Editing Sackbut (section)

===1600–1700===
[[File:Musicians from 'Procession in honour of Our Lady of Sablon in Brussels'.jpg|thumb|250px|Musicians from 'Procession in honour of Our Lady of Sablon in Brussels.' Early 17th-century Flemish [[alta cappella]]. From left to right: bass [[dulcian]], alto [[shawm]], treble [[cornett]], soprano shawm, alto shawm, tenor sackbut.]]
====Solo====
The 17th century brings two pieces of real solo trombone repertoire.

[[Giovanni Martino Cesare]] wrote ''La Hieronyma,'' (Musikverlag Max Hieber, MH6012) the earliest known piece for accompanied solo trombone. It comes from Cesare's collection ''Musicali Melodie per voci et instrumenti a una, due, tre, quattro, cinque, e sei'' published in Munich 1621 of 28 pieces for a mixture of violins, cornetts, trombone, vocal soloists and organ continuo. The collection also contains ''La Bavara'' for four trombones.

The other solo trombone piece of the 17th century, ''Sonata trombone & basso'' (modern edition by H Weiner, Ensemble Publications), was written around 1665. This anonymous piece is also known as the 'St. Thomas Sonata' because it was kept in the library of the Saint Thomas Augustinian Monastery in Brno, Czech Republic.

[[Francesco Rognoni]] was another composer who specified the trombone in a set of divisions (variations) on the well-known song ''Suzanne ung jour'' (London Pro Musica, REP15). Rognoni was a master violin and gamba player whose treatise ''Selva di Varie passaggi secondo l'uso moderno'' (Milan 1620 and facsimile reprint by Arnaldo Forni Editore 2001) details improvisation of diminutions and Suzanne is given as one example. Although most diminutions are written for organ, string instruments or cornett, Suzanne is "per violone over Trombone alla bastarda". With virtuosic semiquaver passages across the range of the instrument, it reflects Praetorius' comments about the large range of the tenor and bass trombones, and good players of the Quartposaune (bass trombone in F) could play fast runs and leaps like a viola bastarda or cornetto. The term "bastarda" describes a technique that made variations on all the different voices of a part song, rather than just the melody or the bass: "considered illegitimate because it was not polyphonic".<ref>Selfridge-Field (1994), p.&nbsp;309.</ref>

====Chamber music====
In the 17th century, a considerable repertoire of [[chamber music]] using sackbut with various combinations of violins, cornetts and [[dulcian]]s, often with [[Basso continuo|continuo]], appeared. Composers included [[Dario Castello]], [[Giovanni Battista Fontana (composer)|Giovanni Battista Fontana]], [[Giovanni Paolo Cima]], [[Andrea Cima]], [[Johann Heinrich Schmelzer]] and [[Matthias Weckmann]].

[[Antonio Bertali]] wrote several trio sonatas for 2 violins, trombone and bass continuo in the mid-17th century. One such ''Sonata a 3'' is freely available in facsimile form from the Düben Collection website hosted by [[Uppsala universitet]].<ref>{{Cite web |url=http://www.musik.uu.se/duben/presentationSource.php?Select_Dnr=2075 |title=Bertali, Sonata a 3, Düben Collection |access-date=10 December 2007 |archive-url=https://web.archive.org/web/20080103214405/http://www.musik.uu.se/duben/presentationSource.php?Select_Dnr=2075 |archive-date=3 January 2008 |url-status=dead |df=dmy-all }}</ref> A "Sonata a3 in C" is published by Musica Rara and attributed to Biber, although the authorship is unclear and it is more likely to have been written by Bertali.<ref>{{Cite AV media notes |title=Virtuoso in the Making – Biber |first=Kati |last=Debretzeni |date=2002 |others=Ricordo |url=http://www.linnrecords.com/recording-virtuoso-in-the-making---biber-hdcd.aspx |type=CD liner notes |publisher=[[Linn Records]] |id=CKD195 |location=Glasgow |url-status=deviated |archive-url=https://web.archive.org/web/20070224035423/http://www.linnrecords.com/recording-virtuoso-in-the-making---biber-hdcd.aspx |archive-date=24 February 2007}}</ref>

[[Dario Castello]], a wind player at St. Mark's Venice in the early 17th century had two books of ''Sonate Concertate'' published in 1621 and 1629. The sonatas of 1-4 parts with bass continuo often specify trombones, as well as cornett, violin and bassoon. The numerous reprints during the 17th century affirm his popularity then, as perhaps now.

