Happy Halloween!

RiedtI don’t have any trombone history entries or images on Halloween, per se, but this depiction of a carnival procession from 1589 includes a trombone and involves some fairly elaborate costumes. The image, by artist Nicolas von Riedt, is titled Fastnachtszug and originates from Basel, Switzerland (Salmen, Musikleben im 16 80-81).

Trombone Image: 19th Century Parisian Orchestra

Added the following image and entry to the 19th Century Trombone History Timeline (2nd half):
XIR63425c. 1883—Paris, France: Jean Beraud’s painting, The Box by the Stalls, offers a view, through a patron’s box seat, of a Parisian orchestra. Included is a clear depiction of a trombone (see facing image; public domain).

Trombone History: More 18C Timeline Updates

Added the final entries from Stewart Carter’s “Trombone Obbligatos in Viennese Oratorios of the Baroque” to the 18th Century Timeline. In contrast to those of the earlier post, these entries don’t involve alto trombone.

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1704—Vienna, Austria: Marc’ Antonio Ziani’s aria, “Quel sembiante” from Il mistico Giobbe, features solo soprano voice with trombone obbligato (Carter, Trombone Obbligatos).

1705—Vienna, Austria: “Alme ingrate,” an aria from an anonymous, untitled sepolcro, features solo soprano voice with trombone obbligato (Carter, Trombone Obbligatos).

1706—Vienna, Austria: Marc’ Antonio Ziani’s La morte vinta sul includes 3 arias that feature trombone as an obbligato instrument (Carter, Trombone Obbligatos).

1707—Vienna, Austria: Marc’ Antonio Ziani’s aria, “Non é giunta” from Il Sacrifizio d’Isacco, features solo tenor voice with trombone obbligato (Carter, Trombone Obbligatos).

Trombone History Timeline Updates

Added the following entries, primarily to the 18th Century Timeline, from info contained in Stewart Carter’s excellent article, “Trombone Obbligatos in Viennese Oratorios of the Baroque” (Historic Brass Society Journal, 1990). I also added the entries to the Alto Trombone History Timeline, as they all include alto trombone.

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1694—Vienna, Austria: Antonio Draghi’s aria, “Si spezza il suolo” from Il libro con sette sigilli, features a trombone obbligato and is scored for bass voice, alto trombone, and bassoon (Carter, Trombone Obbligatos).

1708—Vienna, Austria: Marc’ Antonio Ziani’s aria, “Se dei pur senz’ aita” from La passione nell’orto, features an obbligato alto trombone and is scored for alto voice and alto trombone (Carter, Trombone Obbligatos).

1716—Vienna, Austria: Johann Joseph Fux’s aria, “Vedi che il Redentor” from Il fonte della salute, features soprano voice and obbligato alto trombone (Carter, Trombone Obbligatos).

1717—Vienna, Austria: Antonio Caldara’s aria, “Quell’amor” from Santa Ferma, features soprano voice and obbligato alto trombone (Carter, Trombone Obbligatos).

1718—Vienna, Austria: Johann Joseph Fux’s aria, “Dal limbo” from Cristo nell’orto, features obbligato alto trombone and is scored for alto voice, alto trombone, and 2 violins (Carter, Trombone Obbligatos).

1718—Vienna, Austria: Francesco Conti’s aria, “Mia compagna io la credea” from La colpa originale, features alto voice with alto trombone obbligato (Carter, Trombone Obbligatos).

1719—Vienna, Austria: Johann Joseph Fux’s aria, “Da Christo ch’é pio” from Gesu Cristo negato da Pietro, features alto voice with alto trombone obbligato (Carter, Trombone Obbligatos).

1720—Vienna, Austria: Johann Joseph Fux’s aria, “O beata l’alme” from La cena del Signore, features soprano and alto voice with alto trombone obbligato (Carter, Trombone Obbligatos).

1722—Vienna, Austria: Antonio Caldara’s aria, “Quando amato” from Il Ré del dolore, features tenor voice with alto trombone obbligato (Carter, Trombone Obbligatos; Selfridge-Field, Caldara 138).

1723—Vienna, Austria: Giuseppe Porsile’s aria, “La sovrana eterna” from Il trionfo di Giuditta, features alto voice with alto trombone obbligato (Carter, Trombone Obbligatos).

1723—Vienna, Austria: Francesco Conti’s aria, “Fuggo d’una in altra selva” from Il David perseguitato, features alto voice with alto trombone obbligato (Carter, Trombone Obbligatos).

1724—Vienna, Austria: Antonio Caldara’s arias, “Deh scogliere” and “Languire, morire” from Morte, e sepoltura di Christo, feature obbligato alto trombone with solo voice (Carter, Trombone Obbligatos).

1725—Vienna, Austria: Antonio Caldara’s aria, “Qual del Libano” from Le profezie evangeliche di Isaia, features alto voice with alto trombone obbligato (Carter, Trombone Obbligatos).

1726—Vienna, Austria: Antonio Caldara’s aria, “Cosí a fiume” from Joaz, features solo alto voice with alto trombone obbligato (Carter, Trombone Obbligatos).

