dhbailey wrote:
Ken Moore wrote:
John Howell <[EMAIL PROTECTED]> wrote:
The problem is actually that the trumpet has become the all-purpose
instrument, needed for orchestral work, jazz band work, and marching
band work. The cornet, especially one played with the proper
mouthpiece and technique, is a vanishing voice out of choice, and
not because instruments are not available.
It's not just the wind band that needs it. Lots of French music of
the 19th C., from Berlioz to Dukas (some demanding passages in
"Sorcerer's Apprentice"), has both cornet and trumpet parts, and
differentiates them markedly; it is specified in some Tchaikovsky
ballets and Prokofiev's "Lieutenat Kijé" also. I would expect
historically informed conductors like Norrington (who did the Brahms
symphonies with a near approximation to the original instruments
about 10 years ago) and Rattle to insist on having the right instrument.
I would expect that with cornets fairly common these days that more
than just specialty conductors would request the accurate
instrumentation, just as they do for all the other instruments.
Smaller college, high school and community orchestras would be where I
would expect to find all the parts played on trumpets.
With pro orchestras cornet use varies a lot according to preferences of
players and conductors. It is common to see all the parts played on
trumpets.
Raymond Horton
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