Interesting quote on Adolph Herseth
Dil
surfing the web, I came across an interesting quote on Bud Herseth –
long time principal trumpeter of the CSO (1948-2004):
"Every aspect of Adolph Herseth's music-making was astounding. His
magnificent tone was so rich and concentrated, with loads of overtones
and plenty of air flowing, that it could be heard within the
orchestral texture no matter how softly or in whatever register he
played. His intonation was impeccable, as was also his disciplined
precision, execution, and rhythm. His complete mastery of all
technical aspects of trumpet playing in all registers, as well as his
fantastic dynamic range, power, and endurance, resulted in music that
was always clearly articulated, rhythmic, and energetic. Bud's immense
musicality, involving a constant pulse and forward motion as well as
an acute sensitivity and attention to the slightest of nuances, was so
communicative that it caused visceral reactions in everyone who heard
it, including me. These reactions would range from tears brought about
by a simple six-note lyrical passage in Pictures at an Exhibition to
exhaltation from a bombastic and glorious ending of a piece like
Mahler's Symphony Number 5, as well as myriad other sensations in
between. The degree of artistry that he consistently maintained
created an indelible impact on all listeners. When this pillar of self-
confidence played his horn, Gabriel himself likely stood in awe, and I
was next in line. I was determined to do whatever it took to some day
play with at least some semblance of that style and degree of
quality."
The quote is from the book:
Within the Sphere of the Master: My Recollections as a Student and
Long Time Colleague of Adolph Herseth, Trumpeter Supreme of the
Chicago Symphony Orchestra
By Timothy J. Kent (Silver Fox Enterprises; First Edition edition
(January 2006)
Timothy Kent is a former student of Herseth and a former CSO trumpeter
(1979-1996)
Other excerpts from the book plus interesting candid photos of Herseth
can be found on the author's website:
The photos are here:
http://www.timothyjkent.com/spherepics.htm
Dil.
Heck51
> Within the Sphere of the Master: My Recollections as a Student and
> Long Time Colleague of Adolph Herseth, Trumpeter Supreme of the
> Chicago Symphony Orchestra
> By Timothy J. Kent (Silver Fox Enterprises; First Edition edition
> (January 2006)
>
> Timothy Kent is a former student of Herseth and a former CSO trumpeter
> (1979-1996)
>
> Other excerpts from the book plus interesting candid photos of Herseth
> can be found on the author's website:
>
> http://www.timothyjkent.com/>>
Excellent!! very interesting site...thank you!!
Herseth is a remarkable musician, probably the best I've ever heard
live...I still remember vividly his brilliant, huge tone soaring over
the top of the CSO sound at the conclusion of Mahler 5 in Carnegie
Hall in 1970. Very thrilling, indeed. the soft, delicate solos were
impeccable as well.
His many great performances and recordings have earned him his well-
deserved stellar reputation.
The Historian
The quotation seems a little heavy on hero-worship. Still, the
author's passion comes across. Scrolling further down the page, I like
these remarks:
"From my years of preparation in two different occupations, I am very
aware of the importance of our developing disciplined habits, so that
we do not have to decide each hour of every day if we are going to
strive to make progress. Instead, we simply labor steadily forward
each hour, seeking to achieve the highest quality possible, not with
the goal of recognition of our efforts by others, but simply for the
personal joy of participating in high-quality activities. I found it
rather sad and pathetic to read that the baseball superstar Ted
Williams had expressed his goal as a young man in this way: 'When I
walk down the street, I want people to say, "There goes the best
hitter that ever lived."' Unfortunately, he was intent upon not only
achieving the highest quality in his particular profession; he was
also looking forward to basking in the recognition and adulation of
others. My experiences as both a musician and a historian have taught
me to be content with working quietly and steadily to achieve
excellence, without expecting much acknowledgement or credit from
others. The quality of the results will suffice as the personal reward
for the efforts expended."
