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What school is Arno Bornkamp?
What school is Arno Bornkamp?
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Yeah, but he doesn't sound French to me.
I went yesterday to hear Siegfried live from the MET. The heldentenor playing Siegfried was not only a great singer, but a great actor. His German sounded great (to me, anyway). They did a little spot where they interviewed him. He's from Paris, Texas, and boy, did he sound like it when he spoke English. That's kinda why I wonder about teachers, and 'lineages' and 'schools'.
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But that's implying that a school can't evolve, n'est-ce pas?
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Hence the 'Bornkamp' school. I mean really, this notion of French , American, and German schools is silly. It's a lineage from Mule, Teal, and Rascher. (I don't include Allard because he was not really 'classical' in the sense the others are). By now, though, I think the real influences from the 'Teal' school are Hemke and Sinta (even though Hemke studied with Mule). Rousseau is more 'French' sounding than Londeix, IMO. The thing is, the schools are not just about sound production--they're also a bit different in ideas of musical interpretation.
It's like in violin--Many of the virtuosos active today studied with either Dorothy Delay or Ivan Galamian. I can tell a Delay student in a few notes. I just happen to prefer the concepts of the students of Josef Gingold (like Josh Bell).
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Arno typifies, at this point, the Dutch school, which includes Niels Bijl, Ties Mellema, and Raaf Hekkema, among others. Although he did study with Londeix and Deffayet, his early studies were with Ed Bogaard.
Regardless of who one studies with, it's the personal artistry that they develop that determines which "school" they belong to. The concepts that Arno teaches have become idiomatically Dutch and are occasionally at odds with the French school, such as his take on embouchure and vibrato. He spends quite a bit of time teaching his students how to be comfortable on stage, which is not something typically taught at most other places. He is also not NEARLY as dogmatic about scale study as Londeix was (and his students continue to be) - most of his student do scales through 5ths and that's that. Can't say I can argue with him, given the results of his teaching.
Regardless of who one studies with, it's the personal artistry that they develop that determines which "school" they belong to. The concepts that Arno teaches have become idiomatically Dutch and are occasionally at odds with the French school, such as his take on embouchure and vibrato. He spends quite a bit of time teaching his students how to be comfortable on stage, which is not something typically taught at most other places. He is also not NEARLY as dogmatic about scale study as Londeix was (and his students continue to be) - most of his student do scales through 5ths and that's that. Can't say I can argue with him, given the results of his teaching.
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So Hemke's matriculated in the Teal school?
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Well, Hemke and Teal certainly were contemporaries--Teal being the older of the two colleagues. I met both of them (and Rousseau, too) and spent some time with them at a NASA conference iat Northwestern in 1974-5. Hemke and his students were the hosts, of course, and Teal gave an excellent presentation on Rudy Weidoeft. All I was aware of was that this was 'legit' saxophone, and IIRC the discussions were about sax playing, and individual sounds, not 'schools'.
Joe Allard and Rascher were not there, so I've always associated Hemke and Teal together. I've always associated Rousseau with the 'French' school, and Teal, Hemke, and Sinta (as well as Sampen) with the American. One of my colleagues went to grad school to study with Allard, and my teacher after Sampen was a Rousseau student.
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Rousseau actually has a more American background than Hemke; he studied for only a few months with Marcel Mule but received his primary degrees studying Woodwinds with Hymie Voxman. Hemke was actually an admitted student at the Paris Conservatoire and is still the only American to graduate. However, to call Hemke's pedagogy "French" is also inaccurate. Although he adopted many techniques and concepts from Mule's teaching, he is the progenitor of an idiomatically American method that, while different from Sinta's, is no less unique to this country.
While we're at it, we should probably include here that Londeix's pedagogy was influenced by Sinta's, but we don't refer to the results of that as being "American" any more than Arno being "French".
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