25 May 2008 Last Updated on 31 October 2011 Written by Ken Shifrin

Part I: The Alto-Tenor-Bass Trombone Trio

Page 2 of 2

Footnotes

  1. As we shall see later, although he was the first composer of stature to employ the trombone section in his symphonic works, Beethoven was not the first composer to use trombones in the concert orchestra.
  2. Keith Polk, 'Instrumental Music in the Urban Centres of Renaissance Germany', Early Music History 7 (1984), p. 174.
  3. Michael Praetorius, 'Von dem Instrumentation' in Syntagma Musicum II, Wolfenbüttel, 1618, pp. 35-6. According to Guido Adler, as the century progressed the trombone family 'beschränkte sich in der Regel auf die drei…..Größen, den Alt, Tenor, und Bass' ('became restricted, as a rule, to the three… sizes, the alto, tenor and bass'). Guido Adler (ed.), Handbuch der Musikgeschichte, erster Teil, Berlin, 1930, pp. 624-25. Anthony Baines adds that before the end of the century this nomenclature was rarely employed and the trombones were referred to as Klein, Mittel (or Gemeine) and Gross. Anthony Baines, Brass Instruments: Their History and Development, London, 1976, p. 109.
  4. Despite the recent discovery of an historical curiosity, the short-lived soprano trombone most probably did not come into use until the late 18th century (contrary to claims by Terry: Bach's Orchestra, pp. 36, 40; Sachs: Handbuch der Instrumentenkunde, p. 298; Kunitz: Die Instrumentation, p. 714 and Bate: The Trumpet and the Trombone, p. 212), perhaps in response to the decline of the ATB trombone trio's heretofore treble partner, and the Zink, is indicated in the scores of Bach's Cantatas Nos. 2, 21 and 38. Hauptman (J. S. Bachs Werke, vol. 1, p. xvi), Galpin (The Sackbut, Its Evolution and History, pp. 19-20) and Carse (History of Orchestration, p. 18) incorrectly identify the soprano trombone as the single-slide tromba da tirarsi (or Zugtrompete) of Bach's orchestra.
  5. 'as an independent, homogeneous element of sound'. Hans Kunitz, Die Instrumentation: ein Hand- und Lehrbuch 3rd edition, Leipzig, 1970, p.778-9. Trans. Helmut Braunlich.
  6. Given the deficiencies of his trombonists, one remains sceptical of their ability to handle some of Bach's more florid, colla voce  lines, particularly in the strenuous upper tessitura of the alto part. It seems logical to assume that the trombone parts were not always played note for note and allowed for the discretionary omission of the more demanding and exposed passage.
  7. In a statement attributed to Albrechtsberger he states: "Langsame, feyerlich getragene Accorde bringen stets die erhabenste Wirkung hervor; schnelle Wechselfiguren, Läufe u. dgl. müßen nothwendig einer klar verständlichen Deutlichkeit ermangeln und die alte Befahrungsweise, in Fugensätzen aus purer Bequemlichkeit die Posaunen mit den Singstimmen im Einklange fortschlendern zu lassen, dürfte weder zu billigen, noch zu rechtfertigen, oder nachzuahmen seyn. Die eigenthümliche Würde dieser Instrumente weiset ihnen zunächst den Ehrenplatz in der Kirche an." ("These instruments are best effective in slow, solemn-moving chords; rapid passages and runs must, of necessity, be wanting in clearness; and the ancient method of letting trombones play in unison with voices in fugue compositions is neither to be recommended, justified or imitated. The peculiar dignity of this instrument entitles it to a post of honour in church style.")

    Johann Georg Albrechtsberger, Sämtliche Schriften über Generalbaß, Harmonielehre und Tonsetzkunst zur Selbsunterrichten, annoted and edited by Ignaz von Seyfried, Dritter Band, Vienna, 1837, pp.185-86. Trans. Novello, J. G. Albrechtsberger's Collected Writings in Thorough-Bass, Harmony and Composition for Self-Instruction, with many explanatory examples, verbally communicated to, and systematically arranged, enlarged and edited by, his pupil Ignaz von Seyfried, London, 1855, p.253. The above statement does not appear in the original German text of 1826 as Novello states, but in the 1837 German edition.
