672) became especially known for his ability to compose works in which he handled many separate parts. In 1628 he composed a festival mass and a hymn in which he combined fifty-six parts, both vocal and instrumental.. In the "Kyrie" 8 of the Mass, he places a special stress on the bass trom- bone part as is seen in Figure 8.
T Francesca Caccini, La Liberazione Di Ru iero, p.. 74.
8 Benevoli also uses the trombone in the "Gloria in Excelsis Deo," "Credo in Unum Deum," "Sanctus," "Agnus," and "Plaudite- Tympana. 18
AP
t .o
As :?:Vow I F -vu I I'' V I - GNP--
AP u
w
Lo
I I V I I
too I I I I 'A % I I W- ap
As KUM dw -as
#PHI I I Aw
Am
Fig. 8-Orazio Benevoli, Festmesse und Hvmnus 9
At the beginning of this chapter,, the brilliance of Giovanni Gabrieli as a composer was pointed out. His work
as a. teacher showed the same spaxk of genius, and it is sig-
nificant that on his deathbed he bequeathed his signet ring
to his prize pupil, Heinrich Schutz.1 0
As one of the titans of the early German Baroque,
Heinrich Schtitz (1585-.1672) returned to Germany in 1612
after the death of Gabrieli to assume the duties of music
90razio Benevoli, "Festmesse und Hymnus," Denkmiler der Tonkunst in Osterreich ,Band 20 (Jahr ang X/1) p. 7. loBukofzer, Music in the Baroque Era- p. 25. 19
director to the elector of Saxony. In his works, Schutz used the trombones both extensively and effectively. He was espe-
cially adept in the use of trombone choirs such as in the
motet "Ist nicht Ephraim mein theurer Sohn.
Crune.Tr Q Ooce. tcat AMo
0 v OC L o (to I Cor ie ItlinZ I TWO
to %roe?,0o- F
Cwt
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mm Mo.- - - th oreow to "lf
"o SNO w-- -t e Imo IA -er n I a Lo C. 1 Its
w a Fi . 9-Heinrich SchtZt, w'1st Ncht tphraim mein theurer Sohn. "l
Ibid.p. 90-91. ukofer points out that this is a wonderful example of the musical inspiration that SchAtz derived from German speech rhythm. 12Heinrich Schitz,, "Ist nicht Ephraim mein theurer Sohn, Slmmtliche Werke, p. 89, edited by Philip Spitta. See also: 20
One of the greatest works by Schutzais the collection of
Symhoniae sacrae which was written in three volumes (1629, 1647, and 1650).
However, it is Part I, written in 1629, that concerns this study, since the second and third parts are purely vocal.
In the medium of small "concertato' from the Symphoniae
sacrae Schutz created scenes of great vision, such as the
somber plaint of David for Absalom, for bass voice and four
trombones, in Part XIV of the Symphoniae sacrae.1 3 At the
beginning, the quartet of trombones intones a sinfonia which
anticipates the motive of the voice. (See Figure 10)
ivø,
VIP WEI _7of th Fn
Iistoria, 2.r red und Gnadenreichen Geburth Gottes und edited by F.1 Stein, Eulenburg,., 1935, Itrmdum V and IBeschluss. 13 Sohu.tz uses the trombone in all of the following works: Symphoniae sacrae, Part XIII, "Fili mi,, Absalom, " Part XITTFTe57,'t t XV (Figure 6), Part XVIII figuree 7), Part XIX, "Buccinate in neomenia tuba.' 21
I -Aal t 1, 1 1 ddp dp r , ...... 7'i w I WF INV A I
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14 t I I, 'A# 77 tape
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F1 . 10--iHeinrich Sche&tz, "Attendite, popule meus,, legem meam.
Part XV of the Symphoniae saorae employs a sinfonia for cornetto (o violino), trombone, and fagotto,, which gives an insight to the method in which Schltz handled various comr- binations of instruments. (See Figure 11)
0 t As A A As . 0~AI ______0Wr, \
I I'_t__W__It,_I_
1 4 Heinrich Schatz, "Attendite, popule meus,, legem meam," Part XIV of ymphoniae sacrae, edited by Philip Spitta, pp. 70- 71. 22
-I Ad I Ad
V V4w AdW
Fig, .ll-~Heinrich Schtz, "Domine, labia mea aperiest' 1 5
It is in Part XVIII of the Symphoniae sacrae that Schfitz shows his true ability in weaving a pattern between choirs of instruments and voices. Here he has taken three trombones and used them as a separate chorus and as an accompaniment to the chorus in a masterpiece of creative work (see Figure 12).
1 5 Heitnie#_ $ch tz, "Domine,, labia mea aperies,", Part XV. of Symphoniae sacrae, edited by Philip Spitta, p. 77. 23
LAV
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Fig. 12-**Sch~itz, "Veni, dilecte me, ihortum meum16
1 6 5chntz, "Veni, cdilecte me, ihortum meum," Part XVIII of ASmphoniae sacrae, pp. 101-102# 24
An example showing Gabrieli's influence on Schltz is found in the "150th Psalm" of the 8 mmtliche Werke, in which he divides the combined chorus and orchestra into two choirs and uses some of the instruments to double the vocal parts
(see Figure 13).
I' 4M _99 __t t-A
41 -1 - _ _ -
9 112 1IIla
Fig. 13---Heinrioh Sehutz "150th Psali" 1
1'Heinrich 5oh{tz "Psalm 150," $SLimtlioiae Weke edited by Philip Spitta, P.3. 25
In the same work, he uses the three trombone parts- aa solo
while the chorus sings "lobet ihn mit posaunen." (See Figure 14)
# COM60" 0 f 1004t
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Fig. 14**Heinrich Schntz, "150th Psalm"18
While not considered a great composer,, Andreas Hammer- schmidt (1611 or 12-1675) must be mentioned for a very special reason., According to J. R. Milne 19 it was Hammerscmildt who originated the "Dialogi oder GesprAche zwischen Gott und einer glaubigen Seele" (dialogue between God and a faithful soul.,
This use of dialogue is generally associated with the church cantatah of Johann Sebastian Bach.) Hammerschmidt wrote twenty-two "Dialogues" 'for two,, three, and four parts,, using 20 the trombone in eleven of them.
