Yes, and in the typical situations this is of course best practice. However, my original post is about those unusual situations where things are not so clear. A survey of scores indicates that there are at least some circumstances in which this convention is subverted for other reasons, and I’m curious to know from players when they might prefer other than the typical pairing.
(Retired librarian here)
All decisions concerning part assignments are made in consultation with the music director and section principal.
Generally players receve the part they are contracted for (this is mandated in many union contracts). An exception to this might be Beethoven’s Ninth Symphony, where sometimes the principal will play the fourth horn solo in the slow movement.
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Oh, sorry. I didn’t read very thoroughly before jumping in!
So the Horn 3 player will receive whichever part is labelled “Horn 3” regardless of whether it is voiced 2nd or 3rd from Horn 1? Or will they always receive the 2nd highest part in the voicing, irrespective of how it’s actually labelled?
No worries! Just clarifying my intent. 
Correct, Horn 3 always receives the part marked “Horn 3”. I don’t think I ever had a situation where the players switched parts due to tessitura.
Now, Trombone players are another matter - they often switch parts for that reason.
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Thanks, I guess I had been incorrectly assuming the librarian or section leader would be handling this. Jazz Trumpet players often pass parts around too, but it’s usually for range and endurance issues.
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