  8. Some historians speculate that Albrechtsberger composed his 1769 Konzert für Alt Posaune for either Leopold Ferdinand Christian or Wenzel Thomas, who were the court trombonists at that time. (Ludwig Köchel, Die Kaiserliche Hofmusikkapelle in Wien von 1543 bis 1867, Vienna, 1869, p. 87). However, Christian was just two years away from retirement in 1769 (Robert C. Wigness, The Soloistic Use of Trombone in Eighteenth Century Vienna, Nashville, 1978, p. 41), and Thomas would have been sixty-one (ibid.), passing away six years later (Köchel, op. cit., p. 87). Also, in his Sämtliche Schriften, Albrechtsberger fails to mention either trombonist in his enumeration of those who 'haben dieses schwieriges Instrument kunstmässig behandelt' ('have mastered this difficult instrument with artistry': J. G. Albrechstberger, Sämtliche Schriften über Generalbass, Harmonie-Lehre und Tonsetzkunst, Vienna, 1826, p. 201). Those listed by Albrechtsberger (and surely added by Seyfried or the publisher) are: Ahlsdorf, Belke, Braun, Dueller, Fröhlich, Hörbeder, Micke, Pöck, Schmitt, Seeger, Segner and Ulbrich (ibid.). Segner, who was appointed to the Court Orchestra in 1807 and who died in 1834 (Köchel, op. cit., p. 95) was surely too young to have been an established professional in 1769. There were three trombonists by the name of Ulbrich who could conceivably have been Albrechtsberger's soloist from amoung those he had listed: Ignaz Ulbrich, although he would have been sixty-three in 1769 was considered sufficiently skilled to be selected fro the Court Orchestra three years later, a position he held for the next nineteen years (Wigness, op. cit., p. 43); Michael Anton Ulbrich, who would have been fifteen at the time, was appointed to the Court in 1793 (Köchel, op. cit., p. 95); and Johann K. Ulbrich, who was employed as a court trombonist in 1787 (Wigness, op. cit., p. 43).
  9. "Plus ça change, plus ça reste" Theodore de Lajarte gives the following description of a typical trombone part of the time: Daphnis et Pandrose, de Mehul, la partie de trombones ainsi formulée: ACTE PREMIER. -- du 1er numéro au numéro 19, tacet. Numéro 11 (lent, en la), deux rondes, puis trente-et-une mesures de pause. ACTE II. -- Jusqu'au numéro 19, tacet. Numéro 20 (allegro vivace). dix-neuf pauses. Andante: trois mesures de pause, point d'orgue. Allego: soixante-quatorze mesures de pause. La mineur: douze mesures de pause. Ritournelle de violon: quatre mesures. Enfin, le tromboniste embouche son instrument; mais ce n'est que pour faire entendre quatre rondes et une noire fortissimo. Il attend cing autres mesures, joue deux mesures et demie avec trois fff et son role est terminé: dix notes chacun. Ah! Le beau temps que c'etait la pour les trombones!" ("Daphis et Pandrose, by Mehul, the trombone part is thus constructed: ACT I. -- From the first number to number 10, tacet. Number 11 (lento, in A), two semi-breves, then thirty-one bars rest. ACT II.-- Up to number 19, tacet. Number 20 (allegro vivace), nineteen bars rest. Andante: three bars rest, pedal point. Allegro: seventy-four bars rest. A minor: twelve bars rest. Violin ritornello: four bars. Finally, the trombonists put their instruments to their lips; but it is only to play four semi-breves and a crotchet fortissimo. After waiting five more bars, he plays two-and-a-half bars triple forte and his part is finished. Ah! What an easy life the trombones had in those days!"). Theodore de LaJarte, "Introduction du trombone dans l'orchestre de Opera," La Chronique Musicale vi (1874), p.79.
  10. Robin Gregory, The Trombone: The Instrument and its Music, London, 1973, p. 127. Since there is no extant autograph score it is uncertain whether Beck actually did score for trombones.
