TromboneChat

I have to play first trombone in Bruckner's Ecce Sacerdos Magnus. At first, I thought I should play tenor so as to have a nice homogeneous sound of three trombones. It was a kind of no-brainer for me given that I grew up with German Posaunenchor tradition where the Posaunenchor would double the choir. But then I realized that it plays much easier on alto. I.e., bars 3 to 4 can be played entirely in 3rd position on alto whereas on tenor I would have to change from 3rd to 2nd to 1st. Similarly, bars 6 to 9, I can play entirely in 4th position on alto but I would have change from 3rd to 2nd back to 3rd and then 2nd on tenor, etc. etc. Somehow it feels much more natural to play on alto than tenor. On top of it, the part I got has notes added because there won't be an organ. These added notes essentially double the alto singers.

Here is a recording https://youtu.be/2gzB-np9LJ0.

Here is the link to sheet music on ismpl http://imslp.org/wiki/Ecce_sacerdos_magnus,_WAB_13_(Bruckner,_Anton)

My part is written in alto clef. But there are scores in tenor clef and bass clef. Most sheet music just says something like "3 trombones".

So I wonder what are the views on playing it on alto versus tenor? The tradeoff seems to be between the Bruckner typical organ-like sound of three tenor/bass trombones (Example here https://youtu.be/RF1y6r_dppc?t=2m4s; different Bruckner piece though but same instrument as mine on first) and the ease of playing it on alto. What would Bruckner actually have expected?

(I play a Kruspe Weschke tenor and a Kruspe alto. Both are not necessarily "fat" sounding. The alto is brighter even at lower dynamics, somewhat more trumpet-like especially in the upper range. It would avoid "covering up" the alto singers but might nevertheless "shine through" too much. The tenor can sound mellow, dark, brighter, harsh, butter-soft etc. depending on what I want although brighter sound requires a louder dynamic. Here is an example of how it can sound https://youtu.be/czDDZnWKbsc?t=11m07s (not me of course, but same trombone). I still feel more comfortable on tenor but I am fine on alto. I play alto the same evening in Haydn's Schoepfung. As for the rest of the section, our bass trombone player is great - he would quickly adapt to any setting. Don't know the second trombone yet.)

JMO: I would play this on a tenor, because I think that would be the characteristic Bruckner sound.

The small changes you cite in slide movement are inconsequential and should not factor into the decision.

Intonation on this piece is going to be exceptionally critical to make the chords ring.  Managing the intonation on alto is harder than on tenor unless you play alto very regularly.

I recorded this piece on Albany Records some 30 years ago. We played tenors. It was the only time I've ever been told by a conductor that the trombones were getting buried by the choir (and the organ). I can't imagine doing it on an alto. Depending on how it is recorded, you're going to need a lot of power to balance everything else that's going on. We recorded in a big church. If you take an alto, make sure you also have a tenor handy. When you understand the context better, I think it will be clear that the tenor is the right choice for this piece.

Thank you for the responses. I played it with a tenor and I think it was a good decision.

Bear in mind that it was likely written for valve trombones (along with pretty much all Bruckner pieces).

Quote from: Le.Tromboniste on Dec 12, 2017, 03:44PMBear in mind that it was likely written for valve trombones (along with pretty much all Bruckner pieces).

It is not completely clear to me. Bruckner completed it in 1885. Vienna switched to German slide trombones in 1883. I am not sure through what kind of trombones would have performed it at the intended premiere in Linz where at the end it was not performed.

Quote from: Le.Tromboniste on Dec 12, 2017, 03:44PMBear in mind that it was likely written for valve trombones (along with pretty much all Bruckner pieces).

It is not completely clear to me. Bruckner completed it in 1885. Vienna switched to German slide trombones in 1883. I am not sure through what kind of trombones would have performed it at the intended premiere in Linz where at the end it was not performed.