1739—Hamburg, Germany

Johann Mattheson asks, “Why then do the good cornetts and trombones, which were formerly closely related and were highly esteemed as staples by the expert fifers as well as the composers, seem to be banished now so completely from the churches, at least from the ones here, as if they had been discovered to be incompetent? For the former instrument is still very penetrating, with all its harshness; whereas the other sounds very majestic, and fills a large church beautifully” (Mattheson, Capellmeister 846).