I saw Herseth live with Chicago/Solti back in the 80s. With the entire orchestra at playing at full volume, you could still hear him clearly above everything. And with a clean undistorted tone too.
I remember the 1st time I heard this recording. I was visiting a friend in Orlando and they had just released this 1st time on CD. Well my buddy had it and I listened to it 4 times back to back, beginning to end. I was absolutely blown away and still am to this day 😊
This recording stunned me when I first heard it on LP many years ago: transparent textures, precision, balanced sonoriies, and full bodied (but not harsh or overdone) fortissimi where called for. It has remained a reference for me alongside Ormandy/Sony, Giulini/DG, Abbado/LSO/DG, and Maazel/Telarc. For sheer corporate virtuosity It has no equal, and I always relish the contribution of the late Bud Herseth. I'm a trumpet player, and he was a true role model and inspiration. During an interview he was asked about practicing methodology, and he replied "Never practice. Always perform." So appropriate.
Before attending my first CSO concert in 1969, I was told, “You’ll have no trouble telling who the principal trumpet is. During extended fortissimo passages, Bud Herseth’s face lights up cherry red!“ And so it was.
Here is the actual "Reiner/Zarathustra" story, as recounted by Herseth: "One thing that several people were curious about was the story of Mr. Herseth’s famed rehearsal of Strauss’ Also Sprach Zarathustra with Fritz Reiner. Reiner was one who was very interested in keeping players on their toes. In this case, he had gotten the rehearsal up to the moment where the trumpet has the octave leap up to high C. He would stop the orchestra each time after Mr. Herseth had played the part, and would ask to have it done again, always making it seem as though he had trouble with another section in the orchestra. This was an attempt, obviously, to test Mr. Herseth’s ability to continue hitting the infamous passage. He, of course, hit it each time, and after a while, Reiner inquired as to whether or not he would like to play it again for himself. Mr. Herseth said that he just looked at his watch and replied, “Well, I’m here until 12:30.”"
"Pictures" not only showed off an orchestra's virtuosity, it also showed off recording technological advancements in high fidelity and stereo sound, items that were big in those days.
I'm hipped on Pictures - all versions. I have the Reiner, the Ormandy, the Bernstein, and the Szell, among others. The Szell is MY reference recording, but then Cleveland is my hometown team.
One summer in the 1990s, early in Kurt Masur's tenure as principal conductor, the New York PO under the guidance of a young guest conductor, performed Pictures for their free concerts-in-the-parks series. However, rather than the Ravel orchestration, they used an alternate orchestration by a Russian composer whose name escapes me. It was wonderful. It was macabre and lurid, and imo more faithful to the concept of the piece. I enjoy both versions.
@@DavesClassicalGuide You and I are just as often in disagreement as we are in agreement. I have, however, based my opinion on a single live listen that night at Cunningham Park. I'll revisit it soon.
Koussevitzky Boston was actually recorded in 1930, really too early to convey enought detail and impact. He also cut one or two of the promenades. I'm sure it will show up in a future Koussevitzky box, but it would be nice if they could include the later radio broadcast which is actually more sonically faithful.
I saw Herseth live with Chicago/Solti back in the 80s. With the entire orchestra at playing at full volume, you could still hear him clearly above everything. And with a clean undistorted tone too.
I remember the 1st time I heard this recording.
I was visiting a friend in Orlando and they had just released this 1st time on CD. Well my buddy had it and I listened to it 4 times back to back, beginning to end.
I was absolutely blown away and still am to this day 😊
Listening to this piece is one of my earliest memories. Still one of my favorites 👏
This recording stunned me when I first heard it on LP many years ago: transparent textures, precision, balanced sonoriies, and full bodied (but not harsh or overdone) fortissimi where called for. It has remained a reference for me alongside Ormandy/Sony, Giulini/DG, Abbado/LSO/DG, and Maazel/Telarc. For sheer corporate virtuosity It has no equal, and I always relish the contribution of the late Bud Herseth. I'm a trumpet player, and he was a true role model and inspiration. During an interview he was asked about practicing methodology, and he replied "Never practice. Always perform." So appropriate.
Before attending my first CSO concert in 1969, I was told, “You’ll have no trouble telling who the principal trumpet is. During extended fortissimo passages, Bud Herseth’s face lights up cherry red!“
And so it was.
Here is the actual "Reiner/Zarathustra" story, as recounted by Herseth: "One thing that several people were curious about was the story of Mr. Herseth’s famed rehearsal of Strauss’ Also Sprach Zarathustra with Fritz Reiner. Reiner was one who was very interested in keeping players on their toes. In this case, he had gotten the rehearsal up to the moment where the trumpet has the octave leap up to high C. He would stop the orchestra each time after Mr. Herseth had played the part, and would ask to have it done again, always making it seem as though he had trouble with another section in the orchestra. This was an attempt, obviously, to test Mr. Herseth’s ability to continue hitting the infamous passage. He, of course, hit it each time, and after a while, Reiner inquired as to whether or not he would like to play it again for himself. Mr. Herseth said that he just looked at his watch and replied, “Well, I’m here until 12:30.”"
Great recording 🙂 First heard in school. Never forgot the sound and bought it at last decades after Dave reminded me
hi dave have a great christmas my friend, thank you for all you do
Same to you!
AMEN!
"Pictures" not only showed off an orchestra's virtuosity, it also showed off recording technological advancements in high fidelity and stereo sound, items that were big in those days.
I'm hipped on Pictures - all versions. I have the Reiner, the Ormandy, the Bernstein, and the Szell, among others. The Szell is MY reference recording, but then Cleveland is my hometown team.
Maazel's recording with TCO also is exceptional.
Hate to tell you, David, but I have this on VINYL!
Not for long!
Probably not, but that’s because I’m so old. My daughter will inherit it.
Hi Dave! Have you, or will you, do one on the piano solo version?
One summer in the 1990s, early in Kurt Masur's tenure as principal conductor, the New York PO under the guidance of a young guest conductor, performed Pictures for their free concerts-in-the-parks series. However, rather than the Ravel orchestration, they used an alternate orchestration by a Russian composer whose name escapes me. It was wonderful. It was macabre and lurid, and imo more faithful to the concept of the piece. I enjoy both versions.
Gorchakov. I find it dull.
@@DavesClassicalGuide You and I are just as often in disagreement as we are in agreement. I have, however, based my opinion on a single live listen that night at Cunningham Park. I'll revisit it soon.
I believe the timpanist for the Chicago Symphony Orchestra was Donald Koss?
7 CSO recordings featuring Bud, if you include Solti's live Laserdisc/DVD version
Where do you hear stories like the Adolph Herseth/Fritz Reiner back and forth? Are they in books or elsewhere?
Koussevitzky Boston was actually recorded in 1930, really too early to convey enought detail and impact. He also cut one or two of the promenades. I'm sure it will show up in a future Koussevitzky box, but it would be nice if they could include the later radio broadcast which is actually more sonically faithful.
Yes, that's available on Naxos Historical for the curious.
The Reiner has great sound. The Szell/ Cleveland Orchestra version is better played.