1726—Vienna, Austria: Johann Joseph Fux’s aria, “Venite, angioli” from Il testamento di nostro Signor Gesu Cristo al Calvario, features soprano and alto soloists with alto trombone obbligato (Carter, Trombone Obbligatos).

1727—Vienna, Austria: George Reutter’s aria, “Io ti do” from Abele, features solo alto voice with alto trombone obbligato (Carter, Trombone Obbligatos).

1728—Vienna, Austria: Johann Joseph Fux’s aria, “Chi ti conosco” from La deposizione della croce, features alto trombone in an obbligato role (Carter, Trombone Obbligatos).

1728—Vienna, Austria: George Reutter’s aria, “Offesi, il veggo” from Elia, features solo alto voice with alto trombone obbligato (Carter, Trombone Obbligatos).

1728—Vienna, Austria: George Reutter’s aria, “Quanto t’offesi” from Bersabea, ovvero il pentimento di David, features solo tenor voice with obbligato alto trombone (Carter, Trombone Obbligatos).

1729—Vienna, Austria: Antonio Caldara uses alto trombone as an obbligato instrument to accompany soprano voice in “Dio, qual sia la ria sentenza” of his oratorio, Naboth (Selfridge-Field, Caldara 138; Carter, Trombone Obbligatos).

1730—Vienna, Austria: Antonio Caldara uses alto trombone as an obbligato instrument with soprano voice in “Dovunque il guardo” of his oratorio, La passione di Gesu Cristo (Selfridge-Field, Caldara 138; Carter, Trombone Obbligatos).

1731—Vienna, Austria: Antonio Caldara uses alto trombone as an obbligato instrument in his aria, “Dal tuo seglio luminoso” from Santa Elena al Calvario (Carter, Trombone Obbligatos).

1731—Vienna, Austria: Antonio Caldara’s aria, “Del fallo m’avvedo” from La morte d’Abel, features alto voice with obbligato alto trombone (Carter, Trombone Obbligatos).

1733—Vienna, Austria: Antonio Caldara uses alto trombone as an obbligato instrument the aria “Buon Gesú” of his oratorio, Gerusalemme convertito (Selfridge-Field, Caldara 138; Carter, Trombone Obbligatos).

1734—Vienna, Austria: Antonio Caldara uses alto trombone as an obbligato instrument the aria “Dov’é giá sviene” from his oratorio, San Pietro in Cesarea (Selfridge-Field, Caldara 138; Carter, Trombone Obbligatos).

1734—Vienna, Austria: George Reutter’s aria, “Ah se o da vivere” from Gioas, Ré di Giuda, features solo soprano voice with obbligato alto trombone (Carter, Trombone Obbligatos).

1738—Vienna, Austria: Luca Antonio Predieri’s aria, “Dio sol ne porge aita” from I Sacrificio d’Abramo, features solo alto voice with alto trombone obbligato (Carter, Trombone Obbligatos).

College Professor Among Best Jobs in America

I was a little surprised to see College Professor listed as #3 in Money Magazine’s “50 Best Jobs in America” (Nov 2009). I love my job, but I have never really seen it as one of those high-paying or “trendy” careers that often fill these kinds of lists. The rankings are based on several criteria, including pay, job growth, and quality of life. Here’s a link to an online version of the article.

Learning the Alto Trombone

I added a new page, Learning the Alto Trombone. Drawn from my own playing experience, research, and 10 years of full-time college teaching, it offers a few suggestions for learning the alto trombone.

Note from Adam Woolf, His Majestys Sagbutts & Cornetts

Adam WoolfI got a nice note about the site from Adam Woolf, alto and tenor sackbut player in His Majestys Sagbutts & Cornetts and a number of other prominent early music ensembles. He is currently working on a sackbut tutor, the first of its kind. Please check out his excellent website–many sound clips of beautiful sackbut playing!

Where do you come up with this stuff?

One of the most commonly-asked questions resulting from this site is “Where do you come up with this stuff?” (read: “Why don’t you get a life?”). The reply is that I enjoy collecting this stuff, and, like a lot of collectors, I don’t mind a little browsing and detective work. It kind of goes like this: browse, read the footnotes, follow up through library/Worldcat/Interlibrary Loan, scan (if necessary), repeat. Interspersed in the above pattern are practice sessions and pleadings from my wife to please move some of my books & junk out of the office. The life of a nerd-trombonist…I like it!

Trombone History: 17th Century Ensemble

Added the image below to the 17th Century (first half) timeline. Seems like the trombone’s always in the back…(see also here).

anon 17C1600s—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).

Jazz Trombone History: Miff Mole

Added the following to the 20th Century Trombone History Timeline:

Mole1922—New York trombonist Miff Mole records with the Original Memphis Five, of which he is an early member. He later becomes one of the most active freelancers in New York City, eventually joining the NBC Orchestra and performing under Toscanini. His continued activity in jazz leads to extensive recording with Red Nichols, in addition to performances with such jazz notables as Paul Whiteman, Benny Goodman, and Bix Beiderbecke. Credited with the expansion of technique in early jazz trombone playing, he develops a cleaner, more technical approach than the New Orleans “gut bucket” style (see facing image; public domain) (Dietrich 30).