ABSTRACT
The vast bulk of eighteenth-century music for trombone also requires voices, either in church or in the opera house. The small number of exceptional pieces can be divided into four parts: concertos and other solos with orchestral accompaniment, chamber music, band music, orchestral music. C. Robert Wigness has written about most of the available solo and chamber music. 1 Whatever else needs to be said about it has already been covered in the section on Austrian music in Chapter 3. There may have been dozens of concertos, divertimentos, and chamber works with soloistic parts for trombone written in the Habsburg realms, but I have seen very little beyond that already described by Wigness.
