Wyvern wrote:Regarding Rick Denney's mention of F tuba in British orchestras, I think that came into being through the influence of German conductors in UK. A similar influence by American conductors is causing the spread of CC tubas in orchestras around the world. Even in Germany the CC tuba is starting to appear.
Certainly German conductors were influential in Britain in the 19th Century. The instrument in common use for parts marked "tuba" prior to the 5-valved Barlow F tuba was probably a euphonium (according to Bevan), and it is reasonable that the music of the day would exceed the capabilities of a euphonium. As to whether the instrument is in F or Eb, I'm not sure conductors ever particularly cared, of if they did have an opinion, it was based on received wisdom on the choice of a favored performer. It seems to me that the French influence was strong in Britain, carried there by Besson (and to America by such as Distin), and the Barlow F was an enlargement of the French C tuba. Clearly, though, Britain followed the Sax tradition with top-action Perinet valves, and I rather doubt that was the stated preference of German conductors, who by that time were more than familiar with F and C rotary tubas.
August Helleberg favored a rotary C Sandner, which surely has its roots in the Cerveny contrabass of prior decades. But I doubt conductors cared much that it was pitched in C rather than Bb, as long as it was played in tune. When Stokowski demanded that Donatelli obtain a larger tuba, it was pitched in C, but I suspect that was Donatelli's preference, though I still harbor this notion that the flat-first configuration of the 5th valve was originally intended to be a switch valve to turn the instrument into a Bb tuba at need.
I wonder if the spread of CC tuba use in Europe is the result of American conductors, or American performers. Mel Culbertson probably had as much to do with the demise of the French C tuba in French orchestras as any conductor, and John Fletcher probably had as much to do with the acceptance of large American-style contrabass tubas (for at least some literature) in Britain as did any visiting conductor. He also can take credit for substantially increasing the size and breadth of the bass tuba used in Britain, from the small F tuba with a 13" bell to the Sovereign-style Besson Eb tuba with a 17" and then a 19" bell.
American tuba players in orchestras are more often reaching for Bb rotary kaiser tubas for certain literature, so I don't think we are done seeing Bb contrabass tubas used by orchestra professionals.
Rick "who would have loved to hear Dave Kirk play the Rudy 6/4 Bb he borrowed from Mike Lynch" Denney
I strongly suspect that Phillips/Jacobs story is folklore. I simply cannot imagine them NOT being able to play each others' tubas.
Not that I had the money for it anyway.....
