Sackbutt: Trombone in the 17th & 18th Century

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Release Date: 12th May 2008
Catalogue No: CCSSA26708
Label: Channel
Length: 59 minutes

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Albrechtsberger, J G: Concerto in B flat major for Alto Trombone

Work length14:27

$3.00

$4.50

$6.15

Jörgen van Rijen
Combattimento Consort Amsterdam
Jan Willem de Vriend

I. Allegro moderato

Track length6:01

$1.00

$1.50

$2.05

II. Andante

Track length5:39

$1.00

$1.50

$2.05

III. Finale, Allegro moderato

Track length2:47

$1.00

$1.50

$2.05

Bertali: Sonata à 3 No. 2 for 2 violins, trombone and basso continuo

Work length5:35

$1.00

$1.50

$2.05

Jörgen van Rijen
Combattimento Consort Amsterdam
Jan Willem de Vriend

Castello, D: Quarta sonata a due, Soprano e Trombom overo violetta

Work length4:47

$1.00

$1.50

$2.05

Jörgen van Rijen
Combattimento Consort Amsterdam
Jan Willem de Vriend

Mozart, L: Trombone Concerto

Work length11:33

$3.00

$4.50

$6.15

Jörgen van Rijen
Combattimento Consort Amsterdam
Jan Willem de Vriend

I. Allegro

Track length5:01

$1.00

$1.50

$2.05

II. Adagio

Track length3:27

$1.00

$1.50

$2.05

III. Menuetto

Track length3:05

$1.00

$1.50

$2.05

Schmelzer: Sonata à 3 for 2 violin, trombone & continuo

Work length5:22

$1.00

$1.50

$2.05

Jörgen van Rijen
Combattimento Consort Amsterdam
Jan Willem de Vriend

Marini, B: Sonata Quarta à 4

Work length3:10

$1.00

$1.50

$2.05

Jörgen van Rijen
Combattimento Consort Amsterdam
Jan Willem de Vriend

Wagenseil: Concerto for Trombone and Orchestra

Work length8:16

$2.00

$3.00

$4.10

Jörgen van Rijen
Combattimento Consort Amsterdam
Jan Willem de Vriend

I. Con discretione (Quasi andante)

Track length4:04

$1.00

$1.50

$2.05

II. Allegro assai

Track length4:12

$1.00

$1.50

$2.05

Bertali: Sonata à 3 No. 2 for 2 violins, trombone and basso continuo

Work length6:15

$1.00

$1.50

$2.05

Jörgen van Rijen
Combattimento Consort Amsterdam
Jan Willem de Vriend

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“We have recorded works by violinist-composers Biagio Marini, Antonio Bertali, and Johann Heinrich Schmelzer. Dario Castello is the exception: he was a brass player. Why did those composers pick the trombone, of all instruments, for this purpose, rather than, say, the horn? One of the reasons was that the trombone was the only brass instrument of that period which was capable of playing a complete chromatic scale. In other words, the trombone could execute melodies and runs in the same way as a violin. Around 1800, the newly-invented valves were added to trombones, horns, and trumpets. That made the chromatic scale possible for hornists and trumpeters as well, and it resulted in a kind of terrain shift. Later on, the trombone’s role within classical music was primarily within the symphonic orchestra, where it was used for color and reinforcement. But in music of the baroque period for small ensembles, the trombone was making music together with the strings, as a soloist.” (from liner notes by Katja Reichenfeld)

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