Harry Glantz Myth Explained

[ansermetniac]

It is going around many Toscanini forums that Mr.Glantz had a sound
more suited to a big band

Here is why
_______

In the liner notes for the Guild Historical CD of the 1941 All-Wagner
Concert (with Helen Traubel and Lauritz Melchior), which took place
in Carnegie Hall; the annotator states that the trumpet part in the
climax to the "Prelude to Tristan und Isolde" has a "big-band" sound
to it which seems out of place... I'm assuming, based on your
comments, that he was referring to Glantz; but he doesn't
specifically refer to Glantz by name.

______

The principal trumpet at NBC then was Bernard Baker.Glantz joined NBC
for the 42-43 season. His repalcement in the NY Phil was third
trumpet, William Vacchiano.Vacchiano was replaced by Jimmy Smith. Nat
Prager remained as second trumpet as he had been since 1929

IN 1948, NY City had

NBC
Glantz
Falcone
Crisara

NY Phil
Vacchiano
Prager
Ware
Smith

and also many new session and Broadway players coming off the end of
the big band era. Life was good then

Abbedd

[wise...@verizon.net]

Harry Glantz was THE trumpet sound to mimic for many years. Do they
think they have better hearing than the Maestro? Harry Glantz was the
choice of Toscanini, who had some of the greatest
ears............ever!
Wilmer

[ansermetniac]

When The Maestro needed a Principal trumpet in 1942,he invited Harry
Glantz to come to NBC.He made him the highest paid player in the
orchestra.He also dismissed the second trumpet player. Not that he was
bad, but because he was not good enough to sit next to Glantz,who the
Maestro said was such a great artist. Frank Falcone was hired as
second. Sol Klass remained as third until 1946 when Ray Crisara
replaced him

Talking about a writer of a book to B.H.Haggin the Maestro asked ,"Is
this man Musicologist or Musician"

Lorenz Hart on Music Critics:

Poor Johnny one-note
Got in Aida
Indeed a great chance to be brave
He took his one note
Howled like the North Wind
Brought forth wind that made critics rave,
While Verdi turned round in his grave!

Abbedd

[wise...@verizon.net]

On Sep 16, 3:28 pm, ansermetniac <ansermetn...@hotmail.com> wrote:
> On Tue, 16 Sep 2008 11:40:36 -0700 (PDT), "wiseo...@verizon.net"

I once got a review that stated "The legato section was NOT fully
articulated." This was from a major critic in a major newspaper.
Wilmer

[ansermetniac]

No one ever erected a statue to a critic

Sibelius

Abbedd

[wise...@verizon.net]

On Sep 16, 4:36 pm, ansermetniac <ansermetn...@hotmail.com> wrote:
> On Tue, 16 Sep 2008 13:31:17 -0700 (PDT), "wiseo...@verizon.net"

If they did put up a statue, it would be for target practice for
pigeons.

Wilmer

Wilmer

[jasconsu...@gmail.com]

I believe the 2nd trumpet was David Glickstein, who had left the job of principal trumpet with the NYCity Ballet (I think. It's been 40 years since I met and worked with him) to join the NBC. He was very bitter about that and I don't think he ever really recovered. In the late '70s I used to perform with a brass quintet in the Wall Street area (Hanover Square)and Dave would often stop and listen. He was by that time working as a messenger, schlepping documents all over downtown. The sight of this great trumpet player with his arms full of manila envelops was heart breaking. In his day he was one of the best.
Joe Schufle

[mu...@pacbell.net]

Dear Joe, I would like to know more about trumpeter David Glickstein. I am very interested in him since he was my grandfather and did not get many chances to know him very well. Thank you in advance for your cooperation. Steven Glickstein.

[jasconsu...@gmail.com]

Hi Steve,
Just saw your your reply on this thread. Did not know him that well. I would be insterested in knowing more of his story myself.

I first met him on an Itlalian feast in Brooklyn in 1975 or maybe'76. He was probably in his late 60s or early 70s. He let me play his Silver plated Besson Brevette trumpet, which was a "Rappawana" model ( I think that's the right nickname. During the war, importing complete instruments was restricted, so someone, either named Rappawana or in a town of that name, would put together parts and then sell the finished horns.You can recognize them because the second valve slide goes straight into the value, like on a C trpt, rather than the characteristic forward angle of the Besson and Benge.) It was one of the best trumpets I ever played. For that job there were 2 bands, a larger symphonic band in front and the smaller "fakka band" in back by about.I was in the 1st band, playing some amazing Italian marches while Dave was in the 2nd band at the back of the procession,1-2 blocks from the front, playing other traditional Italian tunes. While we had music for the marches, the "fakkaband" played everything from from memory. I can still remember Dave's sound seemed to be right at the back of our band, rather than a block away.
This was a 5 hour job and he was as strong at the end as at the beginning, still taking his part up an octave at will! Most of those guys are long gone. I believe Dave and his son were playing in the ballet together before Dave went into the NBC. NBC was of the very top of the classical ladder, so it must have been a dream come true. So to see how far he fell was and is still heartbreaking to me.

The trumpet player that the review was written about is almost certainly Benny Baker, who was one of a handful of trumpet players with a reliable high register.He was equally at home and in demand by both the classical orchestras and the big bands. My main teacher, Vacchiano cautioned to be very careful of anything like a pimple on my lip. He said that Benny Baker had been on a tour with the NBC in South American when he developed a cyst on his lip. He went to a doctor there and the guy took a scissors and snipped it out before Benny could stop him. At the first rehearsal after that, Benny, who never missed, and used to laugh at guys who struggled for a high C, started to miss notes. It ruined his career.

Speaking of Vacchiano and Baker, Vacchiano also told me that in his early freelance days, he also worked with the big bands as well, since he was one of the few high note guys along with Baker, Murrey Karpolovsky, Galntz, and a couple of others.
"One day I got a call from the leader of the Casa Loma
band to do a month tour out of town. He said 'Billy, I need a guy with good high notes,' I told him I had an audition the next day for both the Philharmonic and the Met. He said to call him and let him know how it went.
Well, the next day I played both auditions, and felt I hadn't played my best. They just said 'Thanks. We'll be in touch.' So as soon as I got home I called up that band leader and told him I could do his job. 'Billy,he said, you should have called me this morning. I just got off the phone with Benny Baker. He's gonna do the job. But you're my main guy. I'll definitely call you as soon as we get back next month.'
"Well-for a couple of days I was REALLY down. Then the Met and the Philharmonic contacted me and offered me positions. So I called Schlossberg and asked him which one I should accept. He said 'I think you'll be happier in the Philharmonic.' "And he was right. So you see, I came very close to having a totally different career!" That explains why he good get the right style for the jazzier pieces of Bernstein and Gershwin.

If you'd like to speak directly, feel free to call me at 917-714-7892. Maybe between the 2 of us we can piece together Dave's story and do a tribute article.
JOE SCHUFLE