Klarinet Archive - Posting 000416.txt from 1999/07

From: Note Staff Unlimited <notestaff@-----.de>
Subj: Re: [kl] Alto Sax Mouthpieces
Date: Thu, 15 Jul 1999 06:41:16 -0400

Edwin V. Lacy schrieb:

> On Mon, 12 Jul 1999, Kevin Fay (LCA) wrote:
>
> > For "legit" saxophoning, you have 2 basic choices. If you are like
> > me, and are of the belief that Sigurd Rascher's approach is the way a
> > saxophone should sound, the *only* mouthpiece to have is -- you
> > guessed it -- the Sigurd Rascher. It's a copy of an early 20th
> > century Buescher, has a huge bore and small tip opening. (Of course,
> > if you can find a 1920s Buescher, use it). This is a quasi-religious
> > knee-jerk reaction on my part, please note.
>
> I like the way you state this, although my approach to the saxophone seems
> to be just about the exact opposite of yours. As a former student of
> Rousseau, who was himself a student of Marcel Mule, that wouldn't be
> surprising. I have often observed that among saxophonists, discussions of
> Mule vs. Rascher are about like discussing religion or politics in many
> other circles.
>
> Here's an example of my problem with the Rascher school. I once heard a
> recital given by saxophone quartet, all the members of which were of the
> Rascher persuasion. One of them, the leader, is a very famous name in
> the saxophone world, and he had been a student of Rascher. All the others
> were his students.
>
> The sound that these players made was not what I am accustomed to on the
> saxophone, but it was certainly not unpleasant. However, all four players
> appeared to be huffing and puffing as hard as they could, turning red and
> purple in the face, panting like dogs at the end of every movement, and
> yet, from 40 feet away from the stage, they could hardly be heard. I was
> feeing empathetically for them, and I had the distinct impression that I
> would feel the same way as they if I were playing a saxophone with many
> leaky pads and the bore stuffed with rags.
>
> To me, playing a wind instrument is difficult enough without adding any
> additional difficulties to it. I like for an instrument to be
> free-blowing, responsive and resonant. I'm not at all concerned that the
> saxophone can tend to have a brighter, more projecting tone, and that
> except in the best of circumstances the lowest register can be very touchy
> at the lowest dynamic levels.
>
> So, as the saying goes, different strokes for different folks. You say
> po-TAY-to, I say po-TAH-to, etc.
>
> Ed Lacy
> *****************************************************************
> Dr. Edwin Lacy University of Evansville
> Professor of Music 1800 Lincoln Avenue
> Evansville, IN 47722
> el2@-----.edu (812)479-2754

++++++++++++++++++++++++++++++

Your observations startled me somewhat. I happen to know the four Rascher
Quartet people as they moved to my town (Loerrach) and two of them are
colleages of mine at the music school. I have heard them often and also played
the bass clarinet in a concert with them. I also visited two courses they
gave. So you could say I am quite well aquainted with their playing.

If anybody plays the saxophone apparently effortlessly, it is the Rascher
Quartet members (Corinna Rascher, Harry White, Bruce Weinberger and Kenneth
Coon). The tone is pure, dynamics are tremendous, overall controll is
marvelous up into the altissimo register. The only disadvantage might be the
intonation with these old instruments.

By chance, I have played a Buescher sax from the beginning. Some years ago, I
happened to find an old Selmer "table B" mouthpiece in Lucern which I paid a
cut-throat price for but I had to have it as it was just what I was looking
for. Only later, did I hear of the Raschers playing Bueschers and old
mouthpieces. Now they are my neighbors and colleages. Strange...

David
David Glenn
notestaff@-----.de

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