M forever
So why did Kent leave the CSO to became an "accomplished and highly
respected historian, living-history researcher, paddler, author,
lecturer, and historical presenter"?
I remember seeing him in the CSO when they played Bruckner 8 in Berlin
in 1995, he was hard to overlook, looking like a cast member from
"Planet of the Apes" who landed in the back of the orchestra.
Apparently, he left the following year. But he looked still fairly
young.
Dil
Good question. I haven’t read his book so I can’t answer for Kent, but
he clearly found other subjects he wanted to pursue full-time and it
doesn’t appear as if he needed the CSO gig for sustenance. As it is,
with Kent having sat in the middle of a very loud brass section for 17
years, even as a music lover I can somewhat sympathize with the desire
to leave it all for the quite expanse of northern country -especially
if one is also a lover of nature.
Dil.
GMS
> On Oct 31, 11:30 am, M forever <ms1...@gmail.com> wrote:
> > So why did Kent leave the CSO to become an "accomplished and highly
> > respected historian, living-history researcher, paddler, author,
> > lecturer, and historical presenter"?
Tim has had a lifelong interest and passion for the history of early
"voyageurs" (sp?) and he came to a juncture in his life when he wished
to pursue that passion full time. He also explained (at his
retirement ceremony) that he'd grown weary of much of the contemporary
music that was being programmed by the CSO at the time. I understand
him completely on that point. I'm NOT anti-new music, but a lot of
the stuff we were playing took tremendous amounts of rehearsal time at
the expense of proper dedication to the other repertoire on each
program. Also, most of this new "music" simply disappeared, never to
be re-programmed after those concerts.
Gary Stucka
M forever
Good to hear he left because he wanted to, not because of health or
other reasons beyond his control. I have known a few musicians who
invested many years of hard work to make it into a top orchestra, and
then had to retire for such reasons - often with devastating effects
on the person.
I agree, BTW, that a lot of contemporary music is just a waste of
time. I am not at all anti-new music either, in fact, I played in
contemporary music ensembles and even organized concerts with
contemporary and "traditionl" repertoire for a while in Berlin. But a
lot of it is just unnecessarily complicated and hard to perform and
often pretentious nonsense.
Still, I think new pieces deserve a chance. Most of the music that was
composed in the past centuries wasn't so great either, and what has
stayed with us as "repertoire" is just a small percentage. But if new
music doesn't get played at all, it has no chance of entering the
repertoire.
OTOH, one would hope that programmers and conductors would "filter"
what actually deserves to get on the programmes a little better. I
have the feeling that often, new pieces are just performed because the
conductors feel they have to show they are supporting contemporary
music rather than because they are really convinced of its quality.
GMS
"I agree, BTW, that a lot of contemporary music is just a waste of
time.......a lot of it is just unnecessarily complicated and hard to
perform and
often pretentious nonsense.
Still, I think new pieces deserve a chance. Most of the music that
was
composed in the past centuries wasn't so great either, and what has
stayed with us as "repertoire" is just a small percentage. But if new
music doesn't get played at all, it has no chance of entering the
repertoire.
OTOH, one would hope that programmers and conductors would "filter"
what actually deserves to get on the programmes a little better. I
have the feeling that often, new pieces are just performed because
the
conductors feel they have to show they are supporting contemporary
music rather than because they are really convinced of its quality."
Excellent thoughts! I couldn't agree more!
Gary Stucka
O
<7173200a-be0f-40d8...@f16g2000yqm.googlegroups.com>,
GMS <slidem...@aol.com> wrote:
What I've noticed is that the new music being programmed now is mostly
short. (and often, "program" music) It seems like there is absolutely
no market for music of more than one movement nowadays.
-Owen
Lena
>
[...]
He also explained (at his
> retirement ceremony) that he'd grown weary of much of the contemporary
> music that was being programmed by the CSO at the time. I understand
> him completely on that point. I'm NOT anti-new music, but
Also, most of this new "music" simply disappeared, never to
> be re-programmed after those concerts.
