Trombone
Updated the entry below from the 17th century timeline (first half) with a color image and exact date. Also of interest is the fact that the painting is an altarpiece, one of many featuring trombone images.
1616—Bologna, Italy: Ludovico Carracci’s Paradise, an altarpiece painting located in the Church of San Paolo Maggiore, features an angel-trombonist situated prominently among a group of angel-musicians (see below detail and full image; public domain) (Komma 109; Emiliana 167).
What do trombone history and the Christian adoration of the magi have in common? Well, I came across this painting recently, which has been added to the 17th century trombone history timeline (first half), offering yet another example of an angel trombonist from the early 17th century. Another common theme the painting belongs to, besides the angel idea, is the historical depiction of trombone in altarpieces; for more on this subject, see here.
1606—Innsbruck, Austria: Paolo Piazza’s Adorazione dei Magi, an altarpiece painting in Innsbruck’s Kapuzinerkirche, depicts many angel musicians, including an angel trombonist (see upper-left of image below; public domain) (Panchieri 43).
Added the following to the 16th century timeline, possibly the first non-Italian depiction of the trombone. Below the first two images and caption I’m also adding here an image I didn’t include in the timeline–I wider shot that includes the church’s organ as well.
trombonist angel, Abbey Eglise Saint-Pierre et Saint-Paul, Gonesse
angel musicians, Abbey Eglise Saint-Pierre et Saint-Paul, Gonesse
1508—Gonesse, France: In what may constitute the earliest non-Italian visual depiction of the trombone, a painted panel on the organ balcony at Abbey Eglise Saint-Pierre et Saint-Paul features an angel-trombonist. Other instruments depicted include viol, shawm, crumhorn, harp, lute, and organ (see detail, top, and full image, below; public domain). Click on full image for larger version (Fischer, Organology; Luri, Les Anges).
wide view, angel musicians and organ, Abbey Eglise Saint-Pierre et Saint-Paul
I’ve recently added quite a few images of trombone sculptures on organs to the Trombone History Timeline. The dates of origin of these sculptures are difficult to nail down, as the organs on which they are housed tend to have multiple re-builds and renovations throughout their given histories; it is very likely that I have some of the dates wrong. Nonetheless, they make an interesting little collection of images. The commonalities are 1) with one possible exception, they all appear to depict angel-trombonists, and 2) with one exception, they all originate from Germany. Obviously, the importance of the trombone in German sacred music (and the German religious tradition in general) is a likely factor.
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1643—Berne, Niedersachsen, Germany: Renovations of the organ at St. Aegidius Church are completed by Harmen Kröger. It is probably at this time (or possibly at the 1714 renovation by Christian Vater) that a sculpture of a trombonist is added to the organ case (see below image; public domain) (Seggermann 29, 53).
1658—Schöningen, Germany: Jonas Weigel completes the organ for St. Vincenzkirche, which includes a sculpture of an angel-trombonist on the organ case. The angel-musician on the opposite side plays the cornetto (see detail and full image below; public domain).
1697-1703—Görlitz, Germany: Eugenio Casparini’s famous organ in the church of St. Peter und Paul features decorative sculpures of angels sitting atop the pipe structure. Each angel holds 2 instruments; 2 of the angels, sitting on opposite outside edges of the structure, hold trombones while playing trumpets (see below detail for trombonist on right) (Sonnaillon 92).
1701—Lauffen am Neckar, Germany: The organ housing at the evangelische Kirche St. Regiswindis includes 2 sculptures of angel-trombonists, the angels apparently playing one-handed (see detail and full image below; public domain) (Völkl 50).
1714—Lüneburg, Germany: A major rebuild of the organ in Johanniskirche is completed by Matthias Dropa. One of several rebuilds and renovations after the organ’s original installation in 1551-53, it is probably this early 18th-century rebuild that adds the sculptures of what appear to be 2 angel-trombonists perched atop the organ pipes (see detail and full image below; public domain).
1740—Coburg, Germany: A Schuke organ is installed in St. Moriz Church. Atop the pipes are two angel-trombonists (see below image; public domain).
1746—Prague, Czech Republic: An organ by Tomas Schwarz is completed and installed in St. Nicholas Cathedral. Atop the pipes of the organ are numerous angels playing musical instruments, including trombones (see below image).
1770-73—Salem (Baden), Germany: The organ in Salemer Münster, or Salem Abbey, includes a sculpture of a trombonist atop a set of pipes (see detail and full image below; public domain) (Könner, Abb. 99).
Added the below images and caption to the Early 17th Century Trombone History Timeline. The instrument appears to be a trombone, although the left-hand grip of the player is unusual. Again, like many other frescoes from this region and time period, the image would seem to reflect the religious connections in trombone history.
1623—Varese, Italy: Cappella XI, cappella della Resurrezione, of Sacro Monte, is completed. The semicircular apse features a fresco by Isidoro Bianchi that includes what is probably a trombone among one group of angel-musicians (see facing detail and bottom-left of full image, below; click for larger image; public domain) (Angelis 147).
