The greatest orchestral trumpet player of all time!. Also very decent man. Not full of himself. He appreciated many types of music and was conversant in them as well. Still a great inspiration to all brass players!
After a concert at Orchestra Hall he and Dale Clevenger would take the late train to the NW burbs, I would sit as close to their seats as I could, respected his privacy, never spoke a word to him, just wanted to bask in the aura of greatness. Thanks RUclips for these examples, basking in the aura again!
Herseth at his best - a wonderful authentic reading of Bach with the Chicago Symphony, under the baton of the French music Director Maestro Martinon, too .
Better as a musician, yes. However, his sound in the 80's doesn't compare to the crystal clear perfection of his recordings from the 60's, much less the 50's. Actually, when you listen to Bud in that Kubelik recording of "Pictures" (before his accident that jacked up his mouth), nobody is better... not even Bud.
.Un très grand trompettiste surtout d'orchestre jusqu'a plus de 80 ans une performance surtout première trompette .Ce concerto est très difficile les notes les plus aigues sont parfaitement maitrisées dans le premier mouvement bravo .Tres peu de trompettistes savent le jouer actuellement RIP adolph
Listen, too, the TELEMANN-Concerto on RUclips --- soloist again the famous CSO-solo-trompet and great master Adolph Herseth with Chicago Symphony/Dir. Jean Martinon). On INA-France-Boutique (ORTF) You can also find Martinon conducting BACH (Johannespassion, Art of Fugue, two Cantatas and Suite No 2) as well as HAENDEL (Berenice-Overture and Water music).
moi je trouve que vous jouez aussi bien que maurice andré et c'est un compliment pour un français mais vous le méritez.Les égaux sont david mason et scherbaum et aussi friedrich après je n'en connais pas d'autres.David guerrier serait capable mais maintenant il fait surtout du cor
Or he's a good musician. But he is right... they are sharp, and this becomes apparent at 3:16 with Bud's high notes. Though the higher pitches sound flat in comparison, just check 'em with a tuner.
@@paralysisbyanalysis2287 - Fact of life: when you are the solo trumpeter, it's your job to be in tune with the rest of the orchestra. I know of one trumpet player who had 2 performances of this piece with the Polish Chamber Orchestra. Rehearsals went well using a harpischord belonging to the hall. But for the concert they used their own and instead of tuning the harpsichord down, they tunes the orchestra to the high harpsichord. This trumpet player couldn't get up to pitch and player horribly. He went out to a hard ware store, bought a hack saw and sawed off 2 inches from his piccolo lead pipe. I compared notes with him a couple years later, because I'd played the two concerts before him with the same orchestra was in a similar situation. They used the hall harpsichord in the theater in Regio Emilia, but used their own in the Conservatorio in Milano. I couldn't do anything to get up to pitch in this 2nd concert and blew myself out in the first movement trying to lip everything up to pitch. Horrible experience. If the entire orchestra is playing in tune with itself, which is the case with this recording and in my case and that of my friend, then it's the trumpet player's problem to adjust or play crappy. Bud did a better job with an impossible situation than we did.
It's a very good performance, of course. It was live, with no editing. But this was not Herseth's forte. It is difficult to play the full orchestral literature with a big, full sound week after week, and then adapt to the piccolo trumpet. Herseth recorded great performances to the very end, but I think his best playing generally was in the 1950s and early '60s. After about 1970 his tone became more often brighter and harder, although not always. I think he began using the 1B mouthpiece more and the straight 1 less. Toward the end, he even recorded on his old Bach 7 and maybe a 7B or 7C, in a pinch. I studied with him in the early '60s. He was generally kind and sincere, but he could lack patience for those less gifted than he.
The SACDs of the Reiner recordings capture the full spectrum of his sound about as well as it seems it can be done without actually hearing him play. He had both brilliance and fundamental in his sound, but Orchestra Hall did not enhance it. His playing was also very nuanced. At times he would sound like a violin. I heard the CSO do Bruckner 4 in Mpls. in their, at the time, new hall. The CSO sounded like a different orchestra than they did at O.H. in Chicago. Everything was full and rich and incredibly powerful and UNBELIEVABLE. Someone once said, "If you've only heard the CSO in Orchestra Hall, you haven't heard the real CSO." Truly.