>
characterize as "music," and what do you think qualifies as actual
music? (In the quoteless sense.)
Lena
Lawrence Chalmers
I remember his face getting beet red when he played. I don't recall
seeing this in any other player.
M forever
Who are you talking about?
GT
I've ever heard. Only Schlueter had a bigger sound with more
overtones than Herseth but he was not nearly as consistent and laced
his sound with a very slow vibrato that was used all the time, even on
chords with the whole brass section where it would be proper *not* to
use vibrato to get the overtones. He could make more music in a
couple notes though than any trumpet player I've heard when he was
"on". Frank Kaderabek in Philadelphia had a similiar huge sound but
it was much brighter and his vibrato wasn't nearly as slow as the one
Schlueter used. The thing I don't like now is that all the top
trumpets in the country sound the same. Twenty or more years ago
every principal had a distinct sound (or at least the 3 i just
mentioned, and i should add Bernie Adelstein). Why do you think all
the top trumpet sound nearly identical now?
ansermetniac
wrote:
He is not even close to the size of the sound of Glantz and Vacchiano
or Longinotti. And these three don't blare
Abbedd
Heck51
Only Schlueter had a bigger sound with more
> overtones than Herseth but he was not nearly as consistent and laced
> his sound with a very slow vibrato that was used all the time,
Hmmm...I heard Schlueter many times, and was never that impressed with
his sound, it was OK, but I wouldn't put him up with the others-
Herseth, Vacchiano, Murphy, to name a few - of course, Schlueter's
battles with Ozawa were well-known- it must have been awful trying to
play under those conditions.
<<Frank Kaderabek in Philadelphia>.
an ex-CSO trumpeter
<<The thing I don't like now is that all the top
> trumpets in the country sound the same. Twenty or more years ago
> every principal had a distinct sound >>
I think that's happening with every orchestra instrument...we're
zeroing in on a sort of homogeneous "Bb" quality of all-purpose
orchestral sound - "the don't do anything wrong", "appeal to the
audition committee" type approach.
M forever
> On Nov 2, 11:02 pm, GT <stopandthin...@gmail.com> wrote:
> Only Schlueter had a bigger sound with more
>
> > overtones than Herseth but he was not nearly as consistent and laced
> > his sound with a very slow vibrato that was used all the time,
>
> Hmmm...I heard Schlueter many times, and was never that impressed with
> his sound, it was OK, but I wouldn't put him up with the others-
> Herseth, Vacchiano, Murphy, to name a few - of course, Schlueter's
> battles with Ozawa were well-known- it must have been awful trying to
> play under those conditions.
I gather from this that Mr Schlueter played in the BSO. When was he
there? I noticed on some BSO recordings I have that the trumpet sound
indeed has a little vibrato in it sometimes. What "battles" did he
fight with Ozawa?
> <<Frank Kaderabek in Philadelphia>.
>
> an ex-CSO trumpeter
>
> <<The thing I don't like now is that all the top
>
> > trumpets in the country sound the same. Twenty or more years ago
> > every principal had a distinct sound >>
>
> I think that's happening with every orchestra instrument...we're
> zeroing in on a sort of homogeneous "Bb" quality of all-purpose
> orchestral sound - "the don't do anything wrong", "appeal to the
> audition committee" type approach.
What does "Bb quality" mean?
Heck51
> I gather from this that Mr Schlueter played in the BSO. When was he
> there?>>
from c 1981 -2006
<< What "battles" did he fight with Ozawa?>>
Ozawa displayed his usual indecisiveness in dealing with Schlueter -
Schlueter was hired, and Ozawa agreed to his tenure - then he promptly
tried to get him fired [after he was tenured!!] - Schlueter kept his
job after a long struggle.
Carl Vigeland's book "In Concert" goes into great detail about this
episode.
<<a sort of homogeneous "Bb" quality of all-purpose
> > orchestral sound>>
> What does "Bb quality" mean?>>
a musical colloquialism - a general, homogeneous, all-sounding-the-
same style of sound.