Added the below painting and entry to the 16th century timeline. The painting originates from Siena, Italy, the location of a surprisingly active trombone scene in the 16th century; there are many, many Sienese entries in the timeline drawn from D’Accone’s excellent book, The Civic Muse, which I include in the trombone history mini-bibliography. Herewith a few of my favorites, showing that, angelic depictions notwithstanding, trombonists were not always perfect:
1467—Siena, Italy: A trombone vacancy in the palace wind band is filled by Frenchman Petro Tristano da Valenza. He begins with a monthly salary of L. 8, but receives a raise to L. 12 within months. Upon the first anniversary of his appointment, he is promised another raise, this one to L. 16, on the condition that he acquire and wear the required uniform worn by the other band members. He apparently refuses to do this, as he is replaced a few months later (D’Accone, Civic Muse 538).
1564—Siena, Italy: Tiberio di Girolamo Rivolti, a trombonist recently hired at the Siena palace, has his meal privileges revoked, apparently for some misdeed. The following day, the order is reversed, and Tiberio is described as “a musician of tender age and of much musical promise.” Four years later, while he is still Palace trombonist, Tiberio is ordered to jail “for writing injurious words on the wall and lying to a colleague.” He eventually becomes one of the most well-respected performers to come out of 16th century Siena (D’Accone, Civic Muse 581, 795).
1580—Siena, Italy: Members of the wind band, including a trombonist, perform at a non-official function without permission. They are subsequently charged by the priors (city rulers) and ordered to be incarcerated for 2 days, along with losing their meal privileges for 6 days. Their sentence is later lowered to 1 day of incarceration (D’Accone, Civic Muse 589).
1585—Siena, Italy: A dispute arises between trombonists in the Palace wind band. According to the record, Alberto Gregori and Giovanbattista Formichi disagree over the right to play “the first bass in the musical ensemble, in truth, the basic and most important part.” Alberto claims that, as the successor to Tiberio, who previously held the post, he should have the position. Giovanbattista’s claim is that “it was an old custom of this chapel that the oldest persons succeeded to this post” and that he deserves the position because of seniority. In the end, the priors (city rulers) decree that each should have the honor a month at a time (D’Accone, Civic Muse 597).
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1594—Siena, Italy: A choir vault in Certosa di Maggiano, painted by Bartolomeo Cesi, features numerous angel-musicians surrounding the Holy Trinity, including a trombone partially obscured by a triangle (Graziani 24).
Added a really nice painting by German artist Hans Baldung to the 16th Century Timeline, dating from fairly early in the history of the trombone. The angel’s grip of the slide is interesting, but probably not a literal representation. In general terms, notice the fairly equal balance of religious versus secular trombone iconography from the 16th century.
1516—Freiburg, Germany: Hans Baldung’s painting, Coronation of the Virgin, the central panel of an altarpiece located in the Freiburg Cathedral, includes an angel-trombonist among a group of angels playing wind instruments above and to the left of the Virgin (see facing detail and full image, below; public domain) (Burkhard pl. 2).
Found the below Italian fresco that features a rear-facing (or over-the-shoulder) trombone and added it to the early 17th century timeline. I know of only one other pre-19th century image that clearly shows such an instrument; I’ve included that image in this post as well (1578). Also included at the end of the post (since the entries are in reverse-chronological order) is what is perhaps a proto-rear-facing trombone from c. 1405. The fresco from c. 1615 is also of interest because it has only recently been restored (and, indeed, at the base of the photograph you can see what appear to be some restoration materials left in the picture). Also noteworthy in the painting is the trombone’s bell flare, which is more prominent than usual for this early date. Finally, as I have mentioned several times, it is quite arresting just how many trombone images originate from the 50-year period of 1601-1650.
c. 1615—Cislago, Italy: The Church of Santa Maria della Neve contains an anonymous fresco lunette featuring several angel musicians, including a trombonist. The trombone is particularly noteworthy because it is a rear-facing (sometimes called “over-the-shoulder”) instrument, an unusual configuration for this early date (see below image; public domain) (Morandi; Farioli). For another early rear-facing instrument, see 1578 in the 16th century timeline, where a cherub-trombonist is featured. In later centuries, particularly the 19th century, rear-facing trombones become much more common; the 19th century timeline includes at least 9 such images.
1578—Antwerp, Belgium: A set of masses by George de La Hele includes an image–an initial D in front of a group of cherub musicians–that features a rear-facing trombone being played by a cherub (also rear-facing) (see below image; public domain; Wangermée vol. 1 167).
c. 1405—Paris, France: A grotesque from the Hours of Charles the Noble plays what is perhaps a proto-rear-facing trombone; there is no slide, but the similarity in general shape is obvious (see below image; public domain) (RIdIM/RCMI Inventory No. 8, p. 21).
Added the below image and caption to the 16th Century Timeline. One never knows how literal these depictions are, but the artist groups together an interesting combination of instruments. Another consort performs at a table in the background.
c. 1585—Italy: An engraving by Antonio Tempesta entitled The Concert features a trombone performing with a mixed consort of strings, winds, and keyboard (see facing image; public domain).
Added the below image and info to the 16th Century Trombone History Timeline. The artist, Cornelis Court, was well known for making engravings that were copies of pre-existing artworks. In this case, the engraving is after a work by Flemish Renaissance artist Frans Floris. The image, which is obviously symbolic, features a relatively small-looking trombone hanging on the upper right area of the wall. It is nearly impossible to tell, and artists are often less than literal, but the instrument could be an alto trombone. (Compare it proportionally, for example, with the other instruments nearby.)
1565—Musica, an engraving by Dutch artist Cornelis Cort from a series called the Seven Liberal Arts (after works by Frans Floris) includes a small trombone hanging on a wall in the background (see facing image; public domain) (Burgers 99).