  11. Sarah Gordon, 'Das Sinfonische Werk von Franz Beck', The Trombonist, Spring 1990, p. 18.
  12. T. Donley Thomas, 'Michael Haydn's "Trombone Symphony"', Brass Quarterly 6 (1962), p. 8.
  13. David Guion, The Trombone: The Instrument and its Music, London, 1973, p. 135.
  14. Ottmar Schreiber, Orchester und Orchesterpraxis in Deutschland zwischen 1780 und 1850, Berlin, 1938, p. 111.
  15. Adam Carse, The Orchestra in the XVIIIth Century, Cambridge, 1940, p. 19.
  16. Schreiber, op. cit., p. 107.
  17. Carse, The Orchestra, p. 19.
  18. Schreiber, op. cit., p. 110.
  19. For example, the 'Dead March' from Handel's Saul.
  20. The Salzburg Orchestra of 1757 engaged a trombone section with the proviso that they were to be used for church music only. Carse, The Orchestra, p. 26.
  21. Guion, The Trombone, p. 268.
  22. H.F. Blaze, De l'Opéra en France, Paris, 1820, p. 136.
  23. '... a single trombone in an orchestra always seems more or less out of place. This instrument needs harmony, or at least, unison with the other members of its family in order that its varied attributes may be manifested. Beethoven sometimes employed it in pairs, like the trumpets; but the time-honoured custom of writing in three parts appears preferable to me.' Hector Berlioz, Grand Traité d'Instrumentation et d'Orchestration, 2nd edition, Paris, 1855, p.205. Trans. Mary Clarke, A Treatise upon Modern Instrumentation and Orchestration, 2nd edition, London, 1858, p.156 (trans. edited by A. C. Howie).
  24. 'The power of a trombone passage lies precisely in its three-part texture, in the power of the simple triad. A fourth trombone obscures the quality of sound penetration... through overloading.' Hermann Zopff, Der Angehende Dirigent, Leipzig, 1881, p. 21.
  25. 'Customarily, two bass trombones are designated in four-part trombone writing. This seems to us, unsuitable because of the overpowering might and weight of the instrument. Opposed to two bass trombones, a tenor and an alto trombone are too weak; indeed one bass trombone is strong enough to balance two tenor trombones and an alto trombone. Also a bass trombone as a middle voice is disproportionately too heavy with respect to the tenor which is the other middle voice.' Adolph Bernard Marx, Die Lehre von der Musikalischen Komposition, praktisch theoretisch, part iv, Leipzig, 1847, p.72. Personally, I find a fourth trombone (i.e. TTTB) adds immeasurably to the warmth and fullness of the section's sound (for example in Mahler's Second Symphony). Not only is the section capable of more power, as one would expect, but paradoxically the resulting tone-mix can be more gentle and solemn as a result of the breadth and sonority of the sound that derives from doubling the root of the chord at the octave, or the playing of four-part chords, which makes the trombone trio seem thin by comparison. However, in an ATTB section, the three lower voices must be vigilant not to overbalance the alto, which should just rest comfortably atop the cushion of sound.
  26. For example, in 1810 a journalist singled out the trombones for mention in an article about the works to be performed in an up-coming concert: 'Eine grosse neue Ouvertüre fürs ganze Orchester (auch mit Posaunen) von Herr Spohr' ('A big new overture for the entire orchestra (including trombones) by Mr Spohr'.) G. L. P. Sievers, 'Nachricht von einem in Thurigen seltenen Musikfeste', Allgemeine musikalische Zeitung 12, no. 47 (August 22, 1810), col. 750.
  27. 'Trombones, trombones – for our modern composers these are the most marvellous things, exactly like drums for children'. Allgemeine musikalische Zeitung 5 (1802/03), pp. 216-217.
