Editing Sackbut (section)

=====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>