[[Giuseppe Scarani]] joined St. Mark's Venice in 1629 as a singer and in the following year published ''Sonate concertate'', a volume of works for 2 or 3 (unspecified) instruments (and b.c.). The title has been suggested was chosen to try and capture some of Castello's success.<ref name="Selfridge-Field"/>

[[Tiburtio Massaino]] wrote a Canzona for eight trombones, published in Raverio's 1608 collection.

[[Johann Heinrich Schmelzer]] wrote several sonatas that included trombones—such as his ''Sonata à 7'' for two cornetts, two trumpets, three trombones, and basso continuo.

[[Daniel Speer]] published a four-part sonata in ''Neu-gebachene Taffel-Schnitz'' (1685). In 1687, Speer published the first written instruction in sackbut (and several other instruments) playing: ''Grund-richtiger/kurtz/leicht und noethiger Unterricht der Musicalischen Kunst''. The second edition in 1697 provides two three part sonatas for trombones.

An English work of note from this period is [[Matthew Locke (composer)|Matthew Locke]]'s ''Music for His Majestys Sagbutts and Cornetts'', a suite for Charles II's coronation 1661.<ref>Herbert (2006), p.&nbsp;98.</ref>

====Light music====
Non-serious music, often based on dances for festive occasions, rarely had specified instrumentation. Often you find something like "per diversi musici". Indeed, the groups that would perform them would often be full of multi-instrumentalists.<ref name="Herbert 98-99">Herbert (2006), pp.&nbsp;98–99.</ref>

[[Johann Pezel]] wrote for [[Alta Capella|Stadtpfeifer]] with his ''Hora decima musicorum'' (1670), containing sonatas, as well as ''Fünff-stimmigte blasende Music'' (1685) with five-part intradas and dance pieces.

Well known pieces from Germany includes [[Samuel Scheidt]]'s ''Ludi Musici'' (1621) and [[Johann Hermann Schein]]'s ''Banchetto musicale'' (1617).<ref name="Herbert 98-99"/>

The first English piece scored for trombone is [[John Adson]]'s ''Courtly Masquing Ayres'' (1611). Another light collection suitable for including trombones is [[Anthony Holborne]]'s ''Pavans, Galliards, Allmains, and other short Aeirs both Grave and Light in Five Parts for Viols, Violins or Other Musicall Winde Instruments'' (1599).

====Sacred music====
[[File:Musicians gallery from the funeral of Charles III, Duke of Lorraine (sharpened image).jpg|thumb|Musicians gallery from the funeral of Charles III, Duke of Lorraine. The gallery has a mix of instruments and musicians including singers, sackbuts, bass [[shawm]]s, [[cornett]]s, [[lute]]s, [[viol]]s (both bowed and plucked).]]

=====Venice=====
Trombonists were in the regular ensemble at St. Mark's Venice from its formation in 1568 until they left the payroll in 1732.<ref>Selfridge-Field (1994), pp.&nbsp;15–21.</ref> The first two ensemble directors—''maestro di concerti''—[[Girolamo Dalla Casa]] (1568–1601) and [[Giovanni Bassano]] (1601–1617)—were cornett players and the nucleus of the group was two cornetts and two trombones, although for the larger ceremonies many extra players were hired. During a mass attended by the Doge, evidence suggests they would have played a canzona in the Gradual after the Epistle and the Agnus Dei, a sonata in the Offertory as well as reinforcing vocal parts or substituting for absent singers.<ref>Selfridge-Field (1994), pp.&nbsp;22–23.</ref>

This ensemble was used extensively by [[Giovanni Gabrieli]] in pieces substantially for brass, voices and organ in Venice up until his death in 1612. He was greatly influential in Venetian composers in other churches and confraternities, and his early baroque and cori spezzati style is seen in contemporaries like [[Giovanni Picchi]] and [[Giovanni Battista Grillo]].

