Szőllősy Csila et al. (szerk.): Alba Regia. Annales Musei Stephani Regis - Szent István Király Múzeum közleményei. C. sorozat 46. (Székesfehérvár, 2018)
Zenetörténet. Kultúra és zene: városok, templomok és kastélyok zenéje Magyarországon. A székesfehérvári Városházán és a fehérvárcsurgói Károlyi-kastélyban 2016. szeptember 22 - 23án megrendezett tudományos konferencia tanulmányai - Jakab Ádám: A harsona szerepe a 18. századi osztrák egyházzenében, és megjelenése a magyar forrásokban
Jakab Adám-. A harsona szerepe a 18. századi osztrák egyházzenében, és megjelenése a magyar forrásokban ÁdámJakab The role of the trombone in the 18th century Austrian church music and its occurrence in the Hungarian sources The objective of the stop-gap study was to survey a special instrumental repertoire. The prominent role of the trombone in the Austrian church music of the 18th century has been known but the research conducted by the author cast light on not only Czech and Slovak sources but also the Hungarian appearance of the instrument. The first section of the study starts with the introduction of the trombonists operating in the Viennese imperial court, first of all the famous Christian family, who served there for almost a hundred years. The trombone was initially used to strengthen choir voices and it later stepped forward to play a solo part in the performances of the mass and the Requiem. In case of the latter, it became a permanent contributor to the “Tuba mirum” text section: this way, according to the author, “We have to regard the Tuba Mirum in Mozart’s Requiem the continuation of a tradition rather than the extravagant idea of a genius.” But it also occurred in other church music genres, such as the frameworks of Miserere or the oratory. Obviously, the high standard music life of the Habsburg court had a great effect on the music practices of the imperial city: the music ensembles of the Viennese churches, in particular the Stephansdom (with the Maria Chapel and its own separate orchestra), and the music pieces staged there set the example for the musicians and composers working in the churches of the countryside. In any event, the music libraries of the Austrian monasteries hide a number of interesting pieces just as the collection held in the Cathedral of Salzburg, the seat of the Prince-Primate. The second part of the study confirms the use of the trombone in the reorganising church music practice of Hungary freshly freed from Turkish occupation. As the majority of the musicians arrived from Austria, the effect of Austrian church music was obviously quite strong in the Hungarian churches in the 18th century. Nevertheless, the role trombone music played here was far from its significance in Austria but it appeared in all major towns sooner or later, leaving several highly interesting and valuable sources. Such towns include Buda and Pest, Pécs, Győr, Soprin (where we can also encounter the rare Hungarian presence of tower musicians) and Veszprém. The final part of the study presents Hungary’s most interesting source from the aspect of the theme, the Esterházy Collection of the National Széchenyi Library, which includes the majority of the church music pieces by Joseph Haydn’s brother, Michael Haydn, Albrechtsberger and Werner in the heritage of Joseph Haydn. This is where we can find the only autograph manuscript of Albrechtsberger’s trombone concerto from 1769, one of the two trombone concertos preserved from the 18th century, among other things. Similarly, a number of pieces have only remained in Hungarian translation, thus confirming the importance of the Hungarian archives in exploring one of the brightest eras in the history of the trombone. 48