GT
Schlueter definately had a sound I've never heard from anyone else and
I guess you hate it or love it and Ozawa seemed to hate it. Ozawa
must have been quite happy to see Schueter was gone when he came to
guest conduct last year. He was in the orchestra from 1981 to 2006.
He was in Minnesota before that and was talked into an audition for
the Boston job and supposedly just played one of the best auditions
the committee ever heard. In the Ozawa Mahler Symphonies on Phillips
he is on first trumpet and you can hear some of his vibrato in spots
you don't hear it on other recordings. But that Mahler 7 is probably
the best of that Mahler cycle. I do like 1, 2 and 3 as well. 6 Was
terrible, all the others are decent.
Heck51
> Schlueter definately had a sound I've never heard from anyone else and
> I guess you hate it or love it and Ozawa seemed to hate it.>>
then why did he grant him tenure?? then try to fire him?? Ozawa
definitely has had problems in this area of "personnel relations" -
major problem with SFSO, and then several more in Boston.
<<Ozawa must have been quite happy to see Schueter was gone when he
came to
> guest conduct last year. >>
It is my understanding that in Schlueter's last couple of seasons he
did not play when Levine conducted....was there a history between
those two as well??....I heard the BSO several times during that
period - Schlueter played for other conductors, but not when Levine
conducted...
GT
In that Vineland book they said Ozawa thought his audition was
"perfect" but his playing started diminishing when he got the job. I
think Ozawa just didn't know what he wanted. As for Levine, I have no
idea if there is something between those two. I heard that Schlueter
didn't like all the new music Levine programmed but I don't know why
he wouldn't play for the traditional pieces...
Heck51
<< I think Ozawa just didn't know what he wanted.>>
you're probably right - SO had alot of indecision in that area - ie -
principal flute, principal oboe in Boston, principal bassoon in SFSO.
<< I heard that Schlueter
> didn't like all the new music Levine programmed but I don't know why
> he wouldn't play for the traditional pieces...>>
Hmm, that's possible, I'm trying to think of the concert
repertoire.....there was always some new music, or else lots of
Schoenberg....
jrsnfld
Schlueter was a distinctive player, and not always at his best, but he
was often so stunningly musical that I forgave all the annoyances. I
heard him at both his best and worst in the hall, and I always looked
forward to his playing nonetheless. On broadcasts, in the early 80s,
his sound did seem kind of "large" for the orchestra, but his
strengths worked well with the orchestra's historical bright, frothy
brass sound and colorful way with French and Slavic music. I think he
was a natural successor to Ghitalla and Voisin.
--Jeff
jrsnfld
On his solo discs, Schlueter does a bit of modern music, and unusually
well, IMHO.
--Jeff
Simon Roberts
30c34b...@j4g2000yqe.googlegroups.com:
> Frank Kaderabek in Philadelphia had a similiar huge sound but
> it was much brighter and his vibrato wasn't nearly as slow as the one
> Schlueter used.
Yikes. I couldn't stand Kaderabek's playing (nor, apparently, could Muti,
who evidently tried for years to get rid of him); I'll never forget a
performance of Scriabin's Poem of Ecstasy whose climaxes were dominated by
Kaderabek's vibrato, which was so slow and wide you could almost see it. I
went to a concert a few days later by the Curtis orchestra and remember
wishing they could swap trumpet players....
Simon
jrsnfld
> GT <stopandthin...@gmail.com> wrote in news:24ce7728-c478-460e-9db1-
> 30c34b5a3...@j4g2000yqe.googlegroups.com:
>
> > Frank Kaderabek in Philadelphia had a similiar huge sound but
> > it was much brighter and his vibrato wasn't nearly as slow as the one
> > Schlueter used.
