Man, what a legend. Pick up his (live) recording with the BSO of Mahler 5, and then read "In Concert," the non-fiction account of a BSO season that follows him. Great stuff.
In the early 70's,i was playing in new Mexico Symphony and the Minnesota Orch came through on tour and I asked him for a lesson . he obliged and came down to my apartment, a little adobe old house in Old Town. My girlfriend listened in as did another trumpet player. We spent most of the time on Charlier 2. he was very gracious and on point. Lovely guy.
I love Charlie's playing. the video of him and peter chapman on Bartok Concerto in the last mvt is priceless. I listened to 20 versions and that one showed how Schlueter is the boss. Chapman,too.
I still watch this entire video once or twice a year -- been revisiting it recently to think more about sound concept, pitch center, and my own playing. Just an incredible document to have out there. Thank you. I think Charlie's huge legacy lives on in his recordings, more than anything. All the Mahlers of course, but also the R. Strauss set he did with Phillips in the early 80s. For Zarathustra you can literally hear him, and his vibrato, in the opening sunrise call on that recording. I believe this was well before the Monettes as well. How to ask for a better legacy than to be remembered for how you *sounded*. Sure there are the side issues around equipment, Ozawa, the In Concert book (it's great, read it!). I was a student in the BUTI program at Tanglewood in '98 and hold on to the memories of all those concerts dearly. Dvorak 7 always sticks out for some reason. I think I only remember one trumpet passage from that symphony but it was so distinctly *him*.
Thank you very much for all these videos. I am learning a lot about the things I have always wondered and couldn't get answers (specially from leading American players).
I could listen to him for hours with all of his wisdom, experience, and knowledge. Advice: Stick to interviewing the older generation of players instead of the ones under 35 who hardly have anything to offer other than half digested tidbits and cliches.
+Funeral In Reverse Ha! Agreed, we LOVE talking to our more experienced colleagues - but we are going to continue to interview young people also. Wouldn't you have wanted to hear what Charlie would have said when he was 28? I know I would!
Is he really saying that rotary trumpets don't have a darker sound than the pistons? I wish he would clarify what he meant by saying that the Vienna Philharmonic trumpets have a bright sound. Never heard that one before. I always thought Schlueter on his Monette sounded closer to a rotary trumpet than a piston because of what I considered the darkness of the tone. But what he is saying here is confusing
+Some One Yeah, what he is saying is definitely against the conventional wisdom - but Charlie's not really a conventional guy! It all kind of goes back to people having wildly differing opinions of what "dark" and "bright" are I think.
Schlueter was an insightful, wonderful guy and very generous with his students, but for one reason or another did not play consistently well while in Boston. Seiji, who hired him, sought unsuccessfully to get rid of him after only a few years and eventually Levine requested that he not play for concerts that he conducted. Somehow it was a sad end. Is there any "insider trading" story about Schlueter that sets the story from HIS point of view.
Simply, his approach to playing is much more liable to making mistakes. He belonged to an older school of trumpet playing--along with players like Adelstein, Fischthal, Stevens, Herseth, Kaderabek--who didn't believe in playing it safe just to avoid making mistakes. Starting with, as well as I can tell, Phil Smith and going all the way through highly regarded players today like Chris Martin, David Bilger, etc. you get players who seem to be more concerned with playing note-perfect and that often means never playing much louder than mf. I know the fanboys of Smith and Martin flame anyone saying anything like this but all you have to do is listen to a recording by Smith or Martin and then compare it to a Adelstein, a Schlueter, a Fischtal and the differences are pretty obvious.
@@65strad Early in his NYP tenure he was quite bold (think of the Tennstedt Mahler 5), still not "Schlueter bold". But the waning years he was much more reserved, IMO.
He was an amazing teacher and an amazing performer as well. His depth of sound and musicianship is unmatched. For 2 1/2 years of study he was nothing but generous and compassionate to me. As far as Seiji goes, it was simple buyers remorse as Charlies playing is what the orchestra needed at the time and he clearly won the audition. The monette trumpet was the main issue as it was raw brass and someone wrote in to the orchestra about the unclean trumpet and unpolished trumpet charlie was playing. Thats the long and short of it.
@@RyanReskyTrumpeter Do you mean the reason Seiji got on C's case was the appearance of his trumpet??! That's kind of hard to believe. I mean Ghitalla played unpolished instruments in the BSO for more than 25 years, no?
