Shifrin, through all his European research, has reached conclusions
about the use of alto vs tenor trombone in much of the standard
symphonic rep. (described in that dissertation to which I linked you).
Indeed, alto trombone use dropped off in the latter half of the 19th
century, but it is not cut and dried. Brahms, for one, intended his
first parts to be played on alto.
But, as you say, many parts were labeled "alto" by publishers and were
clearly not intended, or even practical for the instrument - Bruckner
symphonies being the most obvious example, with the first trombone
extending often to low E.
One interesting reason for the changeover from alto to tenor is that
many orchestras stopped supplying instruments. Players, faced with a
choice, bought the more versatile tenor trombone.
The other interesting standard rep composer is Dvorak - quick - without
looking: What kind of trombones did Dvorak write for?
RBH
Andrew Stiller wrote:
On Jul 5, 2007, at 5:09 PM, Raymond Horton wrote:
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.
Sorry, my bad. The situation was as you outlined it. My main point
though, that scores (later than the period you mention) that call for
alto trombone don't actually want an alto trombone, and that scholarly
opinion has now moved 360° on the subject, stands.
Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/
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