Chicago Symphony Orchestra Excerpt
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- Опубликовано: 15 окт 2024
- Excerpt from a recording of Symphony Domestica by the Chicago Symphony under Fritz Reiner, circa 1957. Pictured here is part of this marvelous brass section - the CSO Brass Quintet (1957) L to R: Renold Schilke, Arnold Jacobs, Wayne Barrington, Frank Crisafulli and Bud Herseth.
This brass section is unmatched in it's sound, virtuosity, strength, and sheer "vitality" of playing. The sound of this section - and the entire orchestra - has a freedom and enthusiasm that reflects a uniquely "American" style.
It is my opinion that the beauty of sound you hear on this recording cannot be matched by any brass section in the world today, in part due to the players... and in part due to the musical taste of the times in which it was recorded: a different era.
My dad on the trombone. Thanks for posting this!
That is awesome! Thanks for your comment!
I love your fathers playing. Former student of Jacob’s, here
Flew into Chicago once a month in the 70s just to study with your dad- a wonderful man and great musician.
I love your fathers playing too! Greetings from Russia, Voronezh
Your dad was a great, very supportive teacher of mine. Fine, fine player. Wonderful person. Miss him!
DAMN! I CAME IN AND WAS HIT BY A WALL OF SOUND. GLORIOUS!
This is spectacular. Bud Herseth again. Damn.
This is what freedom sounds like
ブラスサウンドが輝いています。これが本物のブラスサウンド。ストリングスも負けていない。本当に素晴らしい。
Agreed!
I love 1:02 when Jacobs hits that note so clearly and it sticks out just enough to be prominent and blend. So good!
Re: When I was his student, Mr. Jacobs told me about Reiner wanting him to play out stronger at this point. Jake said that he told Reiner he couldn't play any louder. Reiner asked him to play it. Jake said he played it about as loud as he could, and Reiner said something like that certainly is loud. Jake then said he aimed his bell at the mike when they were doing subsequent recordings.
I regret that so many people will never be able to hear the magnificent sound he could produce on the tuba.
The leggendary Brass section of CSO ! Strong, Clear, Brilliant! Wonderful.
jake on the bottom, bud on the top. you could think it didn't matter what happened in the middle. but it did.
OH MY!!!! Overwhelming!!! The best brass section EVER!!!
Theres professionals, and then theres these guys..
For me, one of the the "magic moments" is the phrase in the 1st Trumpet part from about 0:22 to 0:32. The sound from Herseth on the last note of that phrase is supernatural.
Dave Arndt agreed
when i was a student at indiana univ. in the late 1960s, one heard it said that if jesus christ played the trumpet, he might - might - be better than herseth.
Hey Dave...always loved this clip...I agree that is a magic moment with Herseth...also love the theme right after that. I remember playing this in college at NEC and I played that third trumpet part that starts that theme with the french horns. Gunther Schuller stopped the orchestra in a rehearsal, shortly into that theme and asked me, "Tim, what are you trying to prove?" Haha, I guess I was a little too enthusiastic😏These guys are killing this stuff. The only thing missing for me is Clevenger and that powerful horn playing that he and his section brought to the brass sound.
That, supported with the horns high A to fully make it a glorious colour 👌
Renold Schilke was no longer part of the CSO trumpet section by 1957, although his influence was still felt. The line-up in 1957 was Adolph Herseth, Rudolph Nashan, William Babcock, and Vincent Cichowicz, for my money the best in the history of the CSO. At that time, Nashan could play the 2nd Brandenburg beautifully, and Babcock's playing was almost indistinguishable from Herseth's. I heard them every week from 1956 to 1963, and I studied with both Schilke and Herseth.
Wow!
Did you ever meet Bill Fielder?
Did you watch that video where Charlie Geyer spills the beans about Herseth?
Thank you for the information, I knew Schilke was busy with his new company, but didn't know when he was out of the orchestra.
@@yishihara55527 no please help us find it.
and those horn players did all that high playing without all the triple horns and assistants that everyone is using nowadays! incredible.
farkas told a friend of mine that he began working on those high e's/a's about a year in advance.