1 8 Heinrich SchdItz, "Psalm 150," Simmtliche Werke, edited by Philip Spitta. 19"Andreas Hammerschmidt," 'Grove's Dictionary _of Musi and Musicians. Dialogues are texts of prayers or complaints, sung by one or two voices, immediately followed or accompanied by answering texts of promise or comfort, sung by another voice, 20 Reprints may be found in Andreas Hammerschmidt, "Dialogi, Denkmaler der Tonkunst in 6sterreich, hand 16 (Jahrgang- VIII/l).- 27
In No. III, he uses the trombone as accompaniment to Cantus I,
II, Bassus, and Basso continue (see Figure 15).
-
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Ke4.fffDJ4-diri&u ~fO (4i t lI~-WeV
v I r. v
Fig. 15--.Andreas Hammerschmidt, No. III, Dialogus a 3" 21
This is a good example of the trombone parts in the other
"Dialogi," with the exception of No,. VI which stands out asa being relatively difficult (see Figure 16).
Fig. 16--Andreas Hammerschmdt, "No. VI, Dialogus a 2 122
2 1 Andreas Hammerschmidt, "No. III, Dialogus a 3," Denk- maler der Tonkunst in d'sterreich, Band 16 (Jahrgang VIII/I), p.. 16. 2 2 Hammerschmidt, "No. VI Dialogus a 2," ibid, p. 28. 28
In order to introduce the next type of Baroque music, it
is necessary to go back to the fourteenth century. For it was from the fourteenth century through the seventeenth cen-
tury that there existed, mainly in Germany, a branch of music
that did not model its performance after vocal music; tower- music.. The thuermer (tower-men who played wind instruments) were retained by most German towns and had varied duties assigned to them.. These men, who resided in specially con-
structed towers or chambers fitted high in church steeples,
had to sound a zink at every hour, blow a signal on the horn
to warn the citizens of an enemy's approach, and sound the
alarm in case of a fire. They also played a sacred song at
early dawn and a secular song at mid-day on feast days.23
As time went on,, these groups of thuermer acquired more
and more duties, which included playing processional music, dance music, and the accompaniments for church chorales.
After the reformation, their duties became even more arduous
because they had to remind people to pray by performing
chorales on trombones and zinken three times a day., Until
the middle of the seventeenth century,, these bands of thuermer were perhaps the most important exponents of wind-instrument
music.
23J. -A. Kappey, A Short Hi yof Military Music p. 15.
2 4 Richard Franko Goldman,,The Band's Music, p. 22. 29
Still called thuermer,, these tower-men eventually assumed the functions of community bands, and supplied accompaniments at church festivities,, civic pageants,, and dance music for public holidays. After a while "thuermer," came to be called
"stadtpfeifer" or "stadtmusicus," and their special tower duties disappeared.'25
One of the most fruitful and active groups was the Leipzig
Stadtpfeifferei which produced Johann Pezel (1634-1694). While his personal history is obscure, his name appears in the Leip- zig documents for the first time in 1664 where he is mentioned as being a member of the "Kunstgeiger" ("art-fiddlers"). Late in 1669 or early 1670 he joined the stadt2feifer group in whose company he served until 1681. In that year he went to
Bautzen and served in the stadtmusicus group until his death in 1694. With the exception of Gottfried Reiche, who will be discussed later, Pezel is the only stadtpfeifer to publish any compositions.
As far as this study is concerned, the most important group of his compositions were published under the title
Musicalische Arbeit zum Abblazen uhm 10 uhr Vormittage in
Leipzig,, 1670 (see Figure 17).
2 5 David Moore, "Music and Composers for the Brass Ensemble," Unpublished Master's Thesis, Department of Music, North Texas State College, 1950. This thesis has a complete chapter on tower-music. 30
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Fig,. l7*-Johann Pezel, Turmsonate 2 6
This group of compositions consists of forty sonatas in five parts for two zinken and three trombones. In the preface of this volume, he states that he published this volume at the request of a large number of tower musicians in Germany.. He also stated that these sonatas may be played indoors by sub- stituting violins and violas for zinken and trombones. An- other Pezel publication for wind instruments is the Funffstimmigte Blasende Musik (1684) written in five parts for two cornetti and three tromboni (see Figure 18).
26' Arnold Schering, ,esichte der usik .n Beispielen, p. 288. 31
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Iwo Cit:
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0 Fig. 18--Johann P l "IIntrde (w 1 3 )t27
2 7 Johann Pezel, "T ukn und Suten" Denkmer Deutecher Tonkunst, Bnd LXIII, edited by Arnold Schering, p. 27. 32
One of the most prolific composers of this time was. Antonio Draghi (1635-1700) who was the Court Theatre Inten- dant to Emperor Leopold I and Kapellmeister to the Empress
Eleonore at Vienna. During his thirty-eight years of court life, he had performed sixty-seven operas, one hundred and sixteen feste tieatrali and serenades, thirty-seven oratorios, besides hymns, and cantatas,, etc. Draghi's most important contribution to the use of the trombone comes from his
Kirchenwerke written in 1684 (see Figure 19)..
1LLQ N ______
L-1 i 1& 1sL
2 8 "Antonio Draghi, " Grove's Dition of Music and Musicians, Vol. I. 33
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Kirthen- werkeF. 19-Antonio Draghi, "Missa Assumptionia,"
In the "Gloria in excelsis Deo" of the same work, the trombone
parts appear to be very difficult. Even though the tempo
might be slow, it would afford some technical difficulty (see Figure 20).
2 9 Antonio Draghi, "Kirchenwerke,," Denkmraler der Tonkunst in Osterreich, Band 46 (Jahrgang Xxiii/"77. 34
II'M~
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Fig., 20-Antonio Draghi,, "Gloria in excelsis Deo, Kirchenwerke.30
In the "Credo in unum Deum" Draghi utilizes the trombones in two trombone quartet solos of which the second appears in the following example (see Figure 21).
_Ibitd., p. 23. 35
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Fere 21--Antonio Draghi, "Credo in unum Deum," Kirchen- werke.
During the year 1668, Dietrich Buxtehude (1637-1707) attained the post of' organist at the Marienkirche of Lubeck-- one of the best and most lucrative in Germany--where his play- ing and musical abilities won wide acclaim. It was here that
3lIbid., p.23. 36
he conceived the idea of instituting great musical performances in connection with the church services. Thus it was, in 1673, that the "Abendmusiken," or evening performances of Lubeck were begun.. These productions, which took place annually on the five Sundays preceding Christmas, were so successful that they continued throughout the eighteenth century,, and into the nineteenth century. This music consisted of concerted pieces of sacred music for orchestra,, chorus, and organ.