@@gregoryronnback2756 By "new hall" I suppose you mean the renovated Orchestra Hall. But I don't understand the reference to "Mpls" (=Minneapolis?). That would not have been the CSO's hall, then, right? I heard the CSO in Orchestra Hall once every week from 1956 to 1963, and in that time I heard a variety of tone qualities from Herseth, mostly burnished but sometimes kind of fat. I also played in the Civic Orchestra from 1961 to 1963, and I thought my own tone was enhanced by that space, although it was very difficult to hear all the other players in the orchestra. It was like playing in outer space, in that regard. When Herseth's basic sound became brighter, he began using the rotary trumpet for works, like Brahms, where a warmer sound was needed.
@@jwhill7 Sorry for the confusion. I meant the new Orchestra Hall in Minneapolis. It is a very different, and better, IMHO, hall than Orchestra Hall in Chicago. At one time, OH in Chicago may have been a good hall. The Reiner recordings, made there before it was refurbished, seem to indicate it was. The hall, when I was there in the early '70s, was not flattering. My teacher, from the bass brass section of the orchestra, said that it didn't resonate low frequencies well, and that contributed to the harsh, hard sound of the brass. Put them in a hall that does resonate those frequencies, ala Carnegie, Symphony Hall in Boston, Musikverein (what I wouldn't give to have heard them there in the '70s), or, what I call the new hall in Minneapolis, and you will have heard the "real" Chicago Symphony Orchestra. As an aside, my teacher, when I spoke with him about the Minneapolis hall, said he couldn't hear himself on stage. My thinking is that the amazing sound he produced, hugh, effortless, vibrant, scintillating was all going out into the audience. As a second aside, when I spoke with Mr. Herseth after the Bruckner concert in Minneapolis and told him how amazing he sounded, he said something to the effect that he "got lucky" that night. Typical Herseth. It was a truly amazing experience. There will never again be a band quite like that one.
I saw him perform this in the early 80s I believe, he used the Schilke P5-4 and his tone was quite different than this does anyone know what instrument he's playing. Yes I'm a gearhead
I'm surprised that the trumpet part of Brandenburg #2 has never been played on a clarinet. The clarinet has a range fully encompassing that of a trumpet, and can be played much like a trumpet except without the sound volume (which would also change the balance to make the solo much less strident)..
+pbrower2a1 it has been recording with soprano sax on the trumpet part. Thankfully that recording has disappeared. It was originally written for a natural trumpet. As hard as it is on a modern piccolo trumpet I can't even imagine playing it on a natural trumpet.
The Baroque natural trumpet sounds completely different than the "blasty" modern piccolo trumpet. Pablo Casals set people to gagging when, unable to find a trumpet player with both the instrument and "chops" to play this concerto he resorted to having a saxophone!!! as part of the concertino. Gott sei dank that we have seen a revival of the natural trumpet and horn with their markedly different timbres.
Among the top 3 brass players of the 20th Century- Bud Herseth, Maurice Andre, Miles Davis- take your pick, can’t go wrong with any of them. Personally, I put Herseth’s sound, musicianship and body of work ahead of anyone else’s.
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The greatest orchestral trumpet player of all time!. Also very decent man. Not full of himself. He appreciated many types of music and was conversant in them as well. Still a great inspiration to all brass players!
After a concert at Orchestra Hall he and Dale Clevenger would take the late train to the NW burbs, I would sit as close to their seats as I could, respected his privacy, never spoke a word to him, just wanted to bask in the aura of greatness. Thanks RUclips for these examples, basking in the aura again!
Bud was the best without a doubt. Fantastic musician, mentor, teacher and funny as all get out. I knew him and Avis well.
Where as most of us are grateful to get through this, I've heard it said that he played the 3rd movement again as an encore - Bud, you were the man!
The tone and sound of his playing just makes you melt inside
Bud forever 👍🏼👍🏼👍🏼
He was the man. Thanks for sharing. JT
Herseth at his best - a wonderful authentic reading of Bach with the Chicago Symphony, under the baton of the French music Director Maestro Martinon, too .
true, the single problem is the accuracy
The scary thing? Herseth continued to get better as a player and musician for 2 more decades.