I wouldn't be so sure. Maybe not the triples, but I'm sure there were assistants, and probably descants. Dick Oldberg played most concerts on a descant, at least in the 80s when I attended.
Adolph Herseth was an alumnus of my alma mater, Luther College in Decorah, Iowa. I, too, was in the Luther band (in the 1960s). Luther also produced another outstanding trumpeter, Steve Hendrickson, who was principal trumpet in the National Symphony Orchestra for 27 years and was appointed by Mstislav Rostropovich. Steve is still with the NSO and I am very grateful that Steve is still my friend after all these years.
Steve actually retired a few years back. I got to hear him and The National on tour with Rostropovich when I was in Chicago. That must be over ten years ago now.
A truly Impeccable sound.
Just absolutely amazing! Phenomenal players and music! Herseth really knows how to make a trumpet sing! Big and rich low brass!
How is Chicago not respected by ALL Classical music schools around America? Seriously, how is THIS not the standard by ALL of us!? How do you overlook the MOST Grammys won by anyone ever with Georg Solti?!?! He is THE MASTER of all music by making it come alive like no one else could. It's a shame that not everyone looks fondly upon Chicago in the "Classical" world, whatever that means.
In many places in Italy and Europe we buy Cds of CSO and we have it's sound as a reference. In my opinion is the best sounding orchestra in the world especially the old one even if now is sounding mostly European style but still one of the most beautiful sound.
The CSO has been ranked top in the US by a couple of different European publications.
They ARE respected. Especially this brass section. Immortalized.
An orchestra is only as good as it is this week. The CSO is by far the best orchestra in Chicago but hard to say these days where it ranks against other major US orchestras.
I have newfound respect for brass instruments.
Wonderful music!
If there is a heaven..... Bud is now there with these guys - Solti has the baton.... can you imagine?
You are so right! The best Chicago brass vintage.
I had the honor and privilege to study with Bill Babcock in the 70's.
Again - a real honor and privilege.
This has always been one of my all time favorite excerpts. Hearing the orchestra live in the early 60s was an electrifying experience because of the incredible brass section. The concerts I attended were often after having taken a lesson with Vincent Cichowicz - what a great man!
Jealous. I attend CSO very frequently now and there are some good nights but mostly it's just frustrating.
Growing up in Palatine how blessed were we to have the greatest brass and orchestra so close to hear. How lucky I was to study with Bill Babcock when beginning and later with Vincent. They were and still are a great inspiration.
Extraordinary sound....I love this interpretation. The brass is phenomenal. Listen for Barrington near the end somewhere in the stratosphere. BTW...at 3:50 the entrance is staggered...look at the score.
What a blast!! It blew my mind (especially that phenomenal CSO brass...not to dismiss the rest of that superb band under the Reiner autocracy. ) I don't think my mind has recovered since I first bought the Lp in the late '50s. Many thanks for uploading! It's also a fine piece...(who says it's overblown?)...by a marvelous composer. (Have I used sufficient superlatives?)
Golden days of the CSO.
This is actually before the golden days. The golden age of CSO was 1980-present (still just as good), this was three decades before that. imagine.
@@elijahpark5344 You don't know what you are talking about.
@@billyhill7132 is it because he’s stating an unpopular opinion
Man, I bet that was awesome studying under two such incredible trumpet players and musicians! I am jealous!
This is spectacular.
Oh my. I am so grateful I grew up listening to this wonderful, wonderful orchestra on recordings. As a youngster I was immediately captivated with their mesmerizing performances. How could one not be? Thank you so much for this wonderful example. A totally thrilling and involving experience.
As good as it gets! Honored to have been around some of these guys.
I have this recording and most of the Reiner and Solti recordings too . Incredible!
Yes. They were in a class of their own.
You should hear the 1956 Bartok Concerto for Orchestra. The brass in the first movement made my hair stand on end.
Yes. Thank-you for this. Had almost forgotten.... !
That recording is very special! Recorded on two track tape in Orchestra Hall Chicago on October 22, 1955.
