[A Greene]

I have a passing knowledge of the 3 schools of classical saxophone. However, can anyone fill in some of the blanks with regards to these 3 question:

1) What are the basic tonal and interpretive difference?
2) Are the exclusive? If so Why?
3) Why do I sense competition within classical saxophone schools?

I don't want to get TOO deep; I just want some knowledge when talking with dedicated Classical Saxophonists and when preparing student to enter into this world.

 

[J.Max]

There is a thread about this:

http://forum.saxontheweb.net/showthread.php?t=36201&highlight=classical+schools

EDIT: Oh, it's stickied! When did that happen?

 

[awholley]

Don't take anyone's word for it. Listen for yourself. Buy 3 CDs!

Some possibilities.

1) Donald Sinta "American Music" or anything by Timothy McAllister

2) Harry White "Spectrum Saxophonis" or Lawrence Gwozdz "Rascher International"

3) Arno Bornkamp "The Classical Saxophone" or anything by Londeix, Deffayet or Delangle (I don't recommend Delangle's "Saxophone for A Lady" for this purpose,though)

If you have not yet been indoctrinated in one school or the other, the differences may not be that obvious to you (nor should they be). There are differences, but they seem to get less and less important with the passage of time, and there seems to be a fair amount of convergence happening compared to, say, 30 years ago.

 

[J.Max]

Don't take anyone's word for it. Listen for yourself. Buy 3 CDs!

Some possibilities.

1) Donald Sinta "American Music" or anything by Timothy McAllister

2) Harry White "Spectrum Saxophonis" or Lawrence Gwozdz "Rascher International"

3) Arno Bornkamp "The Classical Saxophone" or anything by Londeix, Deffayet or Delangle (I don't recommend Delangle's "Saxophone for A Lady" for this purpose,though)

If you have not yet been indoctrinated in one school or the other, the differences may not be that obvious to you (nor should they be). There are differences, but they seem to get less and less important with the passage of time, and there seems to be a fair amount of convergence happening compared to, say, 30 years ago.

This is good advice. You might also listen to the same piece being played by players from each school. The Ibert might be a good piece to use for this, or possibly the Creston Sonata. I'll try and give specific recordings later...