While the trombone parts of the Abendmusiken und Kirchen- kantaten (1678-1687) are not particularly noteworthy in any respect, there is one outstanding example. This example
(Figure 22) is taken from "Ihr lieben Christen, freut euch nun, " and the trombone accompaniment to the first and second sopranos is marked "Tromboni in Sordino.'32 It is, of course, a matter of speculation as to whether or not Buxtehude in- tended for the word "sordino" to apply to an actual mute. It must be pointed out, however, that mutes for other brass in- struments had been in use for some time, and it is entirely feasible that a, trombone mute of some sort was developed by that time.
32 While other brass instruments have been marked "in sordino," this is the earliest example of muted trombone that the-writer has found. 37
,1
I
I- ~ I
Iti
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11
Fig;. 22-Dietrich Buxtehude, "Ihr lieben Christen, freut euch nun, " Abendmusiken und Kirchenkantaten.35
Gottf ried Reiche (166mru74), mentioned previously aso a member of the Leipzig stadtpfeifers," was a famous txvmpet virtuoso and composer of' this period- who, with Pezel, fonned
the high point of the tower sonata literature. In 1697, Reiche (whose history is even more obscure than was Pezel'sa)
3 3 Dietrich Buxtehude, "Ihr lieben Christen, freut euch nun, " Abendmusiken und Kirchenkantaten, No. VI, p. 129.. 38
published his Vierundzwanzip Neue juatricinia for one caornetto and three trombones.
Ftimg~. 23 ---ottfried Reiche, "tTurmsonate fur 4 Blasin-
Besides being a member of the Town Piper Society of
Leipzig, ReicheGotfredReche was also first trumpeter for Johann Sebastian "or , law jd Bach and is reported to have died of an overstrain from play- ing at a performance of the Bach Cantata, Preise _dinGuk &esegnetes Sachsen (l734).35 Reiche's other works include 122 Abtasstuckgen (small pieces for wind instruments), and five chorale books which have, unfortunately, been lost. One of the greatest teachers of this period, Johann Joseph Fux (l66o0-l74l), was also one of the most prolific composers,
3Gottf ried Reiche, "Turms onat e," Vierundwanzig Neue Qpuatricinia, edited by Adolph Iueller. Another example may be seen in David Moore' s thesis, "ilusic and Composers for the Brass Ensemble." 35 t 39
with over four hundred and five works to his name. While his main contribution to the musical literature of his time was the writing of a book on counterpoint (Gradus ad Parnassum,
1725), he added some interesting music from the standpoint of this study.. His Mass (see Figure 24) employs a choir of three trombones, while the Sonato _ Quatro combines the "violino,"
"lcornetto," trombonei," and "fagotto" with the trombone having a very difficult part in the movement marked "allegro" (see Figure 25).
IS-
Fig. 24II-=ohann Joseph Fux, -as
3 Johann Joseph Fux, "flessen," Denkmaler _der Tonkunst in Osterreich, Band (Jahrgang I/l), pp. lO-l. 40
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Fig. 25-.-Johann Joseph Fux, Sonato oJuatro
The period of Johann Sebastian Bach (1685-1750), cer- tainly marks one of the highest peaks of Baroque music, and his instrumental and choral works still assume a leading role
3 7 Johann Joseph Fux, "Sonato o Quatro, " Denkmaler der Tonkunst in Osterreich, Instrumentalwerke I, Band 19 (Jahr- gang IX/2),~ p. 10. 41
in today's performances. In comparison with the amount of compositions that he produced, Bach makes comparatively little use of the trombone. Indeed he confines the use of the instrument to cantatas, for fifteen of which he used trombones.3 With three exceptions,, Bach used the trombones as support for the chorus. This was, in fact,, the beginning of a decline of the use of the trombone in instrumental literature, as will be seen later. His scores reveal his preference for choirs of three or four trombones.
3 8 Charles Sanford Terry, Bah's Orchestra, p. 195. The fifteen cantatas in which Bach used the trombone are: Cantata 2 (see Figure 26), Cantata } ("Ach Gott, wie manches Herzeleid ) Cantata4Thrist lag in Todesbane den"), Cantata 21- ( Ich hatte viel Bekummerniss"), Can- tata gA(" hrDuIwaerGott und Davids Sohnt, Cantata~gT Is ist nichts Gesundes an meinem Leibe!), Cantata 28 ('"Gottlob! nun geht das Jahr zu Ende"), Cantata ,8, (Xus tiefer noth schrei' ich zu dir"), CantatW47"'Sehet, welch' eine Liebe hat uns der Vater erzeiget"), Cantata 68 ("Also hat Gott die Welt geliebt"), Cantata -696"err Christ, der ein'ge Gottes Sohn'), Cantata r101(' Nimm von uns, Herr, du treuer Gott"), Cantata 118 (rtIJesu Christ, mein's Lebens Licht"), Cantata 121("Christum wir sollen loben schon"), Cantata ("Ach Herr, mich airmen Sunder"). 42
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Fig. 26 -Johann Sebastian Bach, Cantata 2 ("Ach Gott, vom Himmel sieh' darein" ). 3 9
In Cantata a quartet of three trombones, and a cornetto
adds a harmonized chorale to the orchestral theme.
3 9 "Cantate 2," Johann Sebastian Bach's Werke, Vol. I, p. 56. 43
I YNO
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Fig. 27--Johann Sebastian Bac Cantata 25 ("Es ist nichts Qesundes an meinum Leibe").
He uses a similar instrumentation as accompaniment to the
vocal parts for Cantata 118; while in Cantata 135, he uses
a single trombone to strengthen the continuo in the "cantus"
of the Choral on which the chorus is founded.
In the works of George Friederich Handel (1685-1759)
the trombone seems to be used only twice: in Saul, and
Israel in Egypt.
40"Cantate 25," Johann Sebastian Bach's Werke, Vol. LI. 44
In Act II of Saul,, Handel uses the trombones to support the chordal structure of the other instruments of the orches- tra in a part marked "a tempo giusto.tt
Pr _ _Ie1G
P2? ______
Fig. 28--George Friederich Handel, Saul, Act II, p. 2441
It is in Act III, however, that he utilizes the sonorous tones of the trombones for the famous "Dead March."
