Editing Sackbut (section)

===1750–1800===
Again this period suffers from a lack of trombone players.{{Clarify|date=May 2016}}<!--What?!--> Most of these works derive from Vienna and Salzburg.

[[Joseph Haydn]] uses trombones in ''Il rotorno di Tobia'', ''Die sieben letzten Worte'', ''[[The Creation (Haydn)|The Creation]]'', ''[[The Seasons (Haydn)|Die Jahreszeiten]]'', ''Der Sturm'', ''Orfeo ed Euridice'' and secular cantata choruses.

[[Wolfgang Amadeus Mozart]] uses trombones in connection with death or the supernatural. This includes the [[Requiem (Mozart)|Requiem]] (K626, 1791), [[Great Mass in C minor]] (K423, 1783), ''Coronation Mass (C major)'' (K317, 1779), several other masses, ''Vesperae Solennes de Confessore'' (K339, 1780), ''Vesperae de Dominica'', his arrangement of [[George Frideric Handel|Handel]]'s ''Messiah'' plus two of his three great operas: ''[[Don Giovanni]]'' (K527, 1787) and ''[[The Magic Flute|Die Zauberflöte]]'' (K620, 1791). Mozart's first use of the trombone was an obligato line in the oratorio ''[[Die Schuldigkeit des ersten Gebots]]'' (K35, 1767)

[[Christoph Willibald Gluck]] includes trombones in five of his operas: ''Iphigénie en Aulide'' (1774), [[Orfeo ed Euridice]] (1774), ''Alceste'' (1776), ''[[Iphigénie en Tauride]]'' (1779) and ''Echo et Narcisse'' (1779), as well as ballet ''Don Juan'' (1761).<ref>Brown, "B A: Gluck, Christoph Willibald, Ritter von", Grove Music Online ed. L. Macy (Retrieved 10 December 2007)</ref>

Some chamber music in this period includes trombone in an obligato role with voice, and also as a concerto instrument with string orchestra. Composers include the likes of [[Leopold Mozart]], [[Georg Christoph Wagenseil]], [[Johann Albrechtsberger]], [[Michael Haydn]] and [[Johann Ernst Eberlin]].

For works for trombone post-1800, please see [[trombone]].