"In a school of 500 boys, there ought to be no difficulty in finding sufficient natural altos, without having to rely on broken-voiced trebles.
"In my own choir I frequently admit altos at 10 or 11 years of age, with the result that I get five or six years' work out of them, and the latter part of their time they are available for alto solos.
"I think (and I speak from upwards of 30 years' experience) that if Mr. Gibbons will try this plan, he will find it much more satisfactory than drafting his trebles into the altos as soon as their voices begin to break.
"I do not enter into the question of men _versus_ boy altos, because it is my experience that in a voluntary choir, especially in the country, a really _good_ adult alto is such a _rara avis_, that one is obliged to rely on boys, and if they are carefully chosen and trained, they are, I think, quite satisfactory. The only place when one misses the man alto voice is in anthems with a verse for A.T.B., such as 'Rejoice in the Lord' (Purcell), 'The Wilderness' (Goss), &c."
Mr. C. E. Juleff, organist of Bodmin Parish Church, wrote:--
"Allow me to say that I have found men altos infinitely preferable to those of boys. In short, one good man alto I have experienced to be equal to half-a-dozen boy altos as regards tone; and in respect to phrasing and reading I have found men altos decidedly superior. The two gentlemen altos who were in my choir at SS. Michael and All Angels, Exeter, were acknowledged by London organists to be 'second to none' in the provinces."
On the other hand, Mr. Thomas Ely, F.C.O., of St. John's College, Leatherhead, gave a warm testimony to boy altos:--
"I may say that in my choir at this College I have four or five very good boy altos. One is exceptionally good, possessing a natural alto voice of remarkable richness and beauty. In our services and anthems he takes the solo alto parts, and in my opinion he is far superior to a man alto, except in such anthems as Wesley's 'Ascribe unto the Lord' (expressly written for choirs possessing men altos), in which he cannot take some of the lower notes. The compass of his voice is from F to E[b]."
In these letters and experiences there are evidently two underlying ideas. First, that the boy alto has a naturally low voice; second, that the boy alto is a broken-down soprano. For both these notions there is some physical foundation, because there is no doubt that the lower notes of boys of 12 to 14 are rounder and fuller than those of boys of 9 to 12. Herr Eglinger, of Basel, to whose mastery of the subject in theory and practice I can testify, from personal intercourse, distinctly recognises this. He says:--