At 1:56 PM -0400 6/18/06, Andrew Stiller wrote:
OK, I'll bite. 19th-c. orchl. piece. Only the score survives, in
copyist's hand. Trombones (alto, tenor, bass) on two staves: A and T
on one, in the alto clef, and bass on the other, in bass clef. When
I extract the parts, should the tenor trombone part be:
1) in the alto clef, because that's what it is in the score.
2) in the tenor clef, because that's the norm for 19th-c. tenor
trombone parts.
3) in bass clef, because that's what's usual today.
NOTE: I am trying to be "authentic" here, so, e.g., the clarinets
are getting parts for cl. in C, as per the score.
OTHER NOTE: The composer himself, in all his surviving autographs of
other works, *always* scores all three trombones (always three,
never more or fewer) on a single staff, in the bass clef.
Opinions?
Well, strictly opinion of course, I'd follow the composer's
autographs in your score, since the copyist may have imposed his own
ideas. The real decision would be what to do in the parts, which as
you say would likely have been in alto, tenor and bass clefs. We've
discussed this before, and I myself would be heavily influenced by
the educational level your edition is aimed at. We all know that
symphony professionals can read anything. Many students can't.
John
--
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
http://www.music.vt.edu/faculty/howell/howell.html
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