>
> Yikes. I couldn't stand Kaderabek's playing (nor, apparently, could Muti,
> who evidently tried for years to get rid of him); I'll never forget a
> performance of Scriabin's Poem of Ecstasy whose climaxes were dominated by
> Kaderabek's vibrato, which was so slow and wide you could almost see it. I
> went to a concert a few days later by the Curtis orchestra and remember
> wishing they could swap trumpet players....
>
> Simon
Unfortunately, I had a similar reaction which inhibits enjoyment of
some Ormandy recordings.
--Jeff
ronwhit
Levine and Schlueter knew each other from their days in Cleveland.
Charlie played there from c.1967-1972, and Levine was on the
orchestra's conducting staff during some of that period.
Ron Whitaker
ronwhit
Could you explain your last comment? While Schlueter and Ghitalla have
similarities in their playing, to me Voisin was totally different in
almost every aspect.
Ron Whitaker
M forever
> On Nov 3, 12:18 am, M forever <ms1...@gmail.com> wrote:
>
> > I gather from this that Mr Schlueter played in the BSO. When was he
> > there?>>
>
> from c 1981 -2006
>
> << What "battles" did he fight with Ozawa?>>
>
> Ozawa displayed his usual indecisiveness in dealing with Schlueter -
> Schlueter was hired, and Ozawa agreed to his tenure - then he promptly
> tried to get him fired [after he was tenured!!] - Schlueter kept his
> job after a long struggle.
>
> Carl Vigeland's book "In Concert" goes into great detail about this
> episode.
I checked out the preview on amazon. Looks like a good book for those
who are interested in what goes on "behind the scenes" in the
"orchestral scene".
I just wonder how many people actually read that kind of book...
> <<a sort of homogeneous "Bb" quality of all-purpose
>
> > > orchestral sound>>
> > What does "Bb quality" mean?>>
>
> a musical colloquialism - a general, homogeneous, all-sounding-the-
> same style of sound.
But didn't you just approvingly quote that text from Kent in which he
praised the complete homogeneity of the CSO brass sound in which all
brass instruments are described as the basic same color, just in
different registers? That's what that sounds like to me.
jrsnfld
For me the main comparison point is that all three could stick out
like a sore thumb (but certainly not always "sore"!) and used vibrato
as a significant part of their projection. Slow or fast vibrato and
soloistic color were important tools in their instrumental character.
--Jeff
Heck51
>
> - Show quoted text -
Heck51
>> But didn't you just approvingly quote that text from Kent in which he
> praised the complete homogeneity of the CSO brass sound in which all
> brass instruments are described as the basic same color,>>
within the same orchestra, of course that is desirable. but that
doesn't mean that the same qualities must be consistent with every
other orchestra.
"intra"-orchestra = within the same ensemble - yes, matching styles
and toe qualities are a god thing
"inter"-orchestra = between different orchestras - matching styles are
not so necessary, or even necessarily desirable.
Heck51
> "intra"-orchestra = within the same ensemble - yes, matching styles
> and toe qualities are a god thing>>
OOPS, pardon the typos - I'm starting to post like powell!!
corrected -
"intra"-orchestra = within the same ensemble - yes, matching styles
and TONE qualities are a GOOD thing
GT
Herseth talking a little bit about conductors: http://www.youtube.com/watch?v=qKsdzjNMNVY
Herseth fooling around (those dunderheads need to be quiet in the
presence of such a lengend): http://www.youtube.com/watch?v=Q5jrPhgOwgo&feature=related
Schlueter great interview: http://www.youtube.com/watch?v=4aiALh487iw
Schlueter playing Quiet city: http://www.youtube.com/watch?v=Lovsgajvpv0
Heck51
> Schlueter playing Quiet city:http://www.youtube.com/watch?v=Lovsgajvpv0>>
I didn't know Alex Klein played such gorgeous Cor Anglais!!
Lawrence Chalmers
was't talking about Harry James....:P
Heck51
> For the one who asked, the red face comment was about Herseth. >>
yep, gawd he really turned red...tho his tone never sounded strained
or labored
ansermetniac
except when he blared or got sweet
Abbedd
Heck51
> except when he blared or got sweet>>
Bud could do it all. :)
did you ever hear him play B'burg #2??
amazing.....
