Born 15 May,
1907, in Elberfeld (now Wuppertal), Sigurd Manfred Rascher was exactly one year
older than Lars-Erik Larsson (b. 15 May 1908). In the New Grove Dictionary
of Music and Musicians, Rascher is described as a Scandinavian saxophonist
of German birth[1]. In the
Swedish encyclopedia Sohlmans Musiklexikon Rascher is described as an American saxophonist, born in Germany[2].
Consulting the New Grove Dictionary of American Music, Rascher is
described as a German born saxophonist. Nicolas Slonimsky's edition of Baker's
Biographical Dictionary of Musicians, simply says that Rascher is a
German-American saxophone virtuoso.[3]
In Slonimsky's Music Since 1900, Rascher is identified as a Danish
saxophone virtuoso.[4] Obviously,
Rascher background and identity have caused
ambiguity among scholars.
After
matriculating in 1930 at the Sturttgart Musikhochschule, as a clarinetist,
Rascher decided to devote his life to the saxophone. He thaught saxophone in
elementary schools and played in concert bands, before being appointed to teach
the saxophone at the Royal Danish Conservatory, 1933-1938, and at the
Conservatory in Malmö, Sweden , 1934-1938.[5]
After meeting with Larsson at the ISCM festival in Florence, 1934, Rascher became
a regular member among the musicians and composers in Larsson's home town of
Åkarp, Sweden. Another significant relationship was the family Welander, where
Larsson and Rascher frequently met with Waldemar and Svea Welander. Waldemar (1899-1984) and Svea (1898-1986)
were both composers. Waldemar's Concertino
för saxofon och Stråkorkester (1966) was dedicated to Rascher. With
Rascher's marriage to Ann-Marie Wigån from Tranås, Sweden further became a natural home for Sigurd
Rascher. The marriage was a surprise to the people of TranÅs. Ann-Marie was the
daughter of Wilhelm Wigån, a well established manufacture of fur coats. At the
time, it was unusual for a daughter of a well established family to marry a
little known musician like Rascher, who did not have a cent in his pocket.[6]
Today, among people who grew up in Tranås during the 1930's, Ann-Marie Wigen is
remembered as the person who... "took off and married some strange
person.[7]
But home in Larsson's hometown Åkarp Mr. and Mrs. Rascher found long-lasting
friendship. There were many memorable evenings when Larsson, Rascher and
Waldemar and Svea Welander enjoyed each other's company in Åkarp.[8]
Hoping for a
detailed and personal description of Rascher's musical and social life in
Scandinavia during the 1930s, the author wrote to Sigurd and Ann-Marie Rascher,
asking for the documentation of valuable memories and experiences.
Unfortunately, Rascher's illness prohibit him from further communications. Mrs.
Rascher regretfully replied in a letter dated February 16, 1995.
Dear Anders
Lundegård,
We regret -
but there is only one possible answer to your letter of Jan. 11 - too late.
I must assume
that at the time of your conversations with Monica Welander and Kajsa Lund,
they were aware of my husband's illness. Sigurd Rascher is the one who now is
in need of assistance after a long life of giving.
You might be
too young (our grandson's age) to recognize any of the names in the Åkarp
circle of friends: the silversmith Wiven Nilsson, the painter Norrman, the music
critic Sten Broman, the musicians Svea and Waldermar Welander, Lars-Erik
Larsson. There were others - all top artists in their different fields. Add
then all the Copenhagen friends - it was a productive time - just before the
great tragedies.
with best
regards,
Ann-Marie
Rascher[9]
In the late
1930's Rascher moved to the United States, were he made his American dåbut in
1939 with the Boston Symphony Orchestra. Rascher appeared the same year as
soloist with the New York Philharmonic Orchestra. Rascher was the first
saxophonist to appear as a saxophone soloist in a subscription concert given by
either orchestra. Performing with another 250 orchestras around the world since
then, Rascher achieved a world wide reputation. Composers such as Jacques
Ibert, Paul Hindemith and Darius Milhaud, have dedicated compositions to him.
Rascher has recorded works by American composers such as Brandt, Creston and
Heiden[10].
