One of the essential aims of her “classical bass clarinet” master courses is to cultivate tone quality. Rusche-Staudinger believes that the tone’s frequency and its immediate intensity balance out the difference in sound, thus contributing to a homogenous, seamless legato. In the process, the frequently discussed differences between the German Oehler system and the French Boehm system fade into the background.
The following two works from the solo repertoire are fixtures in the course programme because they are particularly in keeping with the classical focus of her master courses: the second movement in Louis Spohr’s Second Clarinet Concerto (traditionally the mandatory piece for bass clarinet auditions) and the Sonata for Bass Clarinet solo by Harald Genzmer. The defined goal here is the joint development of an individual and harmonious interpretation in all areas.
A further important topic of the course is how the great solo passages from the operatic and symphonic repertoire can be imaginatively and convincingly shaped. Naturally, the famous audition-piece passages are also worked on. Renate Rusche-Staudinger does not, however, see these in isolation from any other context. "Whether the action on the stage is love or murder, this should have an influence on each of our solos." The musical context also reveals its very own mood in solo concert performances. "Ultimately, it relies on being able to respond flexibly and correctly in the eternal interplay between self-aware accentuation and humbly integrating and subordinating to the other voices in the orchestra."