4lGeorge Friederich Handel, Saul, Act II, p. 24. 45
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Fig. 29-Creorge Friederich Handel, "Dead March," Saul4 2
4 2George Friederich Handel, Saul Act III, p. 208. 46
In the oratorio Israel in Eyp~t. Handel used the trombones mainly in support of the chordal structure, and only in the chorus parts; however, he uses the trombone quite frequently in independent parts, as is seen in the following example.
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Fig. O--George Friederich Handel, "Moses Gesang,," Israel in Egypt.
Despite popular notions to the contrary, there are no trombone parts to the Messiah. This misconception arose through the fact that there was given in 1785, a commemora- tive performance of this work in which it was performed with a group numbering 525, viz: 59 sopranos,, 48 altos, 83 tenors, and 84 basses, 48 first violins,,47 second violins, 26 violas, 21 violin- cellos, 15 double basses, 6 flutes, 26 oboes,
4 3"Israel in Aegypten, George Friederich Handel's Werke, Vol. XVI, p. 136. 47
26 bassoons,, I double bassoon, 12 trumpet ,, 12 horns, 6 trombones, 4 drums,,and the conductor.
It is not known who wrote the special parts needed for this performance, but Burney has this to say about the trom- bones used in the orchestra:
In order to render the band as powerful and complete as possible, it was determined to employyevery species of instrument that was capable of producing grand effects in a great orchestra, and spacious building. Among these the SACBUT, or DOUBLE TRUMPET, was sought; but so many years had elapsed since it had been used in this kingdom,, that neither the instrument, nor a performer upon it, could easily be found. It was, however, dis- covered,, after much useless enquery, not only here, but by letter, on the continent, that in his Majesty's Military band there were' six musicians who played three species of sacbut; tenor,, bass,, and double bass. The names of these perg9ormers will be found in the general list of the band.
The list of musicians playing sacbuts is quite interest- ing, because all of the names seem to be of Germanic origin, and it leads one to wonder if they were not imported to play in his Majesty's band.. The names are: Karst, Kneller, Moeller,
Neibour, Pick and Zink. The following comment appears after their names: "These performers played on other instruments when the sacbuts were not wanted." 4 6
4 4 "George Friederich Handel,,' Grove's Dictionary of Music and Musicians, Vol. II.
4 5Charles Burney, An Account of the Musical Performance in Westminster-Abbey, p.,7.. 46 Ibid., p. 19. CHAPTER III
THE HISTORY OF THE TROMBONE THROUGH THE CLASSICAL
AND THE EARLY ROMANTIC PERIODS
As was stated in Chapter II,, the decline of the trombone in musical literature started with Bach, and became even more pronounced as time went on., For a period of years, the instru- ment was used only enough to justify its very existence.
It is probable that the improvement in the horn (they learned to play a virtually unbroken scale by muting with the hand) tended to throw the trombones into abeyance. After Handel and Bach,, they were confined to special points of dramati&a emphasis (as in Gluck's Orfeo and Alceste, Mozart's Don ua4,,Zauberflote,, and Requiem) until Beethoven restored them in the Fifth yphoX. There were five frombones7 at the Viennese Hofkapelle in 1740,. there were none among the Mannheim orchestra of 1777: in a word, they seem to have been gradually ousted by a growing love for tone and even- ness of texture.
It is interesting to note that the writing of trombone parts of this period fluctuated. In some periods there was little or no music written, and then there was span of years in which the instrument was used to some extent. For example, 2 Orfeo ed Euridice,2 written by Christoph Willibald Gluck
1W, H. Hadow, pOxford History of Music, Vol. V,, p. 43. Since the symphony orchestra had little or no use for the trom- bone before the Fifth Symphony, Beethoven actually introduced the trombone to symphonic literature in that work.
2 Qluck revised Orfeo in 1774 for a presentation in Paris; however, there was no change in the trombone parts.
48 49
(1714-1787) and performed for the first time in Vienna in 1762, seemed to revive trombone literature for a- brief period. For the most part, Gluck used the trombone to accentuate chordal construction, or for "forte" and "fortissimo" passages. How- 3 ever, in Act I, scene 1, of Orfeo, the trombones play softly with the alto trombone and viola doubling their parts.
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Fig. 31. Gluck, Orfeo ed Euridice4
3 This scene takes place at the tomb of Euridice.
W.41. Gluck, Orfeo ed Euridice,. Act I, scene 1, p. 1. Vienna version (miniature score) published by Artarial & Co. 1914. 50
Figure 32 illustrates the use of trombones for doubling,
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Fig. 32--**Gluok, Orfeo ed Euridiae5
5i.10p. 23. 51
Gluck frequently used his trombones in doubling the alto,
tenor,, and bass voices of the chorus (as seen in Figure 32).
The main consensus of the period seems to be that the
trombone,, when used, should be utilized for its powerful
brass tone. This is true in the following works of Gluck: Overture to the opera Aljeste6 (1769),, Iphigenie en Aulide7 8 (1772),, "Sclaventanz" from Iphijnie en Tauride (1779) in
the Ballet-Suite from BalletstQke auspn9 After Gluck,, there was another period in which composers
were reluctant to incorporate the trombone in their music.
An example of this may be seen in the works of Franz Joseph
Haydn (1732-1809). This man who did so much for the advance-
ment of the symphony orchestra,, used the trombones in only
one work, Di Jahreszeiten. Figure 33 shows a five-measure
excerpt from this work:
6C. W., Cluck,, Alceste, edited by Walther Vetter (miniature score).
Gluck, Iphipnie en Aulide,, Eulenberg (miniature score).
