At 6:26 AM -0400 6/25/06, dhbailey wrote:

That's what I was referring to -- how many orchestras play Beethoven's symphonies which have trombone parts on instruments bearing much resemblance to the trombones he had in mind? Bore sizes have changed dramatically, but we still play his symphonies with our modern huge-bore (comparatively) trombones and don't give it a second thought.

I agree with what David says, especially in terms of the huge differences between professional and amateur/school/community ensembles, but the above sparks some second thoughts. On the surface, what he says is quite true, but it applies across the board to ALL orchestral instruments, since they have all gotten louder since Beethoven's time. (The brass moreso in proportion, no argument, and not just physically but in tonal concept.) And of course the string sections have grown proportionally as well, to balance both louder winds and more winds. Period recordings I've heard (Hanover Band, etc.) of Beethoven are surprising because the individual winds come out more prominently in proportion to the smaller string section.

I think that much the same thinking probably applied in Classical times that still applies today in cases where musicians are hired and paid, including studio recordings and Broadway pits: Never hire more people than you really need. (And THAT goes back at least to the 15th century musical establishments maintained at courts, chapels and churches--small by modern standards.) Beethoven wasn't writing for any existing orchestra. As I understand it he hired musicians from the various court or church orchestras--probably his friends and certainly people he knew well--and paid them himself. So adding trombones or a third horn wasn't just an artistic decision, it was a financial one as well. (Of course he was also a consumate scrounger, and probably got support from his aristocratic pals as well.)

John


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