The difference between this work of mine and previous ones of its type lies in the fact that I place physical and physiological mastery of the instrument in the foreground and not only talk about the embouchure in the usual sense (connection between lips and mouthpiece) but describe the systematic construction of the whole complex. This includes first of all generating energy by means of continuous support and pushing through by the diaphragm, a most important part of my method. For only perfect teamwork: support — abdominal muscles — diaphragm breathing — diaphragm pressure on the one hand and cheeks — lips — tongue — face muscles on the other, will guarantee an easy high register, endurance and security.
Making people aware of these processes is of fundamental importance. A student's technical progress and also his musical progress depend primarily on the efficiency of his embouchure. Only a phenomenal mastery and control of the physical and physiological structure makes possible the constant and disciplined practice that will sooner or later lead to success.
Let me emphasise, therefore, that the only people to bring this playing technique to complete maturity and perfection will be those who regard the necessary training with much patience and discipline as a task to be performed conscientiously.
Rolf Quinque is certainly one of the most renowned trumpeters of the 20th century. He will go down in musical history as having accomplished the most amazing feats in the high register of the trumpet (ordinary or piccolo), not only in recordings, like many specialists, but in live performances! He has played and still plays the perilous 2nd Brandenburg Concerto of J.S. Bach with astonishing security (he cannot remember how many times...). What is more, he is the only trumpeter of our age to have mastered in live performance the splendid but awesome Concerto of F.X. Richter (more than 40 public concerts) and the Concerto of Michael Haydn (ditto). He gave the first performance, and has made several public performances and recordings, of the trumpet part of "Vexilla Regis" by Hans Zender, which all trumpet-players specialising in the extreme high register had refused to play, declaring it quite unplayable!
Yes, Rolf Quinque is a virtuoso of the impossible who also has the talent and sensitivity of a real musician.
The "ASA" method which he has written and which Editions BIM is now publishing at the beginning of 1980 is the outcome of the profound reflections he has made on taking up composers' challenges.
His explanatory text is clear, and stripped of all unnecessary thoughts.
Herewith we publish the Preface of his ASA Method (Atmung = breathing, Stütze = support, Ansatz = embouchure).
The Editors