Saw him perform with Evelyn Glennie and the PSO...
Randall Hicks (NJSO)
more to come.
And there you have it...
The #1 player is Cloyd Duff, retired from the Cleveland Orchestra. That's
it, no arguments. :-) Compare the magnificent SOUND and style and
philosophy of his playing on any recording to any other recording
available and you will find no comparison. It's also interesting if you
go to the Remo website and compare/contrast his method of timpani head
changing with Vic Firth's. I would be very curious to hear any recordings
of Oskar Schwar from the Philadelphia Orchestra who was Duff's teacher at
Curtis in the early 30's. (I'd also be curious to know if anybody has any
of the old Schwar signature model timpani sticks that Slingerland marketed
in the 30's.)
You would certainly have to put Fred Hinger and Saul Goodman and Vic Firth
on the list. At least Werner Tharichen and Richard Hochrainer to
represent Europeans among us.
To the more current player issue:
I go to watch Paul Yancich play with Cleveland quite frequently which is
very educational. Unfortunately, I missed him performing the world
premiere of the Oliverio Timpani Concerto, but I do have a tape of the
I've also enjoyed listening to Don Liuzzi's playing on the recent
Philadelphia Orchestra broadcasts. (They just started to be broadcast
here in Cleveland.)
I've seen the Boston Pops Esplanade play a few times and I've been
impressed with the facility and security of Everett Beale's tuning.
Although it is not the style of timpani playing I've been raised with nor
prefer, Eugene Espino of the Cincinatti Symphony plays quite well. If I
were to study with an East Coast style player, it would probably be him.
Some of the London orchestra timpanists have a very good sound as well.
Mell D. Csicsila (notice altered mail address in header)
Rabbio just retired
I would say:
.: there are others but these are just to name a few
Don't forget Allan Cumberland. Off the top of my head he was principal
timpanist of the London Philharmonic From 196? to 1987. He also was
invited to play for the World philharmonic last year or something and was
the timpanist on the original Star Wars Triligy. Can't remember anything
else except that his soung is absoloutly amazing!
In no particular Order
This is fun!
I would have liked to have heard Charles White who was with
the L.A. Phil back in the '30's. He also was a Leedy
endorser and invented a very simple tuning guage for timps
that relied on direct pressure with no springs.
Al isn't the timpanist there, never was, He played percussion. The timpanist
is someone else, I can't think of his name at the moment???
I know he dosn't fit the original filter, he
didn't play tymps in a live performance orch, but
he did play with the LA Phil in the 30s I believe.
He was THE tympani guy in Hollywood for years. "How the West was Won",
"Planet of the Apes," and the original "Fantasia." (I know Disney says is
was Philly, but it was mostly LA studio guys) were some of his favorites.
If you have seen a movie made between 1930-1975 you have heard Hal play
and of course
Cloyd and Saul
Along with Hal Rees, don't forget some of the other great studio timpanists
like Larry Bunker and Ken Watson (just to name two) who have played on
countless films and TV scores.
Hmmm... what about William Street with the RPO? Or Karl Glassman of the
Toscanini NBC Orchestra?
And let's not forget all my teachers that I have studied with! :)
Feel, interpretation, style? Any good musician will tell you that s/he is not
just playing notes off a page, but using them to some extent as a chart. It may
not be as pronounced as in the looser styles like jazz and rock, but if you
were to listen to Rimsky-Korsakov's Scheherazade, a piece in which the snare
drum plays everything from heavy, loud and fast through slow and delicate. This
would sound complelty different in comparing Chris Lamb's performance (NY,
possibly the best in the world) and mine. He would surely interpret the music
differently, putting feeling and expression into it. Emotion plays a key role
here. With timpani, this difference is even more pronounced. Now we're dealing
with a tonal instrument, with sustain. Even more variables are at play. Listen
to a timpani part from say, Beethoven 3 or Berlioz's Syphony Fantastique.
Listen to two or more recordings of the same piece by maybe Philly, New York,
and Podunk, USA. You'll hear significant differneces overall.
And there you have it...
Am I the only one who has heard of Alan Cumberland? Has anyone else?
While I'm at it has anyone ever heard or played David Morby Timpani
With timpani, there is just _so_ much more than the notes on the page.
Expression, technique, and most importantly SOUND
Just my thoughts
Carnegie Mellon University
Information and Decision Systems, Class of 2000
This is incorrect.....the timpanist for the original Starwars soundtrack
was Kurt-Han Gurdiecke, timpanist of the London Sym.
MATTHEW CAPPER wrote in message ...