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.
--
Ken Moore
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