It is suggested that [[Monteverdi]] wrote his ''[[Vespro della Beata Vergine]]'' (1610) as a pitch for employment at St. Mark's as successor to [[Giovanni Gabrieli]]. In addition to the Magnificat, two movements specify trombones: the opening "Deus in adiutorium" is for six voices, two violins, two cornetts, three trombones, five viole da braccio and basso continuo; Sonata sopra "Sancta Maria, ora pro nobis" is for soprano, two violins, two cornetts, three trombones (one of which can be a [[Viola da braccio (instrument)|viola da braccio]]) and basso continuo. Monteverdi also leaves the option to use trombones as part of the "sex instrumentis" of the ''Dixit Dominus'' and in the instrumental ''Ritornello a 5'' between verses of ''Ave maris stella''.<ref name="Grove - Monteverdi">Carter, T, "Monteverdi" Grove Music Online ed. L. Macy (Retrieved 2 January 2008).</ref>

From around 1617, when the ''maestro de' concerti'' at St. Marks changed to violinist [[Francesco Bonfante]] and correspondingly the ensemble changed from basically a brass ensemble to being more evenly mixed with brass, wind and string instruments.<ref name="Selfridge-Field"/>

[[Monteverdi]] arrived at St. Mark's in 1613 and it is unsurprising that he includes trombones and strings for several more sacred works during his time here, published in his ''[[Selva morale e spirituale]]'' 1641. Of the c.40 items in this collection, six specify three or four trombones (or [[Viola da braccio (instrument)|viola da braccio]], ad lib): SV268 Beatus vir I, SV263 Dixit Dominus I, SV263 Dixit Dominus II, SV261 Et iterum venturus est, SV258 Gloria in excelsis Deo, SV281 Magnificat I. Each is for 3-8 voices with 3 violins (apart from SV261), the trombones/violas and basso continuo. Monteverdi also specified trombones in two more sacred works: SV198 Laetatus sum (i) (1650) for 6 voices, 2 violins, 2 trombones and bassoon and SV272 Laudate Dominum omnes gentes I (1641) for 5 voices 'concertato', 4 voice chorus ad lib, 4 viola da braccio or trombones and basso continuo.<ref name="Grove - Monteverdi"/>

=====Germany/Austria=====
A prolific composer for trombones in Germany in the 17th century was [[Heinrich Schütz]]. His ''Fili me, Absalon'' (SWV 269) and ''Attendite, popule meus'' (SWV 270), are both scored for bass voice, four trombones (of which two are optionally violins) and basso continuo, are well known. They are part of his first ''[[Symphoniae sacrae I|Symphoniae Sacrae]]'' collection dating from 1629 and commentators have noted that the style reflects his studies in Venice with [[Giovanni Gabrieli]] 1609–1612. Other pieces that specify trombones (according to Grove) are (grouped by the collection they were published in): Concert mit 11 Stimmen (1618): SWV 21, in ''[[Psalmen Davids]]'' (Psalms of David) Op. 2 (1619): SWV 38, 40–46, Symphoniae sacrae I Op.6 (1629): SWV 259, 269–271, 274, Symphoniae sacrae II Op.10 (1647): [[SWV 344]], Symphoniae sacrae III Op. 12 (1650): SWV 398a, Historia (1664): SWV 435, 448, 449, 453, 461, 452, 466–470, 473, 474–476, [[Schwanengesang]] Psalm 119 (1671): SWV 500, although many others are suitable for trombones too.<ref>L. Hübsch-Pfleger: "Schütz", Grove Music Online ed. L. Macy (Retrieved 10 December 2007)</ref>

[[Johann Hermann Schein]] specified trombones in some of his sacred vocal works in the ''Opella nova, ander Theil, geistlicher Concerten'' collection (Leipzig, 1626). For example, ''Uns ist ein Kind geboren'' is scored for violino, traversa, alto trombone, tenor voice, fagotto and basso continuo. ''Mach dich auf, werde licht, Zion'' uses Canto 1: violino, cornetto, flauto picciolo e voce, Canto 2: voce e traversa, Alto: Trombone e Voce, Tenore: Voce e Trombone, Basso: Fagotto Trombone e Voce and Basso Continuo, during which solos for each of the trombonists are specified. Of particular interest is ''Maria, gegrüsset seist du, Holdselige,'' which uses soprano and tenor voices, alto trombone, 2 tenor trombones and on the bass line "trombone grosso," which goes down to pedal A, and a couple of diatonic scale passages from bottom C.<ref>Bärenreiter scores, 1986</ref>

