1784-5—Württemburg, Germany

Christian Schubart, in his Ideen ze einer Aesthetik der Tonkunst, expresses strong opinions about trombone: “This instrument is entirely ecclesiastical…The instrument has never been profaned throughout the millennia, but rather has always remained a heritage of God’s temple…In our days, however, they have been desecrated for the service of opera, and the trombone is no longer the property of God’s worship. It is also used now with great effect in the choruses of large operas…. The trombone’s tone is piercing and much thicker than a trumpet’s. Sustained notes can be expressed on this instrument as on no other in the world….Not only church music has now been composed for trombones, but also concertos, sonatas, and solos, and these always have an admirable effect. Only the Catholics in Germany still favor this instrument and unless help is forthcoming from Vienna, we must fear the gradual and complete loss of this instrument….Our music directors should take into preferential consideration the reawakening of this divinely authorized instrument, and to urge geniuses in its favor, and thereby return the thunderous sound of the trombone, which it had in Solomon’s time. Meanwhile, there are nevertheless still outstanding trombonists in Saxony and Bohemia. But it is certain that the sound of the trombone in truly intended for religion and not at all for secular use” (Guion, Trombone 83).