3rd valve didn’t move freely, but taking out the rotor and wiping with a cloth wetted with valve oil was very helpful. The 1st, 3rd, and main slides were stuck, but tapping them with a plastic headed hammer got them moving. A couple of solderings are loose, but don’t buzz or leak air. The 1st and 3rd slides both point upwards, which makes them self-draining. If I worked a bit on the 3rd slide, I could operate it with my left thumb. Its slide is fairly long, so that I can pull it for a two-full-steps-lowering, which is practical in some contexts. I work with that layout on a few of my other brasses.
For a small tenor instrument one should expect a tenor trombone receiver, but like I have seen it on a similar Amati instrument, the receiver is the same as on the pre-1974 (?) British euphoniums. I have two mouthpieces with that stem dimension a Denis Wick 4AM and a Steven Mead 2M. As my asthma caused problems that morning, the SM2M appeared to work best. However some more intense work showed, that the DW4AM gives much better clarity especially in the high range up to the 16th partial.
The oval Bb Tenorhorn is the German equivalent of the British baritone, where my sample is a Boosey & Hawkes Imperial 3 valve compensator from 1967, which has served me and many of my students very well. I use a DW4AY for that baritone.
However, even if both oval Tenorhorn and British baritone are tenor instruments, they play very differently. The Tenorhorn is much sweeter and responds with much less punch to the attack, even if the response is very fast.
This Hirsbrunner Tenorhorn fills a void in my samples of ovals, where I now have an Eb Althorn, the Bb Tenorhorn, and two Kaiserbaritöne in C and Bb.
Nice when joys come cheap.
Klaus Smedegaard Bjerre