Better as a musician, yes. However, his sound in the 80's doesn't compare to the crystal clear perfection of his recordings from the 60's, much less the 50's. Actually, when you listen to Bud in that Kubelik recording of "Pictures" (before his accident that jacked up his mouth), nobody is better... not even Bud.
El más grande de los trompetistas solistas de orquesta sifónica
And this from a man who bit through his upper lip in an accident. Incredible!
And I'm pretty sure he went back to playing full-time six weeks after the accident... BEAST!
Lower lip. And he lost some teeth.
.Un très grand trompettiste surtout d'orchestre jusqu'a plus de 80 ans une performance surtout première trompette .Ce concerto est très difficile les notes les plus aigues sont parfaitement maitrisées dans le premier mouvement bravo .Tres peu de trompettistes savent le jouer actuellement RIP adolph
What a first rate performance! Sounds every bit as good as the great Maurice Andre, wish he had done more solo work.
Master.
Listen, too, the TELEMANN-Concerto on RUclips --- soloist again the famous CSO-solo-trompet and great master Adolph Herseth with Chicago Symphony/Dir. Jean Martinon).
On INA-France-Boutique (ORTF) You can also find Martinon conducting BACH (Johannespassion, Art of Fugue, two Cantatas and Suite No 2) as well as HAENDEL (Berenice-Overture and Water music).
Amazing. Herr Reiche would have approved.
moi je trouve que vous jouez aussi bien que maurice andré et c'est un compliment pour un français mais vous le méritez.Les égaux sont david mason et scherbaum et aussi friedrich après je n'en connais pas d'autres.David guerrier serait capable mais maintenant il fait surtout du cor
Thanks for posting this hhaayyddnn. Could you please post the last movement? Bud makes it sound so easy and smooth.
The last movement IS included. You just did not listen long enough to hear it.
when i was a lad, there was a saying about bud: if jesus christ could play the trumpet, he might - might - be better than herseth.
The pitch...YIKES! The orchestra is SO SHARP. Poor Bud, he's the only one playing in tune.
lol "Bud, he's the ONLY one playing in tune."
The conductor's bataan is too sharp.
Let me guess: you have perfect pitch. Okay, since I got that one right, here's a bonus guess: you have no life...
Or he's a good musician. But he is right... they are sharp, and this becomes apparent at 3:16 with Bud's high notes. Though the higher pitches sound flat in comparison, just check 'em with a tuner.
@@paralysisbyanalysis2287 - Fact of life: when you are the solo trumpeter, it's your job to be in tune with the rest of the orchestra. I know of one trumpet player who had 2 performances of this piece with the Polish Chamber Orchestra. Rehearsals went well using a harpischord belonging to the hall. But for the concert they used their own and instead of tuning the harpsichord down, they tunes the orchestra to the high harpsichord. This trumpet player couldn't get up to pitch and player horribly. He went out to a hard ware store, bought a hack saw and sawed off 2 inches from his piccolo lead pipe.
I compared notes with him a couple years later, because I'd played the two concerts before him with the same orchestra was in a similar situation. They used the hall harpsichord in the theater in Regio Emilia, but used their own in the Conservatorio in Milano. I couldn't do anything to get up to pitch in this 2nd concert and blew myself out in the first movement trying to lip everything up to pitch. Horrible experience.
If the entire orchestra is playing in tune with itself, which is the case with this recording and in my case and that of my friend, then it's the trumpet player's problem to adjust or play crappy. Bud did a better job with an impossible situation than we did.
It's a very good performance, of course. It was live, with no editing. But this was not Herseth's forte. It is difficult to play the full orchestral literature with a big, full sound week after week, and then adapt to the piccolo trumpet. Herseth recorded great performances to the very end, but I think his best playing generally was in the 1950s and early '60s. After about 1970 his tone became more often brighter and harder, although not always. I think he began using the 1B mouthpiece more and the straight 1 less. Toward the end, he even recorded on his old Bach 7 and maybe a 7B or 7C, in a pinch. I studied with him in the early '60s. He was generally kind and sincere, but he could lack patience for those less gifted than he.
jwhill7 do you know what PICC he is using on this? I'm not sure if the P54 was made than.
@@allwinds3786 Piccolo trumpets in Bb and A were not very common in the 1960's. I think he played this on a Bach F trumpet.
