The Harmonicon was one of the earliest English music journals to last for an extended time. It appeared monthly between 1823 and 1833. It covered not only British music but published reports from all over Europe and the US. I’d like to present some extended quotations about the trombone.

The Harmonicon appeared at about the same time the intelligentsia started to observe a distinction between classical and popular music. Traveling virtuosos and Rossini’s music counted as popular music, the kinds of music Robert Schumann attributed to Philistines.

Foreign musical report from Cassel

A vogue for trombone solos started in the salons of wealthy lovers of popular music and in the promenade concerts that welcomed lower-class audiences. Whatever originated in those settings had a hard time gaining acceptance in the world of classical music. The classical masters made comparatively little use of the trombone.

In that context, it seemed an awkward, ungainly instrument. Here is how classical music critics frequently responded to the trombone as a solo instrument. Friedrich Belcke was the first trombone soloist to acquire an international reputation.

In the various concerts given at this place, the novelties have been a concerto by Neithardt, performed by M. Belcke on the trombone, and a Concertino composed by Mayer, and executed on the tenor horn, by the same artist. The effect produced by this performer on instruments in appearance so little adapted to the finer shades of expression necessary to give effect to solo pieces, was altogether surprising. — 2 (1824): 133

Foreign musical report from Milan, a review of Pacini’s Isabella ed Enrico

A great way for a classicist to knock any operatic composer was to compare him with Rossini. And Rossini used trombones in his orchestra more extensively than anyone ever had before.

The music improved upon us at a third hearing, and if there were any defect which our calmer judgment would be disposed to criticize, it was in parts of the accompaniments which were too noisy. The author, like Rossini, betrays too great a fondness for the trumpet and the trombone, and appears to think he can never give his hearers too much for their money. — 3 (1825): 59

“Notation for the Horn”

An unnamed correspondent to the Harmonicon complained about the notation of bass clef in horn parts and added,

You will oblige me, and I dare say other persons, by giving a fuller account, if possible, of the Invention mentioned in our last number, by which the key of the Horn may be changed without the clumsy expedient of putting on a different crook. I have often thought this might be effected by giving two or more turns to the slide, or coulisse, and I suppose this might equally be applied to the Trombone–it would only be drawing out four or six tubes at the same time instead of two. – 3 (1825): 78

In 1816, Gottfried Weber had proposed just such a slide to help the trombone fill in the interval between the lowest  note in seventh position and the highest pedal note. It was the first really new concept in trombone design for hundreds of years. The invention of the valve only a little later made it unnecessary, but the modern BB-flat contrabass trombone uses Weber’s idea.

“The Ancient Concerts”

London’s series of  “ancient concerts” presented music at least 20 years old, and especially that of Handel. Since the Handel Commemoration of 1784, the English regularly added trombone parts to Handel’s music. One all-Handel concert concluded with the double chorus “From the censer” from Solomon. The Harmonicon review concludes with a rare complaint of not enough trombones.

We do not absolutely quarrel with the winding up this time, but why not always the “tyrants” or something in which the trombone and double drums may be all in all? Would that it were so. – 3 (1825):109

Foreign musical report from Berlin

Some three years after the Harmonicon’s previous notice of Friedrich Belcke, a correspondent is still surprised that someone can play trombone with taste.

Another extraordinary concert was that given by M. Belke (sic), the celebrated professor on the trombone, who has practically shown the possibility of rendering this unwieldy instrument subservient to the purposes of taste, ease, and even delicacy of execution. In proof of this, on the present occasion, after having shown the powers of his instrument in a stormy accompaniment to a movement from Beethoven, he displayed, as a striking contrast, all its capabilities in a subject of the greatest tenderness and pathos. He accompanied obligato (sic), Mad. Hauser in the Voi che sapete of Mozart, in a manner that touched every heart, and drew down a tempest of applause. This meritorious artist has lately favoured the virtuosi with an Essay upon the character and qualities of the trombone, and the true method of its treatment, which is at once proof of his science, and of his disinterestedness. – 5 (1827): 53

“The Ancient Concerts”

Not everyone in audiences for the Ancient Concerts shared the previous correspondent’s enthusiasm for ending with something brassy. Here, the author complains that the series played the same selections from Handel’s Saul too often. Then he adds,

We forgot, in a former critique, to notice the effect of the trombones in the Dead March; they are rather too much for the room:–a more subdued tone would give to the movement more solemnity. – 5 (1827): 75

“On the Present State of Music in Italy, Germany, France, and England, from the French of M. Fétis”

We think of Rossini as a composer of classical music these days. In his own lifetime, lovers of classical music despised his music. One critic divided musicians into two camps, classicists and Rossinists. Here is one common knock on his music by François Fétis, an important French scholar:

No one has succeeded better than Rossini in rendering his orchestra brilliant, and giving it an interest, even to amateurs of mediocrity. But either from a despair of maintaining this interest by ordinary means, or from a strange fondness for noise, he has, in his latter productions, made use of the double drums, cymbals, and metal instruments, in such profusion, that but one sensation is experienced–that of fatigue, It is no longer the gay and spirited manner of the Rossini of five-and-twenty; it is that of Rossini, tired, I had almost said disgusted, with music. – 5 (1827): 184

Foreign musical report from Zerbst

The Harmonicon’s correspondent describes the “second meeting of the musical society of the Elbe.” The orchestra on the occasion had extras of every woodwind instrument but still only the standard three trombones. Conductors of the time rarely played music by earlier composers without trying to “improve” on it. Not all critics approved of the practice, but this one did.

