Gautrot Marquet - Erzfeind von Sax

Dieses Thema im Forum "Saxophone" wurde erstellt von ToMu, 9.Oktober.2018.

  1. ToMu

    ToMu Ist fast schon zuhause hier

    kann mir hier jemand mit Informationen weiter helfen? - Danke. gautrot brand ausschnitt.jpg

    Die Gautrot Geschichte ist ja wechselhaft, recht spannend mit den Prozessen.
    Nur wann hat G. denn produziert, Menge, Verbleib, etc.
     
  2. ToMu

    ToMu Ist fast schon zuhause hier

    mit einem Hinweis - DANKE - wurde schonmal etwas gefunden, ich muss es noch aufarbeiten, einige Fragen sind nicht beantwortet.

    Guichard - as predecessor.
    Auguste G.Guichard founded a musical instrument manufacturing company bearing his name in 1827.
    He also established a factory at Château-Thierry (Aisne), thus moving from a "cottage" to a "factory" industry devoted to the manufacture of brass musical instruments.
    Pierre-Louis Gautrot joined the firm in 1835.
    In 1845, the name of the company was changed from Guichard to Gautrot indicating at least a change in management.
    At the time of change of name, the two artisans were brothers-in-law.

    Gautrot - as maker-inventor.
    The company names of Gautrot were altered several times during his 39 years as an entrepeneur-maker-inventor allowing for various degrees of influence.
    Evidently he could work alone or in "tandem."
    One early invention (1847) by Gautrot involved what was called an "omnitonic" horn which added 12 crooks and quickchange valves to the natural horn.
    This idea was consolidated into a 3-valve "omnitonic" (1854), and further developed into what may be called a predecessor of the modern double horn (1858).
    In 1855, the company added woodwind and string instruments to its line of products.
    The sarrusophone dates from 1856 when it was patented as a double-reed instrument, though it existed earlier.
    A mouthpiece with a single beating reed for this instrument was patented by Sax in 1866!
    Gautrot absorbed or became allied with several other musical instrument makers as time passed.
    He added Tulou flutes in 1857.
    Jean-Louis Tulou (1786-1865) was not only a flute-maker, but served as a professor of flute at the Conservatoire in Paris (1829-1856) and was in all probability the last well-known flutist to be against the Boehm flute.
    The company name became Gautrot aine et cie. in 1870.
    Though I cannot pinpoint when "et cie. " was not part of the company name, several references do exist.
    Also, Gautrot Marquet (ca. 1863) and Gautrot, durand et cie. (ca. 1878) were two affiliations noted in passing.
    During the existence of Gautrot aîne et a cie (1870-1883), one purchase was made which amazed me.
    Frédéric Triébert Fils (1813-1878) died and left his company, including a factory in Paris, to Mme. C. Dehais who immediately sold it to Felix Paris who later sold it to Gautrot (1881).
    This is the Triébert company where François Lorée worked / supervised before starting his own (extant) company.
    In 1883, Gautrot added the name of Couesnon to his company name, making it Couesnon, Gautrot et cie.
    Amédée Couesnon was Gautrot's son-in law at the time.
    Couesnon had an extremely long life, being born in 1850, and dying in 1951.

    Couesnon - as successor.
    The name of Gautrot was deleted from the company name in 1888, thereby ending the influence of Gautrot.
    The changes in Couesnon et cie. until its demise well into the, twentieth century (1967) are beyond the scope of this study.
    Adolphe Sax, born Antoine-Joseph, produced the first saxophone in about 1843: a C bass in the shape of an ophicleide.
    These "prototype" saxophones made in this curved style are vanishingly rare (there may be only four left, worldwide).
    The soprano, alto and tenor were traditionally shaped and were produced slightly later.
    The bari and bass didn't change to their "normal" shape until around 1846 -- the original patent date for Sax's horns and when saxophones started to be mass produced.
    In 1866, Sax's patent expired (renewed in 1881) and there was a kind of "free-for-all" in the saxophone world.
    The first real "challenge" to the saxophone, the sarrusophone appeared around this time.
    The inventor of which, Gautrot, was sued many times by Antoine-Joseph because of the similarities (especially in fingering) between the two instruments.
    Sax lost some of these legal battles and won others.
    Antoine-Joseph died in 1894 and his son, Adolphe-Edward, took over the company (although some evidence suggests he took over in 1885).
    He produced a few horns and then sold the company to Selmer around 1928.
    Selmer produced horns with the Adolphe Sax label and style until (probably) 1935 and are known as very good playing horns, having similar playing characteristics to the Super models.
    Antoine-Joseph's horns are beautiful works of art that cry out to be played, but they are extremely limited: the keyed range is only up to high Eb, there is no Bb bis key, there is no fork F#, there may not be a side C, the G# is not articulated and there aren't rollers on the RH C and Eb or the LH G#, C#, B cluster keys.
    The baritone and bass also had interestingly placed vents for the low B key placed so you could easily knock your right hand into it when playing.

    Finally, just to make things more interesting, Antoine-Joseph's horns featured up to four octave keys (though most had two), no Bb and even some of Adolphe-Edwards horns only go down to low B.
    I can say that even though these horns have limitations in keywork, they sound wonderful: clean, tight and airy reflecting the horn's roots in Antoine-Joseph's bass clarinet experiments.
    It's a sound that went away completely after about 1940 and the original Buescher Aristocrats.
    There are a couple of interesting things about the Sax horn that I've found:
    - There were altos produced in F
    - There may have been straight altos and low A altos
    - Gold plated horns were generally produced for "trade shows" (Paris Expositions)
    - Feb. 1, 1859 marks the date that pitch was standardized at A=435hz in France
    - Horns produced before this were essentially "custom made" to match the pitch that your ensemble used!
     
    Rick gefällt das.
  3. Thomas

    Thomas Ist fast schon zuhause hier

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