The SACDs of the Reiner recordings capture the full spectrum of his sound about as well as it seems it can be done without actually hearing him play. He had both brilliance and fundamental in his sound, but Orchestra Hall did not enhance it. His playing was also very nuanced. At times he would sound like a violin.
I heard the CSO do Bruckner 4 in Mpls. in their, at the time, new hall. The CSO sounded like a different orchestra than they did at O.H. in Chicago. Everything was full and rich and incredibly powerful and UNBELIEVABLE.
Someone once said, "If you've only heard the CSO in Orchestra Hall, you haven't heard the real CSO." Truly.
@@gregoryronnback2756 By "new hall" I suppose you mean the renovated Orchestra Hall. But I don't understand the reference to "Mpls" (=Minneapolis?). That would not have been the CSO's hall, then, right? I heard the CSO in Orchestra Hall once every week from 1956 to 1963, and in that time I heard a variety of tone qualities from Herseth, mostly burnished but sometimes kind of fat. I also played in the Civic Orchestra from 1961 to 1963, and I thought my own tone was enhanced by that space, although it was very difficult to hear all the other players in the orchestra. It was like playing in outer space, in that regard. When Herseth's basic sound became brighter, he began using the rotary trumpet for works, like Brahms, where a warmer sound was needed.
@@jwhill7 Sorry for the confusion. I meant the new Orchestra Hall in Minneapolis. It is a very different, and better, IMHO, hall than Orchestra Hall in Chicago. At one time, OH in Chicago may have been a good hall. The Reiner recordings, made there before it was refurbished, seem to indicate it was. The hall, when I was there in the early '70s, was not flattering. My teacher, from the bass brass section of the orchestra, said that it didn't resonate low frequencies well, and that contributed to the harsh, hard sound of the brass. Put them in a hall that does resonate those frequencies, ala Carnegie, Symphony Hall in Boston, Musikverein (what I wouldn't give to have heard them there in the '70s), or, what I call the new hall in Minneapolis, and you will have heard the "real" Chicago Symphony Orchestra.
As an aside, my teacher, when I spoke with him about the Minneapolis hall, said he couldn't hear himself on stage. My thinking is that the amazing sound he produced, hugh, effortless, vibrant, scintillating was all going out into the audience.
As a second aside, when I spoke with Mr. Herseth after the Bruckner concert in Minneapolis and told him how amazing he sounded, he said something to the effect that he "got lucky" that night. Typical Herseth. It was a truly amazing experience.
There will never again be a band quite like that one.
au courage, bravo pour ces efforts.
Mais Maurice reste très largement le meilleur interprète de cette oeuvre si redoutable pour les trompettistes.
It is true that Maurice Andre was/is the greatest trumpet player of all time.
I saw him perform this in the early 80s I believe, he used the Schilke P5-4 and his tone was quite different than this does anyone know what instrument he's playing. Yes I'm a gearhead
I'm surprised that the trumpet part of Brandenburg #2 has never been played on a clarinet. The clarinet has a range fully encompassing that of a trumpet, and can be played much like a trumpet except without the sound volume (which would also change the balance to make the solo much less strident)..
+pbrower2a1 it has been recording with soprano sax on the trumpet part. Thankfully that recording has disappeared. It was originally written for a natural trumpet. As hard as it is on a modern piccolo trumpet I can't even imagine playing it on a natural trumpet.
There's a video here on RUclips with the Freiburg Baroque Orchestra...and the trumpet part is performed on a natural trumpet. Enjoy.
The Baroque natural trumpet sounds completely different than the "blasty" modern piccolo trumpet. Pablo Casals set people to gagging when, unable to find a trumpet player with both the instrument and "chops" to play this concerto he resorted to having a saxophone!!! as part of the concertino. Gott sei dank that we have seen a revival of the natural trumpet and horn with their markedly different timbres.
Yuck!
Beautiful playing, intonation sometimes dodgy, though.
Among the top 3 brass players of the 20th Century- Bud Herseth, Maurice Andre, Miles Davis- take your pick, can’t go wrong with any of them. Personally, I put Herseth’s sound, musicianship and body of work ahead of anyone else’s.
I think of Miles as more of an innovator than a master player.
Body of work easily goes to Miles, without question.
Maurice and Bud are in a completely different world when it comes to actually playing.