8 1n the opera Iphipenie en Tauride, Gluck also reserves the trombones for solemn and especially supernatural effects, for example: Act II,, scene 4, Ballet and chorus of "furies." More examples are found on the following pages: 133, 136, 150, 172, 206. This score is published in Leipzig by Eulenberg. 9 Cluck, "Sclaventanz," Iphipe/nie en Tauride, Balletstucke a Ope, edited by FelixiMottl, Vol. II, p. 12. 532
-.100,0000000
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Fig. 33--Franz Joseph Haydn, Die Jahreszeiten 1 0
Wolfgang Amadeus Mozart (1760-1791) utilized the trombone only four times, but each time, it was in such a way as to mark a very important peak in the trombone literature of this period. In Don Govanni (1787), ,he tUses the trombones only once, and that is at the end of the opera in Act II, scene 15, where the statue (Commendatore) comes to life and drags Don 11 Giovanni to hell to pay for his evil deeds. In this scene, he employs the trombones to suggest the supernatural by a series of chords, depicting the statue and the devils associ- ated with it. 12
1 OFranz Joseph Haydn,, Die Jahreszeiten,
"Edward J. .Dent, "Don Giovanni," fMozart's 9perasi pp. 169- 171. 1 2 Ibid MONOd 53
" r Thaw, Jim I
Fig . 34*lv-W. A*. Mozart, D___.. ,Doniovanni-oann
This theme is heard only when the statue is present on the stage, and is omitted, even when the same thematic material is heard, in the overture.
Dent has this to say about the use of the trombones in the music of Mozart:
In practice it is always very difficult to bring them in exactly right and to secure the proper balance of musical color, not only in the chords themselves, but in their relation to what precedes them. At rehearsal, Mozart him- self had trouble with the trombone players,, and hastily added the parts for oboes and bassoons to safe ard them in case they went wrong. . . . They Ctrombones are as foreign to the normal orchestra as the organ is in Robert le Diable, Loheng-rin, or Meistersin er. In all operatic church scenes, the indispensable organ is a stage property, and not part of the orchestra, and the trombones in Mozart's day beloved normally to the church and not to the theatre at all.
1 3 Wolfgang Amadeus Mozart, Don Giovanni,, Finale, scene 15, pp. 588-589. Score published by Ernst Iulenberg, Leipzig,
14Dent, "Don Giovanni t Mozart's Operas, p. 169. 54
Mozart also u ses the trombones briefly in the opera I1omeneol5 (1781) while in Die Zauberf1 te (1791) he uses them more frequently (see Figure 35)
I
d"4--k m -f -mm-
Fig. 35-Mozart, Die Zauberil~te, Zweiter Akt16
5Mozart,, Idomeneo. (included in Wolfan Amadeus Mozart's Werke, Kritisoh durchagesehene G-esammtausgabe), Vol. VIII, p. 294. Mozart, Die Zauberflote, Zweiter Akt, p. 117{ (d.. 55
It is in the Requiem (1791), however, that Mozart indi- cates that he has full understanding of the music that the trombone is capable of playing.. The "Tuba mirum: o pens with tenor trombone and bass voice solos (see following example):
-- b'w-m- r - -, - -o - -
17 L W -- Mozart, Tuba.mir....Re.ui..(ibid..) -"Ar rL-.
17Yiozart, " Tuba mirum, " Requaie (ibid.) 56
-A APF- Aff
JA,
-J- ,
%W Fp
L
tIu bcx uvrlLrn sprq - peC s in-- i
MW 7--- W mv ' 111161'. 1
hwA A AP
NO (1.
------U w p-ii~ *1 or ro
z-. * , - .-
p '4'. 57
lb a - p ' w p -A- s- m-- - - ~ -- -. ------r - -I'-'
- - * -- 1 - -
I I %W
I h
- - r -- .. s- , s. - A-L
-- c e--nu C- ge0 - Ian
- manaimaLJA
4tl
-~ve9, Co - le
r '-l-r
Asa
.. Nam#. .. .1...... -|.II1,J-II I.,IIiIIII=lip
lCm A Ad- -h
- - +' r. ~L- ~Aid&
IIII I lip,
Fig..36-Mozart, "Tuba mirum, Requiem 58
In the beginning of the Requiem,; he again doubles the alto,
tenor,, and bass voices with the three trombone parts, formu*
lating a technically difficult part, as shown in Figure 37.
1 .1 - I I I II 19 1 _WWI -0 , I w 11 -1 W aLit d16 - " . t ! 1 t a fkam t 1 r ff , - I -f P 0 F ff, 'W'' W *- m - M, IV. IV, ION, Iw -Ji-m- -j o -I-V I Ma sr bon 4.L
MAM
vkof) I I R4 Q~' -tear
9 ~ -A do- -
-d T n -t- e--
-et-- c-'r-. --ov'
eirrNa.,jv c- e'St o.& e - do-np. - iS
131 dhO. d x e - ~ - -n a ......
ozart Requiem ibidd.), mm. 36-4l. 59
Figure 38 illustrates Beethoven' s writing f or the trombone:
AA
14 I dm -P )I p._ _ _
~eseene,Vl.VI, p 52 60
Certainly the highest peak of trombone literature was reached by Ludwig von Beethoven (1770-1827) for it was he who took the trombone and made it an integral part of the symphony orchestra. It is the fact that he treated the trombone as an orchestral instrument rather than the music he wrote that makes him important to this study.
Actually, the trombone parts of the fifth (see Figure 38) and sixth symphonies are not out of the ordinary other than the fact that the great master used them. However, in the famous SyMQhony No. 2, in the last (or choral) movement, he doubles the bass trombone, violinoello, contrabass, and bass voice in the stirring theme that is so well known (see following example). 61
~w. ______I ~ 4 ~ 4 ______A T~. ______-~ ______U' I I I______II f -[1 ______ID 1(1,
I I 6 010 . w4 --
- --o-l le iliimili -
- - e 12:--- su p
I - ______I__VAL
4 - Je.se~ Ih--e-'S
I ,
Fig* 39-.Beethoven Symphony No. 20
He continues this movement by bringing in the flutes, oboes, clarinets, and bassoons, as illustrated in Figure 40.
2 0 Beethoven,, ,Symphony No ibidd.) Vol. III, P. 234. 62
'a 4-JAL I Ae--, i~~ .- L
-. *' 7% '1-@
VIMI
Mm& IL11'2 a IL-
I - -a- '" I -V - - -I- it -r .dam - , Y. IUI-
Fig. 40-mwBeethoven, Symphony No. 921
It is interesting to note that in the three Leonore overtures, Beethoven uses the trombone in Leonore Nos. ,2 and (see Figure 41) but not in Leonore No. 1.
2 1 Ibid. 63
.v. -----
Fig. 4l-B honOverture to the opera Fideio (LWonore N. . ).
The Maes (Missa Solemnis) gives a good insight on the use of the trombones in the church music of' Beethoven (see following example).
