Editing Sackbut (section)

===1700–1750===
There is relatively little repertoire for the trombone in the late baroque.

[[Johann Sebastian Bach]] uses trombones in fourteen of his church cantatas—[[BWV 2]], [[BWV 3|3]], [[BWV 4|4]], [[BWV 21|21]], [[BWV 23|23]], [[BWV 25|25]], [[BWV 28|28]], [[BWV 38|38]], [[BWV 64|64]], [[BWV 68|68]], [[BWV 96|96]], [[BWV 101|101]], [[BWV 121|121]], [[BWV 135|135]]—as well as motet [[BWV 118]]. He uses the trombone sound to reflect the (by now) archaic sounds of the Renaissance trombones doubling voices (with [[cornett]] playing the soprano line), yet he also uses them independently, which John Eliot Gardiner says prepares the way for their use in [[Beethoven]]'s Symphony No. 5.<ref>[http://www.monteverdiproductions.co.uk/resources/sdg127_gb.pdf John Eliot Gardiner, liner notes to Bach cantatas CD SDG127] {{Webarchive|url=https://web.archive.org/web/20070123194408/http://www.monteverdiproductions.co.uk/resources/sdg127_gb.pdf |date=23 January 2007 }} (Retrieved 10 December 2007)</ref> The cantatas were either composed in Leipzig during 1723–1725, or (for BWV 4, 21 & 23) the trombone parts were added to the existing cantata during the same period. The cornett and trombone parts would have been played by the [[Stadtpfeifer]].<ref>C. Wolff etc: "Bach", Grove Music Online ed. L. Macy (Retrieved 10 December 2007)</ref>

In England, [[George Frideric Handel]] includes trombones in three of his oratorios: ''Saul'' (1738), ''Israel in Egypt'' (1738) and ''Samson'' (1741). There are no other documented groups or performances with trombone players in England at this time, and it has been suggested that the premiers took place with a visiting group from Germany, as was the custom in Paris at this time.

Vienna's Imperial court used trombones in church music:

[[Johann Joseph Fux]] was Hofkapellmeister in Vienna from 1715 until 1741. Many of his masses use the choir strengthened by strings, cornetts and trombones, often with independent moments for the instrumentalists and sometimes. ''Missa SS Trinitatis'' uses two choirs, which again points to the traditions going back to Gabrieli. His highly successful Requiem is for five vocal parts, two cornetts, two trombones, strings and continuo. He also uses the trombone in smaller motets and antiphons, such as his setting of ''Alma Redemptoris mater'' for soprano, alto trombone, strings and continuo. Some of his chamber music involves trombones, as do many of his operas, used as an obbligato instrument.<ref>C. Wolff etc: "Fux", Grove Music Online ed. L. Macy (Retrieved 17 March 2008)</ref>

Also in the Vienna court was [[Antonio Caldara]], vice-kapellmeister 1717–1736. Among his output are two Holy Week settings as Da Capo arias: ''Deh sciogliete, o mesti lumi'' for soprano, unison violins, bassoon, two trombones and organ and ''Dio, qual sia'' for soprano, trombone, bassoon and basso continuo.<ref>C. Wolff etc: "Caldara", Grove Music Online ed. L. Macy (Retrieved 17 March 2008)</ref>