Very interesting fact: My current trumpet instructor who had previously studied with Raymond Crisara. Most people might not know but Raymond Crisara was an artist for Vincent Bach. My trumpet instructor told me that on the day that this was recorded, it was also the same day that he recorded the original soundtrack to the movie “Annie”. Once he was done, he flew to Canada to record this amazing sonata with Glenn Gould. My trumpet instructor asked on how me managed to pull that off. Crisara said “Sometimes you just have to tighten your belt”. This was one of the coolest trumpet stories I heard. I’m also playing this piece on my senior recital. Very cool how Gould manages to play the piano piece memorized considering how difficult it is.
Professor Raymond Crisara , trumpet Born in Cortland, New York, Raymond Crisara's began his formal musical education at the Ernest Williams School of Music before graduating and entering the University of Michigan, where he was a teaching assistant to Dr. William Revelli. At 19, he was appointed principal trumpet of the Metropolitan Opera Orchestra, a position that he held until he was drafted into the United States Army Special Services Orchestra in New York. After his time in the service, Mr. Crisara played and toured with the NBC Symphony Orchestra under Arturo Toscanini, was solo cornetist with the Goldman Band and Paul LaValle's Band of America. He also played with the ABC Brass Quintet, and was on the music staff at both ABC and NBC for many years. Crisara was sought after for commercial work, jingles, concert work and solo performances, numerous recordings for television and radio, and played under virtually all of the notable conductors of that period. Mr. Crisara was was particularly proud of his work with Robert Russell Bennett on "Victory at Sea" and "Wide, Wide World." Crisara was also a national clinician for the Selmer Corporation and worked closely with Vincent Bach to help develop the internationally acclaimed Bach Stradivarius trumpet. In 1978, Crisara was invited to join the faculty at the University of Texas at Austin, where he enjoyed 23 years of building his trumpet studio, mixing his love of the trumpet and his life lessons in his own, unique way. Crisara received many accolades including the Edwin Franko Goldman Memorial Citation from the American Bandmaster's Association, being inducted into the Academy of Distinguished Teachers at the University of Texas, being named a Distinguished Teaching Professor Emeritus, receiving the Frank C. Erwin, Jr. Centennial Professorship, and receiving an honorary doctorate from the State University of New York-Cortland. He also received the Herbert L. and Jean Schultz Mentor Ideal Award for Outstanding Teaching from the Association of Concert Bands, and an International Trumpet Guild Award of Merit for "lifetime achievement in teaching and performance throughout the world." A Celebration of Life Service was held at St. John's United Methodist Church in Austin, TX on May 31, 2014, at which hundreds of family members, friends, loved ones, and colleagues gathered to honor Crisara and his lasting impact. Charles Decker and Todd Hastings spoke about Crisara’s legacy, and former members of Crisara's studio performed as a trumpet choir, providing a musical tribute to their friend and mentor throughout the service. Left to cherish his memory are his loving wife of 65 years, Angela, his brother and sister in law, Robert and Stella Crisara, his four adoring children, Meg Houghton and her husband Dana, Cina Crisara, Andrea Snouffer and her husband Edward, and Philip Crisara and his wife Tina, and six beautiful grandchildren: Jenny and Amilyn Houghton, Lauren and Emily Snouffer, and Alex and Matthew Crisara. In honor of Mr. Crisara, contributions may be made to the International Trumpet Guild (ITG) Legacy Fund in Memory of Raymond Crisara. Please address to: D. Kim Dunnick, Legacy Fund Director, 10 Lagrande Ct., Ithaca, NY 14850. Source: trumpetguild.org/content/itg-news/444-in-memoriam-raymond-crisara-1920-2014 Andrea Snouffer, daughter, from her obituary in the Austin American-Statesman, May 27, 2014
Wonderfully articulate, clear, precise, nuanced - lovely phasing and dynamics!! This is REALLY great playing by both. Gould definitely gets it. Every note is important. No note shall be ignored. CLARITY!!! I seriously love Hindemith's compositions.