Beethoven, Leonore Overture No. 2 (miniature score, Ernst Eulenberg, Leipzig), p 6 64
wyl
711 40 Lilt Ul lk i
AM
loPm
Now"
Poo-
7~! . 4 u~~*-IM Z 4" - :: wJ or zu ' . K mm,'-I -
40 -r 'RIF,
Iona w -- _. -&-- I ITto too
Imp ifi mm "mom
1 4
moomom"
mom. --- I men -MAMAX77 0
Fig. 42a-Beethoven, Mass (Missa Solemnis )
To close this section on Beethoven's use of the trombone, it is appropriate that examples from works calling for four trombones exclusively are used. These three Equali (without opus numbers), written by Beethoven,24 are still an important part of trombone ensemble music today. See the following figures, Nos. 43, 44, and 45.
23Beethoven, Mass (included in Ludw von Beethoven' s Werke vollstandige kritisch durchgesehene), Vol. XVIII, p. 68. 240ontemporaries of Beethoven who used the trombone were Luigi Cherubini (1760-1842), Carl Maria von Weber (1786-1826), Francois Adrien Boieldieu (1775-1834), and Louis Spohr (17841- 1895). Examples of their works may be found as follows: Luigi Cherubini,, Anakreon Overture (1803), Ernst Eulenberg, Leipzig; 65
--.-- I-- -
WE Amp
-T __- d
Fig. 43--Beethoven, Three Equali for four trombones, No. 1.25
Cherubini,, Die Abengerragan (1813), Ernst Eulenberg, Leipzig; Carl Maria von W r,,7Silvana Overture (1810), Ernst Eulenberg, Leipzig; Weber, Abu Hassan (1811), Ernst Eulenberg, Leipzig; Louis Spohr, Jessanda Oyerture (1823), Ernst Eulenberg, Leip- zig; Francois Adrien Boieldieu, La Dame Blanche (1825), Ernst Eulenberg, Leipzig.
25Beethoven, Three Equali for four trombones (ihelugpd nL i von Beethoven's Werke, vollstandige kritisch durchgeseheni)~, Vol. XXIV, ~~35-316. 66
Fig. 44~4Beethoven,, Three Euali for four trombones, No. 2.2
4F
6.1
10 WF 10 1-
I
Am-______AD____
-L, I
Fif. 45*--Beethoven, Three Equali for four trombones, No. 3.2
26Ibid. 27( Ibid. Beethoven also makes use of the trombone in the following works, all of which are contained in LudwI vyon Beethoven' s Werke, vollstandige kritisch durchgesehene: pho No.T6 ("Gwitter Sturm"), Vol. II; Christus Am Oelberge, Oratorio, Opus 85, Vol. XIX; Wellinmton t s $Sieg oder die Schlacht 67
The use of the trombone in the symphonies of Franz
Schubert 2 8 (1797-1828) is usually confined to the somewhat traditional manner of "fortzando" and "fortissimo" effects2 9
(see Figures 46 and 47.
Fig. 46--Franz Schubert,, Symphony in B minorP 0
bei Vittoria, Op. 91, Vol. IV; Die Ruinen von , Op. 113, Vol..XXI; Marsch und Chor aus dem Fest und Nachoplel Die Ruinen von Athen, Op. 114, Vol. XXIj;Koni5 tephan Overture, Op. 117, Vol. XXI; -Der Glorreiche Auenblick antate, Op. 136, Vol. XXII; Militar-Marsch(1816, Vol. IV; chlussgeang aus .dem Satriotschen Sigtel Die Ehrenpforten Vol. XXI.
2 8 Schubert also used trombones in the following works, all of which may be found in Franz Schubert's Werke, kritisch durchgesehene Gesammtausgabe: Tabat Mater in .T(113); Graduale "Benedicte es DominedI(67EEa)tlMater in F (1816); Tantum ergo (1816); D Minor Overture (T8TT) E Mino'rOverture (1819); Alfonso und Estrella (1823); Symphony No. (fl T.
29However,, inS No. , m. 70, he uses the trombones in a passage marked piano."~~~Franz Schubert's Werke, kritisch durchgesehene Gesammtausgabe, Vol. I.
30Franz Schubert,. Symphony in B minor ("Unfinished"), p. 6 of Franz Schubert's Werke, kritisch durchgesehene Gesammtaus- gabe, Vol. I. 68
pro
FAg, 4A-Ehut ymhn n i
Eine kleine Trauermusik (1813) for two clarinets, two bassoons, contrabassoon, two horns, and two trombones,, is one
of Schubert's most important contributions toward the musical
literature of the trombone, Since the work is rarely per-
formed., a more extensive example than usual is given below:
I-
3 7I0 d . I9.I 69
- 7
ip q4
AW
loft
low A r P I -7
-7-7
- 7 - d 70
mom v'f 71 4, _7 DME. AlIkIL X 'daL,- 'j
'Sam-
I- IT-7JL r_-
77 La Ailt
RON- lo"
7-7 7-,- 7- 77 :'-M
J
Fig. 48--Schubert, Eine kleine Trauermusik 3 2
The sacred, rather than the secular, music of Schubert
f emulated his most important contribution to this study.
In the following examples, it is to be observed that more
often than not, the trombones give chordal support to the
chorus rather than emulating the exact rhythm of the voice
parts (as did most of the composers of sacred music, who used trombones, from Schutz through Miozart))3 The following
examples (Figures 49-52) are from Schubert's sacred music.