Among Swedish composers, other than Larsson, Erland von Koch's works appear
with dedications to Rascher.[11]
Compositions by Koch, such as Saxophon Concerto (1958), dedicated to
Rascher, Concerto Piccolo (1962) and Monolog nr. 4 (1975), both
dedicated to Rascher and his daughter Carina, have naturally amplified the
development of saxophone playing and repertoire in Sweden. These pieces all
generated from Larsson and Rascher's collaboration in 1934.
After
emigrating to the United States in 1938, Rascher taught at various schools
including the Manhattan School of Music, 1940, the University of Michigan,
1954, the Eastman School of music, 1959-65 and Union College, NY., 1968-72.
Internationally known as well is the
Rascher Saxophone Quartet, which Rascher founded in 1969, together with his
daughter Carina and his students Bruce Wienberger and Linda Bangs. The quartet
has toured intensively performing works dedicated to their ensemble.[12]
Miniatyrer för saxofonkvartett, (1970), Saxofonia - Concerto for
Saxophone Quartet and Wind Orchestra, (1976), Cantilena e vivo for
Saxophone Quartet, (1978), all composed by Erland von Koch, were dedicated
to the Rascher Saxophone Quartet[13]
The quartet has also performed early chamber music transcribed by Rascher.
Known for his technical excellence, and control of the altissimo register,
Rascher has published saxophone methods, including Top tones for the
Saxophone (1941, 3rd ed. 1977) and 158 Exercises for Saxophone
(1935, 2nd. ed. 1968)[14].
Composers
other than Larsson, such as Erland von Koch, have also given Rascher
opportunities for displaying his skills in the altissimo register. A recording
review of Koch's Saxophon-konzert, appearing in the Saxophone Journal,
1988 gives good criticism concerning Rascher's performance of such difficulties[15].
Rascher has in
later years enjoyed the view from his farm in Shushan, NY. His son, Staffan,
has settled next door and the fine-tasting Rascher
Maple Syrup, can be purchased in the area.[16]
[1]New Grove Dictionary of Music and Musicians. 20 v. Ed. by Stanley sadie. London: Macmillan, 1980 "Rascher, Sigurd" by George Gelles.
[2]Sohlmans Musiklexikon, 5 vl. 2nd ed. by Hans åstrand. Stockholm: Sohlmans Förlag AB, 1977. "Rascher, Sigurd," by Lars Stenkvist.
[3]Baker's Biographical Dictionary of Musicians, 8th ed. by Nicolas Slonimsky. New York: Schirmer Books A division of Macmillan, Inc. 1992.
[4]Nicolas Slonimsky, Music Since 1900, 5th ed. (New York: Schirmer Books, An Imprint of Macmillan Publishing Company, 1994).
[5]New Grove Dictionary of American music. Ed. By H. Wiley Hitchock and Stanley Sadie. London, Grov's Dictionaries of Music Inc. New York, N.Y.: Macmillan PressLimited, 1886. "Rascher, Sigurd," by George Gelles
[6]Interview with Monica Welander, Båstad, Sweden, 21 December 1994.
[7]Interview with Sören Reuterhage, Alvesta, Sweden, 4 January 1994.
[8]Interview with Monica Welander, Båstad, Sweden, 21 December 1994.
[9]Letter to Anders Lundegård from Ann-Marie Rascher, Shushan NY., 16 February, 1995
[10] New Grove Dictionary of American music. Ed. By H. Wiley Hitchock and Stanley Sadie. London, Grov's Dictionaries of Music Inc. New York, N.Y.: Macmillan PressLimited, 1886. "Rascher, Sigurd," by George Gelles
[11]Sohlmans Musiklexikon, "Rascher, Sigurd," by Lars Stenkvist.
[12]Sohlmans Musiklexikon, "Rascher, Sigurd," by Lars Stenkvist.
[13]Brian Ayscue, " Erland von Koch and his Saxophone Concerto," The Saxophone Symposium 8 (n4 1983):14.
[14]Sohlmans Musiklexikon, "Rascher, Sigurd," by Lars Stenkvist.
[15]Joseph E. viola and Paul Wagner, "Record reviews: Erland von Koch Saxophon-Konzert", Saxophone Journal 12 (Winter 1988): 49-50.
[16]Interview
with Monica Welander, Båstad, Sweden, 21 December 1994.