Schleuter Retirement

largo · 09-28-2005, 08:41 AM

First of all, my apologies to Robert White and others who were offended by my lack of professional courtesy regarding this matter. In a letter dated and posted yesterday at Symphony Hall, Charlie's retirement was announced effective at the end of the 2006 Tanglewood season. Again, my apologies for not getting the facts straight.
Greg

robertwhite · 09-28-2005, 04:56 PM

No apologies necessary, Greg. Not knowing who you were, I just wanted to make sure I knew exactly what was up. Thanks, though, for bringing this news to light.

Here's more info about Schlueter's retirement:

Quote:

Charles Schlueter has announced his retirement from the Boston Symphony Orchestra, effective at the end of the Tanglewood 2006 Season.

Charlie grew up in Du Quoin, Illinois and got his early musical training there. He started playing at the age of ten. His first teacher was Charles Archibald. His studies continued when he won a coloring contest sponsored by a local music store and received free lessons with the resident trumpet teacher, Don Lemasters. Subsequently, he studied with Mel Siener, Band Director at Du Quoin Township High School, whose encouragement had a profound influence on Charlie becoming a professional musician. While in high school he also received instruction in St. Louis, Missouri from Edward Brauer who was a member of the staff of the NBC radio studio. His studies culminated at the Juilliard School, from which he graduated in 1962. There his mentor was William Vacchiano, then principal trumpet of the New York Philharmonic. (Mr. Vacchiano passed away on September 19, 2005 at the age of 93.)

Charlie’s 25 years as principal trumpet of the Boston Symphony Orchestra is exceeded only by Georges Mager, who was principal for 31 years. Charlie is the only principal trumpet in the 20th century who was not already a member of the BSO. All of his predecessors were members of the orchestra prior to becoming principal trumpet: Gustav Heim, Roger Voisin, Armando Ghitalla, and Rolf Smedvig each joined the BSO as third/assistant principal. Mager was hired as a violist.

Charlie has also been a member of the Boston Symphony Chamber Players since 1981. Prior to his appointment in Boston, he held the position of principal trumpet in the Minnesota Orchestra, the Milwaukee Symphony, and the Kansas City Philharmonic. He was associate principal trumpet in the Cleveland Orchestra under George Szell.

Throughout his long and distinguished career, Charlie has received numerous awards and accolades. He has appeared as soloist both in recital and with orchestras in France, Brazil, Japan, as well as in the United States. He has appeared as soloist with the Boston Symphony Orchestra under the direction of Seiji Ozawa and with the Minnesota Orchestra under conductors Neville Marriner, Stanislaw Skrowaczewski, and Kazuyoshi Akiyama. In Japan he has appeared as soloist with the Kyushu Symphony in Fukuoka under Ken-Ichiro Kobayashi, and with conductor Naohiro Totsuka has performed with both the Tokyo City Philharmonic and the Hiroshima Symphony Orchestra. He has also been soloist with the Kyushu and Hiroshima Symphonies with Kazuyoshi Akiyama conducting.

In addition to holding positions on the faculties of the New England Conservatory and the Tanglewood Music Center, Charlie is also in demand as a teacher abroad and has held master classes in Europe, Canada, Japan, and South America. Since the 1980s he has been a regular visitor to Brazil, presenting master classes and recitals. He has appeared as soloist with orchestras in Joao Pessoa, Sao Luis, Recife, Sao Paulo, Campinas, Salvador, Vitoria, Rio de Janeiro and Porto Alegre.. He has taught in Rio de Janeiro at the University of Rio de Janeiro, and also in Sao Paulo, Belo Horizonte, Salvador, Vitoria, and Campinas. In 1988 Charlie helped create the Northeastern Brazil Brass Master Classes in Joao Pessoa, and this series was subsequently expanded to include the areas of Sao Luis, Recife, and Belem. He has also performed and recorded with BRASSIL (the resident Brass Quintet of Paraiba University) and on several occasions has appeared with the Jazz Orchestra of J.U. Da Silva ("Duda"). Since 1995 Charlie has been visiting professor at Sakuyo University, in Kurashiki, Japan where in addition to teaching has given recitals with pianist Yasuo Watanabe and has appeared as soloist with the University’s Wind Ensemble.

Charlie can be heard on most Boston Symphony recordings made since his appointment in 1981. In addition, in 1994 he began making solo recordings. The first, “Bravura Trumpet” was originally recorded for VOX and has been recently re-issued by and is available from the Charles Schlueter Foundation. Three other CDs have been subsequently released on the Kleos Classics label: “Virtuoso Trumpet” (2001), "Trumpet Concertos" (2002), and “Trumpet Works” (2003).