3 2 Schubert, Eine kleine Trauermusik, Lb. Vol. XXI, .P- 33see Figure 37. 71
- s 4 - - [- JLI.' - lop . I a 1. .- .11 , -, I . I Xl
limp 10 lim p q
f 11- r~ C, t 1I I1t T7
in- -e- -
I I
i L p
L )6I
qI9~'*~ 1 U nc--t spVi --
r0 iF & 9104)
Fig. 49--Schubert, Mass in F (1814)34
"chubertchube...... "Gloria," Mass in Fp. 5 ibid...... s Vol. XIII. 72
TQG
49
-t-Aer
i 4
f a F j W-0-00116%,7-~ ~
-Ier-0 -4- -iI- I
- 4-
- A A
d Ces-a- -
e-oe-
org_- I-
Fig. 50--Schubert, An1n35
MOM
-"'5Schubert Anh momI Dona nobi s" ).j tbid. v Vo 1 11, P 196. 73
TVT
44
M M4Em
In77-i rnzShbr'sWekVl I . iIL6 I*-*
Fig.. 521--Schubert, Zur Feter des heiien pfers der
Mwesse nebet einem Anhane: Das (ebet des Herrn. S, T----e- .. r W kl 74
op
-AID
oe
Olv
MW.W.2 P.m NL. M il. j. i
.4f -o. s4; s o- i- - - da r
Fig. 52-~Schubert, Offertorium (1825)37
3 7 Schubert, Offertorium ("Tres untt), ib...... 1,,ol .xIv p.4. 75
In the musical periods following Schubert, the advent of the trombone in symphonic orchestras and literature became an established fact. The trombone today is an accepted mem- ber of .the symphonic orchestra, and as the proficiency of the players has increased, the composers have written better and more characteristic parts for this instrument. BIBLIOGRAPHY
Books
Apel,, Willi, Harvard Dictionary of Music, Cambridge, Mass., Harvard University Press, 1950. Arend, Max, Gluck, Berlin,, Schuster and Loeffler, 1921.
Bessaraboff, Nicholas, Ancient European Musical Instruments, Boston, published for The Museum of Fine Arts, Harvard University Press, 1941.
Besseler, Heinrich, Musik des Mittelalters und der Renaissance, Handbuch der Musikwissenschaft, Vol. II,~VIII, New York, usurgia, 1931.
Bukofzer, Manfred F.., Music in the Barocque Era, New York, W. W. Norton and Co., Inc., 1947.
Burney,, Charles, A General History of Music, Vol., II, New York, Harcourt, Brace and o., 1935. An Account of the musical Performances in Westminster- bey and the Pantheon in Commemoration of Handel London, printed for the Benefit of the Musical Fund, 1785.
Care, Adam, Historyof Orchestration, London, K. Paul, Trench, Trubner,, and Co., Ltd.; New York,, E. P. Dutton and Co., 1925.
Musical Wind Instruments, London, Macmillan and Co., Ltd., 1939.
Dahms, Walter, Schubert, Berlin and Leipzig, Schuster and Loeffler (n.d.).
Davisor A. .T. and Apel,, Willi, Historical Antholog of Music, Cambridge,, Mass.,, Harvard University Press, 194.
Dent,, Edward J.,, Mozart's Operas, London, Oxford University Press, 1947.
Elson,, Arthur,, Orchestral Instruments and Their Use,, Boston, The Page Co., 1923.
76, 77
Engel,, Lehman,, Renaissance to Baroque, Vol., I, New York, Harold FlammerFo., Inc., 1942.
Flower,, Newman,, George Frideric Handel, London,, The Waverly Book Co., Ltd., 1923.
Forsythe,, Cecil,, Orchestration, 2nd edition London, Macmillan Co., 1936.
Galpin, Francis W., Old Enflish Ins truments off Music, 3rd edition revised, London, Methuenando., Ltd.(n.d.).
Goldman,, Richard Franko, The Band's Music, New York,Pitman Publishing Co., 1938.Yk
Grove, George, Beethoven and His Nine Symphonies, London, Novello and Co. (n.d7
Haas, Robert, Aufftihrunpspraxis, Handbuch der Musikwissen- schaft, Vol, II, VIII, New York,, Musurgia, 1931.
Kappey, J. A.,,A Short History _of' Militay Music, New York, Boosey and Co., 1894.
Kinkeldey, Otto, rpel und Klavier in der Musik des 16 Jahrhunderts, Leipzig, Breitkopf and HiWtil, 1910. Kinsky, 'George, AHistory of Music in Pictures, New York, E. P., Dutton and Co.., 1930.
Lang,, Paul Henry,, Music in Western Civilization, New York, W. W. Norton hT0o., Inc., 1941.
Lavignac, Albert,, Music and Musicians, translated by William Merchant, New York,, Henry Holt and Co., 1903.
Menke, Werner, Histoxy of the Tmpget of Bach and Handel, translated by Gerald Abraham, Lon-don7~W.~ Weves,,1934.
Panoff,. Dr. Peter,, Militarmusik in Geschichte und Gegenwort, Berlin, Karl Sigismund, 1938.
Praetorius, Michael,, Syntama Musicum, translated by Harold Blumenfield, Vol..II (De Ornographia), Part I and 2, New Haven, Conn.,, The Chinese Printing Press, Yale Uni- versity, 1949,
Prunieres, Henry,, Monteverdi,, translated by Marie D. Mackie, New York, . P. Dutton and Co. 78
Pulver, Jeffrey, A Dictionary of Old English Music and Musical Instruments, INew York,, E. P.~TUtton and T,1927.
Sachs, Curt, The History of Musical Instruments, New York, W. W. Norton and Co., Inc., 1940.
Terry, Charles S., 'Bach's Orchestra, London, Oxford University Press,. 1932.
Van den Borren,, Charles, Guillaume Dufay, Son Importance dans L'Evolution de la 4usique au. XVe Si cle, Brussels,. Marcel Hayez,, 1925.,
Articles
Cobbett's Cyclopedic Survey of Chamber Music, Vol.. II, 1930. Article, "Schubert."
Encyclopedia of Music and Musicians, edited by Parkhurst and DeBekker,1927. Article,."Sacbut."
Galpin,, Francis -W.,, "Trombone," Grove's Dictionary of Music and Musicians, edited by H. .TColles,. Vol. IV, 193.
Grove's Dictionary o fMusic and musicians, 3rd edition, Vol, II Article, "DraghiJeio VlI
Grove's Dictionary of Music and Musicians, 3rd edition, Vol. II. Articler,-ammersEchmidt.
Grove's Dictionary of Music. and Musicians, 3rd edition, Vol. . II. Artile, Haiel.t
Grove's oDietofMusic and Musicians, 3rd edition, Vol. III. Article, "Monteverdi.
Grove's Dictionary of Music and Musicians, 3rd edition. Vol. IV. Article,,Ehubert"
Lavignac, Albert, "Triomphe de Maximilian" (Illustration), Histoire de la Musigue, Vol. Premiere Partie,, 1921. Schlesinger, Kathleen, "Sacbut, "Encyclopedia Britanniaa, lth edition,, VolXXIII-XXIV. "Trombone," Encyclopedia Britannica, llth edition, Vol. XXVII*XXVIII. 79
Micro-Film
Benevoli,, Orazio,aFestmesse und Hymnus, Vienna,, Denkmaler der Tonkunst in Osterreich,~Vol. XX (Jahrgang X/1), Artaria and Co., 1903.