Gould really gives himself completely to music. Love it or hate it - and anything in between, it's undeniable. I think he does a magnificent job on this one.
I've always had mixed feelings about Glenn Gould's piano playing, but my god, as a speaker about music, he was absolutely brilliant; like Bernstein, but more neurotic and eccentric. This aspect of his public life does not get enough commendation.
Hindemith certainly did write some wonderful works. I find myself 'zoning out' to his stuff, at times. Hypnotic. Something earthy, sinister, jubilant, mechanized... many things. Passages of exhuberant triumph and others of bitter resignation. It's quite the artist's palate. Hindemith was/is amazing.
I have the set of TV broadcasts. It is available at a very reasonable price on Amazon. I would suggest it to anyone who truly loves GG. Especially, if you enjoy his personality and aural description of composers and music. Lots of great performances, interviews, skits and "The Idea of North" are included. However, with this channel and other footage available online, a purchase of the DVD set may not be as essential as it once was.
Yes that’s an unusual look but it’s of course also worth remembering that this is a duo. Gould is no accompanist and Crisara not a soloist. I now what you mean though!
…but hearing them play almost gives the impression that Gould sees Crisara as the accompanist. I am a huge fan of Gould and find him endlessly fascinating but I’m sure that not everyone would agree with all his interpretations
Honestly, the piano part is much more likely to be played easier without music, it is in fact the much more difficult part and Hindemith is definitely more like a duet like said above.
I see what you did there... hehehehe The piano part does seem to carry the load on this one. Hindemith's Sonata for Horn and Piano (1939) is AWESOME for both instruments. Truly. Difficult to find recordings of folks (pianist and other) who truly understand how to play (which mostly means DON'T interpret, just play what Hindemith wrote and how he marked it - with that touch of 'yeah, you know how to do the stuff right in ways that CANNOT be written'...) Hindemith. Mostly, I find that even 'the best' players just DON'T subdivide and keep a sensible sense of rhythmic impetus, etc. Just not understanding that EVERY NOTE and EVERY rhythm are equally important in Hindemith works. Nothing can be unclear. I think Glenn Gould gets it by the balls, on this one. Here's a GREAT example of folks who do understand - Paul Hindemith - Sonata for Four Horns (1952) [Score-Video]: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-yg2ATrlxdSA.html Many bravos to that horn quartet!!! I performed lead on it with the Houston Area Horn Quartet (early to mid 1980's - goodness, I miss those guys) on the VERY LAST CONCERT EVER at the Tower Theatre in Houston. It ended up taking up about 1/4 of the LP made from that very extensive day of performances. It's that good - and we played it VERY much just like the quartet in the link above. Righteous!!!
@@m_bg The choral under that title in all my Bach choral books is a different tune, "Salzburg" which appears in Lutheran hymnals as "Songs of Thankfulness and Praise"
ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xjsHp4IO-tQ.html& Glenn's version sounds better. And when he sings, he makes the tune much more expressive, even with his amateur voice. Sometimes I wished he would sing more over the songs hehe.
Perhaps a bit on the bright/piercing tone side, but not at all too loud. The balance here between the piano and trumpet is actually quite spot on. I play a Bb trumpet with a GIGANTIC mouthpiece, thus producing a much broader/richer/darker sound (yet, still with the 'center core' to cut through). It is my preference to produce the 'fatter' sound. You might prefer that as a listener. However, this trumpeter IS entirely awesome.
The term "Bach chorale" is a standard nomenclature used by all musicians. It is always understood that this term indicates Bach's harmonizations and re-settings of chorale melodies, and not that he himself necessarily composed the chorale tune itself.
00:47, oh my God ! What a disappointment, Mr. Gould is a genius … but he doesn’t know how to sing simple intervals: he sings b flat-a flat- c flat- b flat , instead the notes he tries to illustrate…