The Charles Schlueter Foundation, Inc., a non-profit organization, was founded in 2001 to encourage communication among brass players and to advance the level of performance, teaching and literature associated with brass instruments. Its mission is to foster the enjoyment of music, promote music education, and assist in the training of talented young brass performers. The Foundation strives to promote music as an essential part of school curriculums and to understand and demonstrate how music serves as a means of communication across a range of cultures throughout the world.

Contents of Charlie’s solo CDs:

“Bravura Trumpet” (1994): “ Intrada” by Otto Ketting, “Chamber Music VII - Ceremonies” and “Chamber Music VIII - Sonata” by Robert Suderburg, “Sonate pour Trompette en Re et Violoncelle, op. 21” by Yves Chardon, and “Sonate” by Paul Hindemith. Recorded at Symphony Hall, Boston.

“Virtuoso Trumpet” (2001, Kleos Classics KL5114): “Intrada” by Artur Honegger, “Legende” by Georges Enesco, “Sonate for Cello and Trumpet” by Yves Chardon*, “Sonata for Horn, Trumpet and Trombone” by Francis Poulenc, “Septet” by Camille Saint-Saens, and the world premiere recording of “Duo Concerto for Trumpet and Organ” by Tomas Svoboda. Recorded at Thompson Chapel, Williams College, Williamstown, Massachusetts. (*from “Bravura Trumpet”)

“Trumpet Concertos” (2002, Kleos Classics KL51222): "Concerto in Eb Major" by Johann Baptist Neruda, "Concerto in Eb Major" by Franz Joseph Haydn, "Concerto in D Major" by Giuseppe Tartini, and "Concerto in E Major" by Johann Nepomuk Hummel. This was recorded in April 2002 in Fukuoka, Japan with the Kyushu Symphony Orchestra, conducted by Kazuyoshi Akiyama, and funded in part by The Charles Schlueter Foundation, Inc.

“Trumpet Works” (2003, Kleos Classics KL 5126): “Sonate” by Jean Hubeau, “Chamber Music VII - Ceremonies” and “Chamber Music VIII - Sonata” by Robert Suderburg, “Sonate” by Paul Hindemith. Recorded at Thompson Chapel, Williams College, Williamstown, Massachusetts.

Following his retirement from the BSO, Charlie plans to remain active as a member of the faculty of the New England Conservatory, as well as continuing his annual trips to Brazil and Japan and Europe to give master classes. Plans to record a few more CDs are also on the horizon.

dbacon · 09-29-2005, 12:48 AM

Congratulations to one of the truly great virtuoso players of all time, Charles Schlueter!

trickg · 09-29-2005, 09:34 AM

I'm curious - granted, 25 years in the principal slot of a major symphony orchestra is a long time, but is there main reason that he's stepping down? Is he having a hard time keeping up with the demands of the job, or does he simply wish to live and lounge? I mean, he's been playing professionally as his main gig since 1962 - 43 years is a pretty long time to do one job by any standard.

Well, I hope he lives long and lives well, and that he enjoys the retirement that he has undoubtedly earned.

tpter1 · 09-29-2005, 09:57 AM

I've read alot of news about Maestro Levine's demands on the orchestra.

How much impact does this have on Mr. Schleuter's decision?

dizforprez · 09-29-2005, 09:59 AM

Quote:

Originally Posted by tpter1

I've read alot of news about Maestro Levine's demands on the orchestra.

How much impact does this have on Mr. Schleuter's decision?

Where have you read about those demands? online?

I would be intrested in reading any articles if you could provide us wiht a link.

tpter1 · 09-29-2005, 12:30 PM

I've seen alot mentioned at www.myauditions.com. They have daily headlines and news from the orchestral world. Great for those looking for perfoming jobs, too. There's nothing there right now on it, but past articles have described an increase in demand on the players in terms of rehearsal and performance schedules.

Here's one, but it only vaguely touches on or hints at what must be going on within the performing personnel (paragraph 4...negotiated into the contract a "Levine Premium"). There were more telling stories, but I just can't seem to find them.
http://www.boston.com/ae/music/artic...of_excellence/

Jimi Michiel · 09-29-2005, 04:41 PM

If you look at the BSO schedule since Levine arrived, you will notice how long and physical some of the programs appear to be. I ushered for the BSO during Levine's first season and was there for most of his concerts. His programs ran longer and included many standard war horses as well some of the craziest "new music" around. Levine likes Ligeti and Harbison a lot more than Christopher Rouse and John Adams. They did a concert with Lynn Harrell that included cello concerti by Lutoslawski and Ligeti, and then capped it off with a Dvorak symphony (7 I think). The even did a complete concert performance of The Flying Dutchman. The year before there was a complete concert performance of Debussy's Pelleas and Mellisande.
Sometime last spring, an article in the Boston Globe came out about how Levine's programming was having an affect on the orchestra. It noted that one violinist who was planning to retire at the end had to retire halfway through the season because the rehearsals for these programs were so physically daunting. The article said that many other string players were also having problems and that a performance health specialist was being brought in to help with physical problems (MinnOrch's own Janet Horvath, a world renowned specialist with physical problems related to musical performance).
That having been said, it didn't seem like any of the brass players seemed to have any problems. If anything, I think they improved when Levine came.
OK, thats my take. Keep in mind that these are the opinions and observations of someone who probably wouldn't make it through 5 minutes of BSO level playing...
-Jimi

