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).

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