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I just was informed that Willson has developped a (compensated) saxhorn (called Willsax) in cooperation with the French quartet Opus 333.
Look at the Willson http://www.willson.ch website for more information.
For Opus 333 look at their website or on Youtube.
Note: till very recently they played the Courtois saxhorns.
Hubert

Pardon my ignorance, but how is a saxhorn different or the same as a euphonium or baritone? It is to voiced in Bb like the others.

Not sure, but I like that sound more than a euphonium!

Add to the mix -- how is it different from a tenor tuba?

Dear Hubert:

I'm sure there are a lot of experts on the subject, but I thought I would give you an opinion based on my experience with the Courtois company, who until the Willson saxhorn, was the only manufacturer of the "traditional" saxhorn in the world. Back in the 1800's it was an invention by Adolphe Sax, who didn't secure a patent, so other French manufacturers got on board with it. The saxhorn was the precursor to the euphonium and was the official tuba for the French national orchestra for over 150 years. With that said, there were a lot of composers that wrote for the instrument. The bass saxhorn as it is known, could be called the tenor tuba, and they evolved from a six valve, to a five valve, to the horn today which is a four valve compensating saxhorn. The instrument is conical, features a main tuning slide trigger off the leadpipe, and the bell is a lot closer to the player and has more of a french horn taper (to me) hence a brighter timbre. Obviously there is a resurgence in the instrument as Willson has come out with one. There are many Sax horn artists, quartets, competitions, in Europe. I have two instruments at my disposal here and it really makes sense in the orchestra compared to a euphonium. If anyone is interested in more please pm me.
Thanks- Tim

Some people reckon the alto horn as a modern saxhorn, and a few likewise the (British) baritone horn, though that's awkward because of the myth that the baritone horn is cylindrical.

It will be interesting to hear what they come up with. You can hear them on their Courtois horns on Anton Weber's Langsamer Satz. (Bonus listen, same piece, trombones.)

Scubatuba wrote:Courtois company, who until the Willson saxhorn, was the only manufacturer of the "traditional" saxhorn in the world.

PGM Couesnon also has a contemporary production saxhorn.

Tim, Thanks for jumping in.
Hubert

Saxhorn v euphonium:
Tuning pre-valves and a funky wrap are part of the formula, if it makes any difference whatsoever. Longer leadpipe and more bends, at least.
Bell is a lot different: last 10-12 inches stays tighter then flares more dramatically.

I impulse-bought a 3-valve Courtois that seems to be the predecessor of their current saxhorn, just with a vertical tuning slide. Same body, no detectable difference in bell. It reminds me of a marching baritone in the way it gradually gets brassy as you push it, where true euphoniums get moose-like.

Don't think it could quite match the sugary-sweet warmness of euphonium, would take deep mouthpiece and air attacks to get close - it's quite articulate. Anyways saxhorn is fun, and a sound like Opus 333 is attainable, but there's not much application. Could be good for solo literature to break monotony of euphonium sound during a long recital.

Donn wrote:Some people reckon the alto horn as a modern saxhorn, and a few likewise the (British) baritone horn, though that's awkward because of the myth that the baritone horn is cylindrical.

It will be interesting to hear what they come up with. You can hear them on their Courtois horns on Anton Weber's Langsamer Satz. (Bonus listen, same piece, trombones.)

Thanks, Donn. Those comparative links were most informative. I vote for the trombones, although the sax horns sounded terrific.

Ace

The only time I've seen a saxhorn in person was during a trip to Spain. The local music store had one in the window. I don't speak much Spanish and they didn't speak much English, but I learned that it was made in China.

If Willson spent the time and money to make one, there must be some kind of market for it!

Ace wrote:I vote for the trombones, although the sax horns sounded terrific.

Well, yeah, that's what I was thinking, but in retrospect maybe it's a little beside the point.

I don't know what the saxhorn quartet is working with here - maybe that's why they're involved with Willson now - but to compete with those trombones, you need something that can produce a very consistent, solid sound over a huge compass from the tuba range up into the stratosphere. In particular the bass trombone's weird extensibility - technically they're all Bb trombones, but don't be fooled. This piece, written for string quartet for heavens sake, gets out of the sweet spot for the Courtois instruments, but imagine it instead for example on an ATB choir with an F contrabass saxhorn.

Donn wrote: You can hear them on their Courtois horns on Anton Weber's Langsamer Satz.

I like that sound More husky and textured/edgy than the typical "always-'pretty'" Brit-style euph.