It matters not who was in the CSO in'57 the trumpet player on the left is clearly Mr Schilke
Great recording.Great performance.
1:00 love those chords😚
I was a tuba player four years in high school and two years at Chicago Musical College
before changing my major to voice. My first two teachers were trumpet players Harold
Blumberg who sent me to Renold Schilke who is the first on the left. I should know what
he looked like I studied with him for three years and my last year was with Arnold Jacobs
the tuba virtuoso at the top left of this photo!
Erick Dean Tippett
Retired Musician/Teacher
Chicago, Illinois
not to mention 1:12, right up there with the four greatest notes ever put on record. you know the notes i mean.
Which are those?
reiner-zarathustra 1954. bud at 17:21.
So out front they are playing to the other side of the galaxy!
they came to amsterdam once mahler 9th… in the 1980s i was behind the orchesta and it was so impressive you dont listen to this with your ears only… your whole boddy is shaking in your chair when tis orchestra is playing out loud.. lol👍😅
Indeed. The Chicago brass section could make your hair stand straight up from across the hall. Heard them do Mahler V at Carnegie Hall in the late 1980's. Had seats in back When Herseth opened up, it seem like he was 10 feet in front of you. A truly great section.
Great brass section.
Can you believe that Remington students at Eastman called these guys "buzzers and blasters"!
Personally, I love the buzz. These guys have life in their sound and a ring/intensity in their chords that is very immediate. When the LA Phil's trombone section was great, they were all Remington students, I think. So I guess its subjective.
I've worked with some brass players from Eastman, including Remington students. Very fine players, but none of them could really open up the way Chicago (or NY, Cleveland, et al) do. Very light approach to their playing.
It's a fitting description. This recording is certainly exciting, indulgent fun, but not everyone's idea of a great orchestra is one where the brass section has phasers set on "kill" throughout the performance.
Nashan was never officially priincipal. But various members of the section played the Trumpet I part at times. For instance, if the concert included one or more big numbers and a concerto or Classical symphony, someone other than the principal would play Trumpet I on the lighter piece. Also, Herseth recounted to me a instance where he was on stage playing a lower part while Grocock played Trumpet I at a children's concert.
The horn player in this photo is Wayne Barrington, not Hugh Cowden, the original hornist of the CSO quintet, who had left the CSO some years earlier to take up free-lancing in New York.
Understandable because they were paid peanuts and worked to the bone. I heard that Bud had to sell used cars on the side. Others worked in grocery stores, played dance gigs, etc.
I'm not sure when the picture was taken but like Brett says, it's a 1956 recording. Also, the trumpet player on the left IS Reynold Schilke and the horn player is certainly Hugh Cowden.
kung fu kong I thought that was Reynold Schilke
Yes, but there is no "y" in Renold Schilke's name.
Those horns don’t fucking missssss damnnnnn
Not everyone's cup of tea but consider the standards of brass playing in 1957- these guys were gods!
Richard Strauss meets his match in this brass section!
Sound unbelieveble!!
No brass section could play a chord like this one.
@Paul Newcomb Vast knowledge of brass sound and a ear, ok?
not nobody, not no how.
The standard.
So this is what Schilke was doing the year after he built my trumpet
Interesting description...
Such magnificent brass! Powerful and Beautiful!
LEGEND
Quel pupitre de cuivres wouhaoo!
......gotta get in line for those excerpts............?
I don't dispute your identification of the people pictured, but I do remember Phil Farkas fondly as first horn at about this time (to say nothing of such outstanding players as Ray Still, Sidney Harth and Janos Starker (!) in other sections of the same orchestra.
Amen!
Not Nashan. It's Schilke.
I just had a wtf moment followed by a wtf the moment followed by a wtf moment followed by a wtf moment followed by......
Hahahahha that perfect
Wtf, wtf,wtf,wtf,wtf and wtf.
Ikr so unbelievably powerful
Thanks for this info. Excellent! Didn't Nashan play principal for a while under Kubelik?
The French Horn player is Wayne Barrington, not Hugh Crowden. Schilke was not in the CSO in 1957.