Buxtehude, Dietrich, "Ihr lieben Christen, freut euch nun," Abendmusiken undNKircienkantaten, edited by Max Seiffert, Leipzig,. Breitkopf and H&rtel,, 1903. Draghi, Antonio, Kirchenwerke, Denkmaler der Tonkunst in Osterreich, edited by Guido Adler, Vol. 46 (Jahrgang XXIII/I), Leipzig,, Breitkopf and Hirtel,, 1916.
Fux, Johann Joseph, Instrumentawerke L, edited by Guido Adler, Denkmaler der Tonkunst in Osterreich, Vol. XIX (Jahrgang IX/2), Vienna, Artaria and Co., 1902.
Hammerschmidt,, Andreas, Dialogi oder Gesprache einer Glaubigen Seele mit Gott, edited by Hugo Leichtentritt, Denkmiler der Tonkunst in Osterreich, Vol. XVI (Jahrgang VIII/i) Leipzig, Breitkopf and Hirtel, 1910.
Handel, George Friederich,, Saul, Leipzig, Breitkopf and Hartel.
Israel in Egypt, Leipzig, Breitkopf and Hartel.
Haydn, Franz Joseph, Die Jahreszeiten, F. J. Haydn's Werke, Leipzig, Breitkopf and HArtel, 1907,
Monteverdi, Claudio, Orfeo, Tutte ls Opera, Vol. XI of Complete Works, edited by G. Francesco Malipiero; Vienna, Universal Edition,, Asolo, G. F. Malipiero, 1926-1942.
Mozart, Wolfgang A., Don Giovanni, W. A. Mozart's Werke, Kritisch durchgesehene Gesammtausgabe, Leipzig, Breit- kopf and Hrtel. Die ZauberflOte, W. A. Mozart's Werke, Kritisch durch- gesehene Gesammtausgabe, Leipzig,, Breitkopf and Hgrtel.
Requiem, W. A. Mozart's Werke, Kritisch durchgesehene Gesammtausgabe, Leipzig, Breitkopf and Ha.rtel.
Pezel,, Johann,, Turmmusik und Suiten, edited by Ernst Hermann Meyer, Leipzig,, Breitkopf and Hrtel,, 1928.
Turmsonate, edited by Arnold Schering in Geschichte der Musik iti Beispielen, Leipzig, Breitkopf and L&rtel,, 1931. 80
Reiche, Gottfried, Turmsonate,, edited by Adolph Mueller, Vierundzwanzig neue Quatricinia, Dresden, A. Ferdinandstr, 1927.
Schubert, Franz, Franz Schubert's Werke, Kritisch durch- gesehene Gesammtausgabe, Leipzig, Breitkopf and HArtel, from which the following works were used: 1814-1828
Anhan I ("Dona nobis"), Vol. II. Eine kleine Trauermusik, Vol. XXI. wliril"Mass in F, Vol. VIII. Offertori TresTT:rssunt), Vol. XIV. Symphony in B minor, Vol. I. iur Feier~des heiligen Opfern der Messe nebst einem "(nhange:TasUGebet des Herrn,~Vol. II
Schutz, ,Heinrich, Sammtliche Werke, edited by Philip Spitta, Leipzig,, Breitkopf and Hartel, 1885-1927,
Scores
Bach, Johann Sebastian,, Ach ot~tsnchHimmel h darein, Cantata No.. 2, Vol. I of Johann Sebastian Bach's erke, Leipzig, Breitkopf and Hartel; Ann Arbor, Mich., J. W. Edwards, 1947. Es ist nicht's Gesundes meinem Leibe, Cantata No. 25, 1Vol.~V of Johann Sebastian Bach's Werke, Leipzig, Breitkopf and Hartel; Ann Arbor, Mich., J, W. Edwards, 1947. Beethoven, Ludwig von, LudwiR von Beethoven's Werke, Voll- standige kritisch durchgesehene, Leipzig, Breitkopf and HIrtel; Ann Arbor,, Mich., J. W. Edwards, 1949, from which the following works were used:
Mass (Missa Solemnis) Overture to Fidelio ("Leonore No. 3") Symphony No. Symphony iNo.2 ThreeE for four trombones, Nos- 1, 2,. and 3 Boieldieu, Francois Adrien, Die Weisse Dame (La Dame Blanche), Leipzig,, Ernst Eulenberg. Caccini,, Francesca,, La Liberazione di Rugpiero,, edited by Doris Silbert, Smith College Archives, 1945. 81
Cherubini,, Luigi,, Anakreon Overture, Leipzig,, Ernst Eulenberg. Die AbencerrP;en,, Leipzig, Ernst Eulenberg.
Les Deux Journees Overture, Leipzig, Ernst Eulenberg.
jedee Overture, Leipzig, Ernst Eulenberg.
&abrieli, Giovanni Canzon septimitoni No. 1, revised and edited by R. D. King, New York, Mercury Music Corp., 1948.
Sonata p e forte, edited by Fritz Stein, Leipzig, c. F. Peters, 1932.
Gluok, Christoph Willibald, Balletstcke aus Opern, edited by Felix Mottl, Vol. II, Leipzig, C. F. Peters.
Iphigenie en Tauride, Leipzig, Ernst Eulenberg. Orf eo ed Euridice, Leipzig, Ernst Eulenberg.
Lassus, Orlando di, Providebam Dominum, edited by R. D. King, North Easton, Mass., Music for Brass.
Lully,, Jean Baptiste, The Cope Works of Jean-Baptiste Lully, Vol. I-X, edited by Henry PrunThres, Paris, Editions de la Revue Musicale, 1939.
Spohr, Louis, Jessonda Overture, Leipzig, C. F. Peters.
Weber, Karl Maria von, Abu Hassan Overture, Leipzig, Ernst Eulenberg.
Der Beherracher der Geister Overture, Leipzig, Ernst Eulenberg.
Der Freischutz,. Leipzig, Ernst Eulenberg.
Euranth Overture, Leipzig, Ernst Eulenberg.
Oberon, Leipzig,, Ernst Eulenberg.
Silvana Overture, Leipzig, Ernst Eulenberg.