M forever
I heard him play that on an RCA album called "Music from Ravinia" with
Levine which is quite nice, very fluent and seemingly effortless
playing, but it's also a very small and thinnish tone, not very
brilliant, obviously one of those tiny pocket trumpets which a lot of
trumpet players use for baroque repertoire. It sounds kind of like the
trumpets on the old "Sesame Street" theme song. I have heard lots of
trumpet players play like that though, so I don't see what's so
"amazing..." about that. Maybe it is in your neck of the woods.
What I find really "amazing..." is how some players manage to squeeze
that out of a baroque natural trumpet. That has always impressed me a
lot.
Heck51
> On Nov 4, 10:39 pm, Heck51 <dgallagh...@comcast.net> wrote:>
I heard him play that on an RCA album called "Music from Ravinia"
with
> Levine which is quite nice, very fluent and seemingly effortless
> playing,>>
yup.
<< but it's also a very small and thinnish tone, not very
> brilliant,>>
the tone is very clean, pure, and yes brilliant - tho it's in the
stratosphere - there's not alot of audible overtones above those
altissimo fundamentals.....
having heard SO many trumpeters struggle desperately with this work,
it's great to hear somebody glide, sing right thru it without expiring
from the effort. He pops out those Gs like they are middle Cs.....
Maurice Andre does it very well too. Herseth's sound is more centered
tho.
<<I have heard lots of
> trumpet players play like that though,>>
I doubt you've heard many trumpeters, if any, sail thru the altissimo
tessitura of the B'burg as effortlessly, and as cleanly as Herseth
does. it is a stunning performance - and not a studio "paste up" job
either - a good trumpet-playing friend of mine heard him play it live
- and it sounded just the same - same singing style, accuracy.
I heard Ghitalla try to play it many years ago - he was having
problems with his chops, IIRC. poor guy missed more notes than he
hit...
ronwhit
Of course Herseth is using a piccolo trumpet -- what would you suggest
that he use?
Out of curiosity, I just watched the Karajan Bach Magnificat from New
Year's Eve, 1984, to see what kind of trumpets the Berlin players
used. This work is nowhere as difficult as the Brandenburg, but even
here the first player is using an extremely small rotary valve
instrument, while the second is using a piston-valve piccolo, and the
third is using what appears to be a piston-valve D. Quite a hodge-
podge, especially the use of piston-valve instruments. The first
player sounded decent, with a few missed notes and some strain -- not
what I would want to hear on a regular basis in this repertoire.
Ron Whitaker
M forever
> On Nov 5, 2:02 am, M forever <ms1...@gmail.com> wrote:
>
>
>
> > On Nov 4, 10:39 pm, Heck51 <dgallagh...@comcast.net> wrote:
>
> > > On Nov 4, 10:23 pm, ansermetniac <ansermetn...@hotmail.com> wrote:
>
> > > > except when he blared or got sweet>>
>
> > > Bud could do it all. :)
>
> > > did you ever hear him play B'burg #2??
> > > amazing.....
>
> > I heard him play that on an RCA album called "Music from Ravinia" with
> > Levine which is quite nice, very fluent and seemingly effortless
> > playing, but it's also a very small and thinnish tone, not very
> > brilliant, obviously one of those tiny pocket trumpets which a lot of
> > trumpet players use for baroque repertoire. It sounds kind of like the
> > trumpets on the old "Sesame Street" theme song. I have heard lots of
> > trumpet players play like that though, so I don't see what's so
> > "amazing..." about that. Maybe it is in your neck of the woods.
>
> > What I find really "amazing..." is how some players manage to squeeze
> > that out of a baroque natural trumpet. That has always impressed me a
> > lot.
>
> Of course Herseth is using a piccolo trumpet -- what would you suggest
> that he use?
