I was never aware of such 80's belief. Up until this recent
scholarship, all I ever "knew" was that a trio of trombones: alto in Eb,
tenor in Bb and bass in F were the norm in Germany in the 1700s and
early 1800s until replaced by two tenors and a Bb/F bass in the mid
1800s, more or less.
The idea of three tenors playing Mozart or Schubert choral parts is
still hard for me to imagine, and I am not sure I accept that as a given
in choral works for the alto part, if that is what Weiner is claiming.
Shifrin doesn't seem to allow as much use of tenor on the first part for
these works.
RBH
Andrew Stiller wrote:
On Jul 4, 2007, at 10:49 PM, Raymond Horton wrote:
Andrew Stiller, a few weeks back I said some recent scholarship was
heading toward alto, tenor and bass trombones all being in Bb in the
18th and 19th centuries. I intended to send you some links at the
time but did not. Here are some...
Thanks very much for that. It strikes me as ironic that conventional
wisdom on this issue seems to have come full circle in the last twenty
years. Back in the '80s (and earlier) everybody believed that the
designations alto, tenor, and bass in 19th c. trombone parts
represented merely a vestige of earlier practice, and that in fact all
three parts were played on the tenor. This latest research seems to
bring us *almost* right back around to that same idea.
Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/
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