make-up of the orchestral trombone section; although it was ousted from orchestras in Germany and France, the valve trombone remained popular almost to the exclusion of the slide instrument in countries such as Italy and Bohemia. Composers such as Giuseppe Verdi, Giacomo Puccini, Bedřich Smetana, and Antonín Dvořák scored for a valve trombone section. With the ophicleide or later, the tuba subjoined to the trombone trio during the 19th century, parts scored for the bass trombone rarely descended as low as parts scored before the addition of either of these new low brass instruments. Only in the early 20th century did it regain a degree of independence. Experiments with the trombone section included Richard Wagner's addition of a contrabass trombone in Der Ring des Nibelungen and Gustav Mahler's and Richard Strauss' augmentation by adding a second bass trombone to the usual trio of two tenor trombones and one bass trombone. The majority of orchestral works are still scored for the usual mid- to late-19th-century low brass section of two tenor trombones, one bass trombone, and one tuba. 19th-century wind bands Trombones have been a part of the large wind band since its inception as an ensemble during the French Revolution of 1791. During the 19th century wind band traditions were established, including circus bands, military bands, brass bands (primarily in the UK), and town bands (primarily in the US). Some of these, especially military bands in Europe, used rear-facing trombones where the bell section pointed behind the player's left shoulder. These bands played a limited repertoire, with few original compositions, that consisted mainly of orchestral transcriptions, arrangements of popular and patriotic tunes, and feature pieces for soloists (usually cornetists, singers, and violinists). A notable work for wind band is Berlioz's 1840 Grande symphonie funèbre et triomphale, which uses a trombone solo for the entire second movement. Toward the end of the 19th century, trombone virtuosi began appearing as soloists in American wind bands. The most notable was Arthur Pryor, who played with the John Philip Sousa band and formed his own. 19th-century pedagogy In the Romantic era, Leipzig became a center of trombone pedagogy. The trombone began to be taught at the Musikhochschule founded by Felix Mendelssohn Bartholdy. The Paris Conservatory and its yearly exhibition also contributed to trombone education. At the Leipzig academy, Mendelssohn's bass trombonist, Karl Traugott Queisser, was the first in a long line of distinguished professors