09-28-2005, 08:41 AM	#1 (permalink)
largo New Friend Join Date: Sep 2005 Posts: 2	Schleuter Retirement First of all, my apologies to Robert White and others who were offended by my lack of professional courtesy regarding this matter. In a letter dated and posted yesterday at Symphony Hall, Charlie's retirement was announced effective at the end of the 2006 Tanglewood season. Again, my apologies for not getting the facts straight. Greg
largo New Friend Join Date: Sep 2005 Posts: 2

09-29-2005, 12:48 AM	#3 (permalink)
dbacon Mezzo Piano User Join Date: Oct 2003 Location: Scottsdale, AZ. Posts: 579	Congratulations to one of the truly great virtuoso players of all time, Charles Schlueter!
	__________________ Dave Bacon

09-29-2005, 09:34 AM	#4 (permalink)
trickg Forte User Join Date: Oct 2003 Location: Glen Burnie, Maryland Posts: 2,054	I'm curious - granted, 25 years in the principal slot of a major symphony orchestra is a long time, but is there main reason that he's stepping down? Is he having a hard time keeping up with the demands of the job, or does he simply wish to live and lounge? I mean, he's been playing professionally as his main gig since 1962 - 43 years is a pretty long time to do one job by any standard. Well, I hope he lives long and lives well, and that he enjoys the retirement that he has undoubtedly earned.
	__________________ Patrick Gleason email me at: trickg1@hotmail.com "What we do in life echoes in eternity" "At my signal, unleash hell." - Maximus Decimus Meridius

09-29-2005, 09:57 AM	#5 (permalink)
tpter1 Forte User Join Date: Jan 2005 Location: Northern New York Brand: Lawler Posts: 2,309	I've read alot of news about Maestro Levine's demands on the orchestra. How much impact does this have on Mr. Schleuter's decision?
	__________________ -Glenn "Roses have thorns; shining waters mud. Clouds and eclipses stain the moon and the sun; and history reeks of the wrongs we have done. After today, after today, consider me gone."- Sting

09-29-2005, 12:30 PM	#7 (permalink)
tpter1 Forte User Join Date: Jan 2005 Location: Northern New York Brand: Lawler Posts: 2,309	I've seen alot mentioned at www.myauditions.com. They have daily headlines and news from the orchestral world. Great for those looking for perfoming jobs, too. There's nothing there right now on it, but past articles have described an increase in demand on the players in terms of rehearsal and performance schedules. Here's one, but it only vaguely touches on or hints at what must be going on within the performing personnel (paragraph 4...negotiated into the contract a "Levine Premium"). There were more telling stories, but I just can't seem to find them. http://www.boston.com/ae/music/artic...of_excellence/
	__________________ -Glenn "Roses have thorns; shining waters mud. Clouds and eclipses stain the moon and the sun; and history reeks of the wrongs we have done. After today, after today, consider me gone."- Sting

09-29-2005, 04:41 PM	#8 (permalink)
Jimi Michiel Forte User Join Date: Mar 2005 Location: Syracuse/Fort Worth Brand: Monette Posts: 1,671	If you look at the BSO schedule since Levine arrived, you will notice how long and physical some of the programs appear to be. I ushered for the BSO during Levine's first season and was there for most of his concerts. His programs ran longer and included many standard war horses as well some of the craziest "new music" around. Levine likes Ligeti and Harbison a lot more than Christopher Rouse and John Adams. They did a concert with Lynn Harrell that included cello concerti by Lutoslawski and Ligeti, and then capped it off with a Dvorak symphony (7 I think). The even did a complete concert performance of The Flying Dutchman. The year before there was a complete concert performance of Debussy's Pelleas and Mellisande. Sometime last spring, an article in the Boston Globe came out about how Levine's programming was having an affect on the orchestra. It noted that one violinist who was planning to retire at the end had to retire halfway through the season because the rehearsals for these programs were so physically daunting. The article said that many other string players were also having problems and that a performance health specialist was being brought in to help with physical problems (MinnOrch's own Janet Horvath, a world renowned specialist with physical problems related to musical performance). That having been said, it didn't seem like any of the brass players seemed to have any problems. If anything, I think they improved when Levine came. OK, thats my take. Keep in mind that these are the opinions and observations of someone who probably wouldn't make it through 5 minutes of BSO level playing... -Jimi
	__________________

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