The Ny Style of Brass Playing 1946-68

Discussion in 'Orchestra / Solo / Chamber Music' started by abbedd, May 19, 2008.

  1. abbedd

    abbedd Pianissimo User

    182
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    Sep 21, 2005
    RAR

    NY Phil Brass 1958.rar

    ZIP

    NY Phil Brass 1958.zip

    Mono FLACS and a DOC file of these notes

    The second mvt of the Ewald is surely sublime.

    Enjoy

    Abbedd


    The New York Brass Style 1946-1968

    This style was created by merging Juilliard trained trumpet players
    and Curtis trained Horns and Trombones and Bill Bell on Tuba. It was a
    style of heroic proportions as it was created to reach the back rows
    of Carnegie Hall without sacrificing quality of sound or any Musical
    nuance. To achieve that, the largest instruments and mouthpieces were
    used. To allow playing on such equipment fearlessness among the
    players was developed. But it was not all loud. Here, in the Brass
    Quintet format, their dynamic range has been greatly lowered in volume
    but not in degree. No loss of beauty and shape of sound has resulted
    from playing at lower dynamic levels. The NY Style of Brass 1946-1968
    can best be exemplified in the playing of Principal Horn James
    Chambers, who changed the entire sound of the NY Philharmonic. This
    style of playing died with the retirement of Chambers in 1969 and the
    subsequent retirement of the other players and the NY Phil's inability
    to find suitable replacement players as can be evidenced by the
    current brass sound of the NY Philharmonic


    New York Philharmonic Brass Quintet 1958

    Ewald Symphony for Brass # 1
    Starer Five Miniatures
    Sanders Brass Quinter-Movement

    Recorded for Golden Crest, Huntington, New York


    Brief Biographies

    Johnny Ware-First Trumpet
    Ware joined the NY Phil from the Buffalo Phil when Stokowski decided
    that the NY Phil needed a new trumpet player. Then Principal, William
    Vacchiano, was asked by Stokowski to pick who he felt was best.. Ware
    was later promoted to Associate Principal by Leonard Bernstein and
    then Co-Principal by Piere Boulez upon the retirement of Vacchiano

    Nathan Prager-Second Trumpet
    Prager joined the NY Phil as second trumpet in 1929. He played second
    for Principals Harry Glantz and William Vacchiano until his sudden
    death in 1963 at the age of 53. His principals claimed he was the
    finest technician and Musician of the section but he refused to play
    first. He turned down an invitation of NBC to play with Glantz in
    1942, because he was afraid he would have to play first for NBC staff
    work. He is responsible for these brass players who were trained to
    reach the back row of Carnegie Hall, toning down their dynamic range
    to fit chamber Music


    James Chambers-Horn
    Chambers joined the NY Phil in 1946 from the Philadelphia Orchestra
    where he was Principal since 1942 at age 21. He advanced and perfected
    the German /American style of playing invented by his teacher, Anton
    Horner. To do this he radically changed the bore size of the French
    Horn mouthpiece, His theories, proved by his playing, laid bare, in
    the starkness of reality, incorrect, many theories of wind playing
    thought to be engraved in stone. He retired in 1969 due to poor health
    that included stage freight. On this recording he is playing a yellow
    brass horn that he designed for The Reynolds Company and not the
    Nickel Silver Conn that he played for all but three years of his short
    but impressive career. His style of playing is all but dead today, due
    to its difficulty.

    Lewis von Haney-Trombone
    Von Haney was second trombone in the NY Phil from 1946-1963. He then
    became trombone instructor at Indiana University. His tenure as second
    trombone was under Principals Gordon Pulis 1946-56 and Edward Herman
    1956-63

    William Bell-Tuba
    William Bell became he Tuba Player in the NY Phil in 1943 after
    tenures in Cincinnati and NBC (1937-43). He retired in 1961 to become
    Tuba Professor at Indiana University. Although he maybe the first
    famous orchestral tuba player, he played in orchestras so he could be
    able to do his first love, playing in band concerts

    ______________________

    The NY Philharmonic
    The James Chambers Era 1946-1968


    Principal Horn
    James Chambers

    Second Horn
    William Namen 1946-57
    Dinny 1957-60
    John Carabella 1960-1968