Like I said, that's what pretty much everyone uses, at least when it
comes to modern instruments. And there are a lot of people who can
play it extremely well, believe it or not. I know that's something
that conflicts with the quasi-religious adulation Herseth enjoys in
the US. Digging out some old Karajan video with strained trumpets
doesn't change that fact. I agree, BTW, that the playing in that video
is not particularly glorious. The BP trumpets in that era were never
particularly virtuoso players and IMO musically not very flexible
either. They could produce an enormously big sound in standard
repertoire like Strauss and Bruckner though. I like the principals
they have now better, incidentally two Hungarian guys who even come
from the same city. There are a lot of really good Hungarian trumpet
players. They must have a trumpet player factory there somewhere. Not
that it matters really. Of course, Hungarians couldn't possibly play
the trumpet as well as Americans either.
Like I said, there are a lot of people who can play the high trumpet
well, even though they may be beyond your horizon and therefore don't
count. What I really admire though is the people who can play these
parts on a natural trumpet. That is really an amazing feat.
> Out of curiosity, I just watched the Karajan Bach Magnificat from New
> Year's Eve, 1984, to see what kind of trumpets the Berlin players
> used. This work is nowhere as difficult as the Brandenburg, but even
> here the first player is using an extremely small rotary valve
> instrument, while the second is using a piston-valve piccolo, and the
> third is using what appears to be a piston-valve D. Quite a hodge-
> podge, especially the use of piston-valve instruments. The first
> player sounded decent, with a few missed notes and some strain -- not
> what I would want to hear on a regular basis in this repertoire.
What do you expect? They are Germans - they hardly know how to hold
the instrument and in which end to blow. The third player in that
video is absolutely aaaaaaaaaaawesome though. He must be - he is
American.
td
ronwhit
You know absolutely nothing about me -- what I know about you is that
you are not a trumpet player. What exactly do you play, and with what
organizations have you been a regular member? Since you have asked
this of other people in this forum, maybe it should be asked of you.
> > Out of curiosity, I just watched the Karajan Bach Magnificat from New
> > Year's Eve, 1984, to see what kind of trumpets the Berlin players
> > used. This work is nowhere as difficult as the Brandenburg, but even
> > here the first player is using an extremely small rotary valve
> > instrument, while the second is using a piston-valve piccolo, and the
> > third is using what appears to be a piston-valve D. Quite a hodge-
> > podge, especially the use of piston-valve instruments. The first
> > player sounded decent, with a few missed notes and some strain -- not
> > what I would want to hear on a regular basis in this repertoire.
>
> What do you expect? They are Germans - they hardly know how to hold
> the instrument and in which end to blow. The third player in that
> video is absolutely aaaaaaaaaaawesome though. He must be - he is
> American.
Actually, on this video the third player is not very good either -- I
couldn't care less where he is from.
M forever
I am confused now. What does this have to do with *you* and how much I
know about you? We weren't talking about you here.
I used to be a bass player freelancing in Berlin and Leipzig, thanks
for your interest. If you want, tell us about your background, too.
But again, I am confused why you are bringing this up in this context.
> > > Out of curiosity, I just watched the Karajan Bach Magnificat from New
> > > Year's Eve, 1984, to see what kind of trumpets the Berlin players
> > > used. This work is nowhere as difficult as the Brandenburg, but even
> > > here the first player is using an extremely small rotary valve
> > > instrument, while the second is using a piston-valve piccolo, and the
> > > third is using what appears to be a piston-valve D. Quite a hodge-
> > > podge, especially the use of piston-valve instruments. The first
> > > player sounded decent, with a few missed notes and some strain -- not
> > > what I would want to hear on a regular basis in this repertoire.
>
> > What do you expect? They are Germans - they hardly know how to hold
> > the instrument and in which end to blow. The third player in that
> > video is absolutely aaaaaaaaaaawesome though. He must be - he is
> > American.
>
> Actually, on this video the third player is not very good either -- I
> couldn't care less where he is from.
I think he is from Indiana.