abbedd

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

Dr. Zink

great concept!

Dr. Z

Sol

"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?

omelet

where'd you get this?

thanks btw :)

ecarroll

Not to quibble, but it's Van Haney, not von. . .

:)
EC

Sol

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".

abbedd

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

abbedd

If you are talking to me- I bought the record at Golden Crest in Huntington in 1978 and wrote the text yesterday

Abbedd

Sol

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!