    Third Horn
    Mark Fisher* 1946-59
    Substitute 1959-60
    Dinny 1960-68

    Fourth Horn
    Non Permanent Position 1946-48
    Ross Taylor 1948-50
    Dinny 1950-57
    William Namen 1957-68

    Assistant Principal Horn
    ?Louis Ricci 1946-62
    A. Robert Johnson 1962-68

    Associate Principal Horn
    ?Joseph Singer 1946-1968



    Principal Trumpet
    ?William Vacchiano

    Second Trumpet
    ?Nathan Prager** 1946-1963
    Carmine Fornuratto 1963-1968

    Low Trumpet
    ?Jimmy Smith

    Assistant Principal Trumpet
    Johnny Ware*** 1948-1968







    Principal Trombone
    Gordon Pulis 1946-1956
    Eddie Herman 1956-1968

    Second Trombone
    Lewis von Haney 1946-1963
    Gilbert Cohen 1963-68

    Bass Trombone
    Allan Ostrander

    Assistant Principal Trombone
    Eddie Herman 1953-1956
    Edward Erwin 1956-1968



    Principal Tuba
    ?William Bell 1946-61
    Joseph Novotney 1961-68



    ?Member NY Phil before arrival of Chambers
    *Wounded by kick to chest by his infant child, 1958-59 season. Died
    from wounds shortly thereafter

    ** Died suddenly of heart attack at age 53 in middle of 1962-63 season

    *** Promoted to Associate Principal by Bernstein. Later promoted to
    Co-Principal upon retirement of Vacchiano, by Boulez, 1973
     
  2. Dr. Zink

    Dr. Zink Pianissimo User

    97
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    Feb 8, 2007
    North Coast US
    great concept!

    Dr. Z
     
  3. Sol

    Sol Pianissimo User

    187
    20
    Jan 25, 2004
    "To achieve that, the largest instruments and mouthpieces were
    used."


    Abbedd,

    Although it might seem that Vacchiano used large bore instruments, he didn't. He preferred smaller bore horns, but did use a huge mouthpiece. Perhaps all of the other players used large bore horns?
     
  4. omelet

    omelet Pianissimo User

    97
    1
    Oct 13, 2007
    charleston, sc
    where'd you get this?

    thanks btw :)
     
  5. ecarroll

    ecarroll Artist in Residence Staff Member

    2,212
    8
    Jul 13, 2005
    NY/CA
    Not to quibble, but it's Van Haney, not von. . .

    :)
    EC
     
  6. Sol

    Sol Pianissimo User

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    20
    Jan 25, 2004
    Omelet, I got it from the horse's mouth. I studied with him. He never encouraged the use of large bore instruments, although he was well aware that everybody was using large bore C trumpets. He liked smaller bore C trumpets (he used to have a medium bore Bach C trumpet in his basement...I don't know if he liked this horn or not...)and medium bore D trumpets. His mouthpieces were huge. He used to say..."With a small bore horn and a huge mouthpiece, I was kingfish".
     
  7. abbedd

    abbedd Pianissimo User

    182
    1
    Sep 21, 2005
    The mouthpiece defines the sound more than the horn. When Vach started out he played a Bb Besson as third trumpet 1934-42, under Glantz. No C's were allowed under Glantz

    Abbedd
     
  8. abbedd

    abbedd Pianissimo User

    182
    1
    Sep 21, 2005
    If you are talking to me- I bought the record at Golden Crest in Huntington in 1978 and wrote the text yesterday

    Abbedd
     
  9. Sol

    Sol Pianissimo User

    187
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    Jan 25, 2004
    Just wanted to set the record straight Abbedd. I can only vouch for what Vacchiano used. I don't know what the other players used, although it would be interesting to find out. Although Vacchiano used a large mouthpiece, he didn't encourage his students to do the same, unless he felt that they needed one. He wasn't dogmatic about mouthpieces, although he was about other things...He did yell at me when I brought in a Bach large bore D trumpet to a lesson...he mentioned that we didn't know what we were doing (referring to us as his students) with large bore horns. Whether or not the mouthpiece or horn defines the sound...well, I would say that they player defines the sound. The mouthpiece and the horn steer the sound to a certain direction, but ultimately, it is the player that produces the sound, regardless of the equipment he or she is using. But that would be for another thread...by the way, thanks for the sound clips!
     
    Last edited: May 19, 2008

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