"Bud" Herseth
Chicago Symphony Orchestra
Adolph "Bud" Herseth
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"Bud" Herseth
Adolph Sylvester ("Bud")
Herseth ha suonato come prima tromba nella Chicago Symphony
Orchestra da quando ne è diventato membro nel 1948 fino al suo
pensionamento nel 2001 (53 anni!).
Viene considerato come uno dei migliori trombettisti d'orchestra
del mondo.
Notizie, altri siti...
Born
Nato a Lake Park, Minnesota,
il 25 luglio 1921
Comincia a suonare a 7 anni
Suo padre era il maestro
della banda nella piccola scuola di Letcher, Sud Dakota, dove
ebbe la sua prima tromba:
"Mi ricordo molto distintamente la prima volta che ho
suonato in banda. Era un concerto estivo della banda sulla strada
principale di quella piccola città. Ero seduto sul palco della
banda, suonando come 3ª o 4ª tromba in una piccola marcia.
Avevo solo 8 anni all'epoca, ma lo ricordo ancora adesso. [...] E
non mi dimenticherò mai mio padre guardare verso di me e
sorridermi un paio di volte. Poteva vedere che lo apprezzavo
veramente."
Insegnanti
Il primo insegnante fu James
Greco, durante l'estate del 1937 quando andò al primo campo che
Gerald Prescott teneva all'Università del Minnesota. Aveva
sentito Herseth suonare ad un raduno regionale e l'aveva invitato
per suonare da cornetta solista nella banda estiva. "Fu
un periodo straordinario."
Ulteriori insegnanti furono Marcel Lafosse e Georges Mager,
al New England Conservatory di Boston, dove andò per due anni e
mezzo, sfruttando il GI Bill [opportunità offerta
ai militari in servizio ed ai veterani di frequentare fino a 36
mesi una scuola formativa] dopo la seconda guerra mondiale. Il
primo anno e mezzo Herseth studiò con Lafosse (la seconda tromba
della Boston Symphony, poiché la classe della prima tromba,
Mager, era piena) e con Mager per il suo anno finale. Mager era
un trombettista d'orchestra molto famoso a quei tempi - suonò a
Boston sotto la direzione di Koussevitsky e di Monteaux per oltre
30 anni. Fu un suonatore molto emozionante ed un insegnante molto
incoraggiante. "Devo molto a quell'uomo."
Suonatori che lo hanno influenzato
In un libro di Louis Davidson, Trumpet Profiles, Herseth elenca
un numero di suonatori che ha ammirato e che hanno influenzato il
suo stesso modo con la loro maniera di suonare:
Louis Davidson - "Una delle prime
registrazioni che avevo a casa - una di quelle che ho ascoltato
di più era la registrazione della 1ª Sinfonia di Shostakovitch
della Cleveland Orchestra diretta da Artur Rodzinski. A quei
tempi non sapevo chi era la prima tromba, ma ero molto
impressionato da quella registrazione. Più tardi ho sentito
Louis diverse volte di persona e l'ho sempre ritenuto un
suonatore meraviglioso e molto elegante. Ho sentito tante cose
che mi piacevano nel suo suonare."
Harry Glantz - Glanz ha suonato nella New
York Philharmonic (con Mengelberg, Toscanini e altri) per poi
andare alla NBC Orchestra uno o due anni dopo la sua formazione.
Ebbe una grande influenza su tutti i suonatori di tromba
sinfonici.
One of the first records we had at home -
one I played a lot was the recording of the Shostakovitch First
Symphony by the Cleveland Orchestra with Artur Rodzinski
conducting. I didn't know at that time who the first trumpet
player was, but I was very impressed with that recording. Later I
heard Louis several times in person and I always thought him a
really very elegant and marvelous player. I heard many things
that I liked in his playing."
Harry Glantz Glanz played in the New York Philharmonic (Mengelberg,
Toscanini, others) then moved over to the NBC Orchestra a year or
two after it was formed. He was a big influence on all symphonic
trumpet players. "With Glantz I think I was more
impressed with the solidity of his playing. To my way of thinking
he was not as inspiring a player-in terms of really getting
turned on when he played-as Mager was. But he was very reliable,
with an excellent sound and style of playing-one that I think
probably influenced more players than any other during that
period."
Maurice Andre"Well, let's face it, Andre is . . .
he's it in terms of solo playing. The guy sounds fabulous, that's
all . . .that's all I can say. I heard him play live a couple of
times, once in Amsterdam, and also in this area. I have nothing
but the greatest admiration for the man's playing-fabulous."
He also list other player's: Adolf Scherbaum's playing
because he was the first to really go into the Baroque high
trumpet playing in a big way-a very exciting player. And
jazzplayers like Maynard Ferguson: "Yes, I think
Maynard Ferguson is the greatest brass player in this part of the
century."
Other musician
The Swedish tenor Jussi Bjoerling. "Ahh
,.. his singing was out of slight, out of sight."
Frank Sinatra "The guy really puts across the
lyrics of a tune."
Preparation for performances
"As far as the individual players are concerned, preparing for the job is just mainly keeping up with fundamentals. I practice scales, long tones, and nice broad vocalise-type studies every day."
Books, specific materials
He try to vary it quite a bit, but there are several books he use, like the Charlier 36 Etudes, the Walter Smith Top Tones, the Herbert L. Clarke second and third books. And of course he practice the difficult things that are coming up. But he try not to over-practice and go stale on them. He always like to go on the stage with the feeling that he is doing this for the first time. . . "and let's really go!"
Warmup routine
Bud does not use any particularly warmup routine. "I do believe in warming up, and as I grow older I find that it takes a little longer to get all the brain cells and all the red corpuscles going. It's a fact of life. You know, a warmup is just a practice session gradually approached - that's really all it is. You try to cover some of the fundamentals, first of all to get a nice freely-produced musical quality sound. And then you go through a few articulations, and gradually extend the range until your top, bottom, and middle registers, articulations, and lungs, are all there."
Equipment
Herseth uses a Bach 1B mouthpiece with 22 size throat, and sometimes a 1, both on the C trumpet that he uses 99 percent of the time. On the higher pitched trumpets (piccolo for the Bach Brandenburg) he uses a shallower cup.
Advice from Bud
Practice.
Lesson with Bud
Here are some notes that Tim Kent took when he studied with Bud.
Commentary from Bud
Here are some comments from Bud that Bill Dishman compiled and sent to TPIN.
In the book Arnold Jacobs: Song and Wind, by WindSong Press you can find an appendix with info on all the brass players in Chicago Symphony Orchestra (CSO). The author, Brian Frederiksen has given permission to use this info here.
Bud on DVD
CSO recorded Mahler 5th in Germany, 1997.
Bud on records
Here is an incomplete list of his recordings. Except for a few (where Assitant Principal played), Bud play on all the CSO records (where there are trumpet parts) for the last 50 years!
Bud and Norway
His anchesters came from Norway, so in 1977, he visited Norway to see the places where his relatives lives (in Stange in Hedemark). He also held a seminar.
Sources: THE INSTRUMENTALIST (April 1977), Trumpet Profiles by Louis Davidson.
Le registrazioni di Adolph "Bud" Herseth
Con la Chicago Symphony Orchestra
Fatta eccezione per poche registrazioni, Adolph "Bud"
Herseth sona Eccetto poche
With CSO
Except for a few (where Assitant Principal played), Bud play on
all the CSO records (where there are trumpet parts) for the
last 50 years! Several recordings with Mahler Symphonies,
Also Sprach Zarathustra, Picture from an Exibition
etc.,etc.
With other groups