German composer [[Johann Rudolf Ahle]] wrote some notable sacred pieces for voices and trombones. ''Höre, Gott'' uses five favoriti singers, two ripieno choirs (which double other parts at intense moments) and seven trombones, with basso continuo. And his most famous ''Neu-gepflanzte Thüringische Lust-Garten..'' (1657–65) contains several sacred works with 3 or 4 trombones, including ''Magnificat a 8'' for SATB soloists, cornett, 3 trombones and continuo and ''Herr nun lässestu deinen Diener a 5'' for bass, 4 trombones and continuo.<ref>[[Uwe Wolf (musicologist)|Uwe Wolf]], Programme notes to BIS-CD-821, 1996</ref>

[[Dieterich Buxtehude]] specifies trombones in a few sacred concertos using style derived from polychoral Venetian works and one secular piece. For example, ''Gott fähret auf mit Jauchzen'' (BuxWV33 from CW v, 44) is scored for SSB voices, 2 violins, 2 violas, trombones, 2 cornetts, 2 trumpets, bassoon and basso continuo.<ref>Grove—Buxtehude{{Full citation needed|date=August 2015}} (Retrieved 16 February 2008)</ref>

There are a few vocal works involving trombones in works by [[Andreas Hammerschmidt]]. These include ''Lob- und Danck Lied aus dem 84. Psalm'' for 9 voices, 5 trumpets, 3 trombones, 5 violas and basso continuo (Freiberg, 1652). There is also ''Hochzeitsgesang für Daniel Sartorius: Es ist nicht gut, dass der Mensch allein sei'' for 5 voices, 2 violins, 2 trombones, bassoon and basso continuo.<ref>Grove—Hammerschmidt{{Full citation needed|date=August 2015}} (Retrieved 16 February 2008)</ref>

[[Johann Schelle]] has numerous sacred vocal works that use trombones. For instance ''Vom Himmel kam der Engel Schar'' is scored for soprano, tenor, SSATB choir, 2 violins, 2 violas, 2 cornetts, 3 trombones, 2 trumpets, timpani, basso continuo, and ''Lobe den Herrn, meine Seele'' is for two choirs of SSATB and similar instruments to the previous work.<ref>Grove—Schelle{{Full citation needed|date=August 2015}} (Retrieved 16 February 2008)</ref>

The lesser known Austrian composer [[Christoph Strauss]], Kapellmeister to the Habsburg Emperor Mathias 1616–1620, wrote two important collections for trombones, cornetts and voices. His motets published in Nova ac diversimoda sacrarum cantionum composition, seu motettae (Vienna, 1613) are in a similar tradition to Gabrieli's music. Of the sixteen motets in the collection, all are titled "concerto" apart from the "sonata" ''Expectans Expectavi Dominum'' for 6 trombones, cantus voice and tenor voice. In 1631 he published a number of masses, which were much more baroque, with basso continuo, rhetorical [[word painting]] and obligato usage of instruments.<ref>Dickey, Bruce: CD liner notes, Christoph Strauss, ''Missa Maria concertata & Motetten'', Harmonia Mundi 905243</ref>

Later in the 17th century, [[Heinrich Ignaz Franz Biber]] composed sacred works for voices and orchestra featuring trombones. His ''Requiem'' mass (1692) uses an orchestra of strings, 3 trombones and basso continuo. A similar ensemble accompanies 8 vocal lines in his ''Lux perpetua'' (c1673), and three more similar works in the 1690s.<ref>Grove—Biber{{Full citation needed|date=August 2015}} (Retrieved 16 February 2008)</ref>

====Theatre====
[[Monteverdi]] ushers sackbuts into the first great opera, '[[L'Orfeo]]' 1607. The orchestra at the first performance, as shown in the first publication, the list of "stromenti" at the front of the score specifies four trombones, but at one point in Act 3, however, the score calls for five trombones.