On the second day the performances, which were of a more miscellaneous kind, were opened with Gluck’s overture to Iphigenie en Tauride, to which Kapellmeister Schnieder had given an additional accompaniment of clarionets and trombones, which the cognoscenti found to be in perfect unison with the character of the piece, and judiciously managed throughout. – 5 (1827): 213

“Italian and French Opera in North America”

The visit of Manuel Garcia’s opera company to New York in 1825 heralded the “advancement of the fine arts” in the US, but it didn’t have enough resident musicians to make a proper orchestra. That Italian opera took place in New York at all seemed newsworthy in Europe.

It is true, that for some time the orchestra of the opera of New York was sadly deficient in the necessary instruments, and the manager was obliged to supply their absence by an additional number of trombones. The great Maestro himself [Rossini], passionately fond as he is of this instrument, would have shrunk from the overwhelming crash that deafened the ears of the astonished natives. At present, several of the orchestras of Europe would be unable to keep the field against that of New York. – 6 (1828): 31

Foreign musical report from Liepsic

A young German trombonist named Carl Traugott Queisser began to attract international attention several years after Friedrich Belcke had amply demonstrated the wide range of music the trombone could play. And classical music lovers still found it surprising.

The performers who excited the greatest interest were Signora Paravicini upon the violin, an instrument which, ill adapted as it appears to a female, becomes in her hand all that could be wished from the most finished master; and M. Queisser, who performed a new concertino upon the trombone, a charming composition, which this performer executed with a facility and sweetness of expression, of which this instrument would scarcely seem susceptible. – 6 (1828): 118

Foreign musical report from Munich

More evidence that disdain for Rossini went hand in hand with disdain for the trombone:

Rossini’s Maometto has not pleased; it survived only a few evenings. What else could be expected from a composition which is almost entirely made up of concerted pieces, and those of the most noisy kind imaginable? Rossini evidently feels the decline of his talent; he has written himself out; he has nothing of melody, nothing of the soul of genius left, and, like a skilful general, he endeavours to cover his retreat under a heavy cannonade. All that the drum, trumpet, trombone, and double Janissary bands on the stage can effect, he has put in requisition, and all this too in the finales con moto accelerato. (sic) It is impossible that in these parts, the singers can be heard; if they are wise, they will merely open their mouths for appearance sake, but not articulate a syllable; instead of the music director, they have need of a posture-master to teach them attitude, and that will suffice. – 6 (1828): 186

“On the Revolutions of the Orchestra” by Fetis

Fétis could be as scathing in his denunciation of Rossini as anyone else, but in general, he was somewhat more sympathetic.

But Italy was destined to be the theatre of a complete revolution in the system of harmony, as well as of accompaniment,–a revolution which we ourselves have witnessed, and of which Rossini is the author. After borrowing from Mozart, Beethoven, Cherubini, and Mehul, their modes of producing effect, which he as made to undergo the modifications of his own genius, he has himself advanced still further, by the additions he has made to the means employed by his predecessors. His compositions present the first examples of four violin parts, the formidable union of four horns, common trumpets, keyed trumpets, trombones, ophycleides, &c., all united for the accompaniment of various movements. The varied forms of design and harmony drawn from these instruments, would appear but little appropriate, and still less the constant employment of the double drum, cymbals and triangles. And yet the admirable effects he has drawn from the abuse of means, have in a great measure justified his temerity; and nothing can be a better proof of his genius than his having caused all this noise to be received by a people who before had an aversion for all strong accompaniments. – 6 (1828):196

A performance of Handel at the Queen’s Theatre

Here’s an additional comment justifying the practice of adding instruments to Handel’s orchestration, as well as a common criticism of adding trombones.

Additional accompaniments have been arranged for this performance by Mr. C. Potter. This is as it should be. Had Handel lived within the last half century, he would doubtless have availed himself of the widely extended means of orchestral effect which are now at the command of the composer, but which were unknown in his time; and it is hardly fair towards his reputation to bring his music before the public in its original simplicity, not to say meagreness of score. The task of adapting these new accompaniments has fallen into good hands, for Mr. C. Potter, in his original compositions has shewn that he has not studied orchestral writing under Beethoven in vain. Yet we would suggest to him that he has called in the assistance of the trumpet and trombone, particularly in so small an orchestra, rather too often. – 9 (1831): 77

A performance of Meyerbeer at Drury Lane

Classical critics didn’t like Meyerbeer any better than they liked Rossini. Here is a critic who studied a piano reduction of Robert the Devil before attending the performance.

What may be the instrumental effects in the original score we, of course, cannot say; but if we had wanted assurance of the truth before, we should have been convinced by a single hearing of the English version of Robert the Devil, that it is not by merely crowding the score with brass instruments and swelling discords on the trombones, trumpets, and horns, nor even by the occasional clash of the symbals, or knell of the gong, that feelings of supernatural awe can be awakened in the auditor; it is not the mere use of these means, but how they are used;–the single low tap of the drum, which announces the presence of Caspar, in the Freischütz, is more than worth, to our ears and feelings, all the laborious uproar which accompanies the Fiend Father of Meyerbeer. – 10 (1832): 69

I should note, however, that on p. 89 of the same volume, “Extracts from the Diary of a Dilettante” quotes Meyerbeer to the effect that he had nothing to do with two different London adaptations of his opera. Since the full score had not yet been printed, the adapters could have no idea of the actual instrumentation. At least one of them included music Meyerbeer hadn’t written at all!