Evolution of the Sax
WORD that looks like the latest Nazi expletive, but is not, is "Rassenkreuzungsklangwerkzeuge," which | was Wagner’s name for the instrument invented in 1842 by a certain M. Sax, the meaning of the phrase being "hybrid-tone-instrument." The inventor, a sort of musical Mendel, managed to cross the brass family with the woodwind, and the result was the saxophone,
which many unforgiving musicians consider illegitimate to this day, continuing to treat it with silent contempt although it has long since been taken into the musical family by composers who presumably knew what they were doing when they used it; Richard, Strauss, Massenet, d’Indy, Meyerbeer, Bizet, and Holbrooke among others, You'll notice I haven’t named a single jazz composer yet. Strangely enough, the Michael Krein Saxophone Quartette, whose programme was presented by 4YA, didn’t play any jazz, swing, or other form of popular music, either. They gave us Albeniz* and Cyril Scott! They proved, beyond a doubt, that the saxophone in hot jazz or blues effects is using only a minute part of its possible tone and effects; and that, like its maligned brother, the bassoon, it can be an instrument of quality.
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19450309.2.19.1.3
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New Zealand Listener, Volume 12, Issue 298, 9 March 1945, Page 8
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194Evolution of the Sax New Zealand Listener, Volume 12, Issue 298, 9 March 1945, Page 8
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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