  28. Joseph Fröhlich, Vollständige Theoretische-Pracktische Musikschule, vol. iii 'Von der Posaune', Bonn, 1811, p. 27.
  29. 'The instrument, particularly suited to the expression of the noble and solemn also suits the gentle and calm, as well as its usual role of doubling voices. Its character requires that its execution be kept melodious and not too shrill, in order to bring out the closest resemblance to the voice that each trombone doubles or represents: alto, tenor and bass trombones with alto, tenor and bass voices respectively. Just as beautiful resulting harmony always has, and must have, so much effect on this instrument when it is played soulfully and with gentle articulation, so it is revolting and spoils all the good impressions when the trombone is played with a wild, blaring tone…' Ibid., p. 27. Translated by Guion, The Trombone, p. 96-7 (trans. edited by A. C. Howie). Mersenne similarly wrote in 1636 that vicious sounds were inappropriate for trombones. Marin Mersenne, Harmonie Universelle, Paris, 1636; facsimile edition, Paris, 1965, p. 272.
  30. 'In the Morgenblatte no. 150 of this year the correspondent from Paris, in his description of the Parisians' rural diversions, mentioned that the trombone is used in most of the dance orchestras there, where its serious bass voice... sounds through the rest of the noise, making a peculiar contrast. But this use, or more properly misuse, of a serious, ceremonial instrument - which, according to the Bible, is ordained to pronounce the Last Judgement; and which, of all the instruments, seems the best chosen for this - is not confined to the vicinity of the magnificent and splendid capital of the French kingdom, but has spread all over Germany since the days of the French occupation, via the French military bands and the modern German military bands, which are modelled after them, so that, for example, in the vicinity of Leipzig almost no dance can be played without a bass trombone playing and cavorting about.' 'Die Posaune in der Mode', Allgemeine Musikalische Zeitung mit besonderer Rucksicht auf den österreichischen Kaiserstaat, October 1819, pp. 671-72. Translation by Mary Rasmussen, 'Two Early Nineteenth-Century Trombone Virtuosi: Carl Traugott Quiesser and Friedrich August Belke', Brass Quarterly 5 (1961), pp. 15-16.
  31. John Marsh, Hints to Young Composers of Instrumental Music, London, c. 1807; reprinted in the Galpin Society Journal 18 (1965), p. 69.
  32. Ibid., p. 70.
  33. Charles Burney, 'Trombone' in Abraham Rees (ed.) Cyclopaedia vol. xxxvi, London, 1819, no pagination.
  34. 'Gluck and Mozart have transplanted them to dramatic style with excellent results. Trombones, however, have degenerated in the hands of successors; they are now condemned to continual service; for strengthening, combined with other brass instruments, serious or comic operas, in regimental bands, or dance music; in which a trombone solo for a waltz or gallop appears a mere ironical sarcasm.' Johann Georg Albrechtsberger, Sämtlichen Schriften über Generalbass, Harmonie-Lehre und Tonsetzkunst zum Selbstunterrichte, vermehrt und herausgegeben von Ignaz von Seyfried, Band iii, Vienna, 1837, p.186. Trans. S. Novello, Thorough-Bass, Harmony and Composition, London, 1855, p.253. Ironically, the following curious statement attributed to Albrechtsberger seems to indicate that he was not particularly enamoured of the slide trombone: 'Die industriösen Instrumenten-Macher unsere Kaiserstadt haben nunmehr auch die Posaunen mit Grifflöchern und Klappen versehen, und dadurch die theilweise stets lästige Unsicherheit der Züge beseitigt.' ('The industrious instrument makers of our imperial city [Vienna] have added stop-holes and keys to trombones... and have thus obviated the former uncertainty of the slides.') Albrechtsberger, ibid., p. 185: trans. Novello, ibid., p. 253. This passage, which does not appear in the original text, seems unlikely to be Albrechtsberger's opinion, since the first valve trombones were not produced in Vienna until the 1820s (Anthony Baines, 'The Trombone', Grove's Dictionary of Musical Instruments, London 1984, vol. 3, p. 631): it must therefore be Seyfried's. See note 56, Chapter 2.
  35. Edward Holmes, A Ramble among the Musicians of Germany, London, 1828, p. 254.
  36. Mary Rasmussen, op. cit., p. 14.
  37. Ibid.
  38. 'Indeed, many beautiful passages were nearly crushed under the weight of the trombones... Truly we live in an age of trombones, but indeed one must enquire if it is any longer possible for a piece to have an effect without them?' Allgemeine musikalische Zeitung 32 (July 1830), pp. 425-26.

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