You are correct, in June of'57 Schilke was busy building my trumpet!
no, but farkas was, and that's who's playing first horn. he told a friend of mine that he worked a year in advance to make sure he'd get that high e/a.
Does anyone know...@1:13...is that the famous passage Reiner had Herseth play over and over again, (while the orchestra played) waiting for Bud to miss it? Bud finally responded to Reiner, (paraphrased) "Dr. Reiner, if you're waiting for me to miss it, it's not going to happen; our union says this rehearsal ends at 4:30. I suggest you move on, if you have other things to cover." That's the story I heard several times, as a youth.
No. The passage was the lick from Alzo Sprach Zarathustra. The reply that I recall was that after playing it dozens of times, Bud said "I'm here till 4:30 if you wanna keep doing this".
Yes, I know you're right, and I remember that excerpt, from "Also Sprach" now that you bring it up. Thanks for your response. I was in college back in the early 70's, and a trumpet player, when I first heard the story. Funny how the story changes a bit through the years.
I studied in Monterrey, Mexico and 2 years ago I heard of this story! So nice, another era!
Bud always told the story as “Maestro, I’m here until 4:30!”.......and Renier left him alone. A favorite dinner table story!
@@judyherseth5162 I understand Reiner had a reputation for being a bit of a bully. (Are you related to Bud Herseth?).
You know, it's possible that he did. Someone had to take over when Herseth injured his mouth in an automobile collision. His brother, a dentist, made an implant to replace one of his teeth. When he returned, he began playing on the larger Bach 1 mouthpiece, in order to avoid putting the rim of the mouthpiece on his new scar.
About when did this happen? Do you think that contributed to his sound?
@@herbiecactus6687 The accident occurred in 1952. The switch to the larger mouthpiece certainly did change Herseth's sound, at least for a number of years. It became fuller and broader, sometimes even somewhat mellow. However, by the 1970s, his sound became brighter and more brilliant, again, perhaps due to the occasional use of the 1B in place of the plain 1, or perhaps also because Herseth and the CSO trumpet section began using rotary-valve trumpets, starting in 1965, when a darker, less brilliant sound was sought.
@@jwhill7 thanks, very interesting. Herseth's sound channels military band on a cold morning for me sometimes, the accident and larger mouthpiece might explain some of that. Where did the impetus to use the rotary valve trumpets come from?
@@herbietccc I really don't know, and I wonder how Herseth, himself, would have answered your question. He started using a rotary trumpet while Martinot, who was French, was the conductor. But Solti must have encouraged the use of the rotary trumpet when he took over in 1969.
chord at 1:05
Hurrrrah Chicago!!!! Ef em arrogant Krauts!
0:55
Where and when did it go wrong.
very lucky
Which concert is this?
What is the title of this song?
Final movement of Symphony Domestica, by Richard Strauss
シカゴのチューバ奏者、確かシカゴ大学の教授がいたのでは？
Which piece is this?
Gregory Papas : Richard Strauss Symphony Domestica
@@ThirdValve Was this done at Medinah Temple (RIP) or the original Orchestra Hall?
@@charlienyc1 I don't know. I suppose the information could be looked up. This was one of a number of Straus tone poems recorded by Chicago and Reiner in the mid 1950's: Ein Heldenlaben, Also Sprach Zarathustra, Alpine Symphony, etc...
It was recorded in Orchestra Hall in November 1956.
Reiner never recorded the Alpine Symphony. He recorded Also Sprach Zarathustra twice. In 1954 and 1962.
What is the first excerpt?
Piero Losciale : There is only one excerpt here - from Richard Strauss Symphony Domestica.
"Beauty" though?
何という曲ですか？
リヒャルト・シュトラウス 家庭交響曲
@@r1r_my_JJ ありがとうございます！
Richard Strauss Symphonia Domestica.
Sublim.
This is a fine performance of one of Strauss' least successful works.
3:50 What happened with that entrance? WHOA
It's written that way (check out the score).
The breath attacks in the brass on the next to last note. Are you kidding me?
it's all part of the phenomenon known as the chicago chord.
Jesus H. Christ!
no, bud, jake, farkas, and company.