{"id":279,"date":"2019-11-18T22:59:56","date_gmt":"2019-11-18T22:59:56","guid":{"rendered":"https:\/\/estebanbatallan.com\/?p=279"},"modified":"2024-07-24T05:58:54","modified_gmt":"2024-07-24T10:58:54","slug":"los-metales-de-la-sinfonica-de-chicago-son-mundialmente-famosos-hear-it-blast-los-metales-de-la-sinfonica-de-chicago-son-mundialmente-famosos-hear-it-blast","status":"publish","type":"post","link":"https:\/\/estebanbatallan.com\/es\/los-metales-de-la-sinfonica-de-chicago-son-mundialmente-famosos-hear-it-blast-los-metales-de-la-sinfonica-de-chicago-son-mundialmente-famosos-hear-it-blast\/","title":{"rendered":"La secci\u00f3n de metal de Chicago Symphony es mundialmente famosa"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">As the orchestra\u2019s storied brass section breaks in two young musicians, listen to what has made it so renowned.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img decoding=\"async\" src=\"https:\/\/estebanbatallan.com\/wp-content\/uploads\/2020\/06\/newyorktimes1.jpg\" alt=\"\" class=\"wp-image-280\"\/><figcaption class=\"wp-element-caption\">The Chicago Symphony\u2019s principal brass players, a mixture of new and old: Esteban Batall\u00e1n, trumpet; Gene Pokorny, tuba; Jay Friedman, trombone; David Cooper, French horn.<br>Credit\u2026Lyndon French for The New York Times<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><strong>The New York Times. Nov.18, 2019 by <a href=\"https:\/\/www.nytimes.com\/by\/michael-cooper\">Michael Cooper<\/a><\/strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">What distinguishes one top-rank orchestra from another? For the Chicago Symphony Orchestra, it\u2019s long been the brass.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For decades, the \u201cChicago brass\u201d has been prized for its majesty, virtuosity and sheer power. From its modern-day origins under Rafael Kubelik and Fritz Reiner to the brawny blasts of the Georg Solti era to the subtler approaches taken by Daniel Barenboim and now Riccardo Muti, brass has long been central to the ensemble\u2019s sound.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe Chicago brass: This was a way of referring to the Chicago Symphony even when I was a young student in the conservatory in Milano,\u201d said Mr. Muti, 78, who is in his 10th season as music director.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mr. Barenboim, Chicago\u2019s conductor from 1991 to 2006, said: \u201cWhen you become music director of a great orchestra, you have to be able to recognize what belongs to the orchestra: what is characteristic \u2014 what is the stomach of the orchestra \u2014 and what is the influence of other conductors. And the Chicago brass was part of that stomach, of that unique way of playing.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So when the orchestra <a href=\"https:\/\/www.wqxr.org\/story\/listen-chicago-symphony-orchestra-joyce-didonato-riccardo-muti-berlioz-bizet-respighi\/\">came to Carnegie Hall this weekend<\/a> with young blood in two key positions \u2014 <a href=\"https:\/\/csosoundsandstories.org\/esteban-batallan-appointed-as-the-csos-principal-trumpet\/\">Esteban Batall\u00e1n<\/a>, 35, is its new principal trumpet and <a href=\"https:\/\/csosoundsandstories.org\/the-cso-appoints-david-cooper-as-its-principal-horn\/\">David Cooper<\/a>, also 35, its new principal French horn \u2014 the pressure was on to show that Chicago\u2019s brass is still, to mix metallurgical metaphors, the gold standard.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img decoding=\"async\" src=\"https:\/\/estebanbatallan.com\/wp-content\/uploads\/2020\/06\/newyorktimes2.jpg\" alt=\"\" class=\"wp-image-282\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Both newcomers grew up listening to, and trying to emulate, the Chicago sound. Now, they are joining colleagues steeped in the orchestra\u2019s traditions: <a href=\"https:\/\/www.jayfriedman.net\/bio\">Jay Friedman<\/a>, 80, has been principal trombone since 1965, and <a href=\"https:\/\/cso.org\/about\/performers\/chicago-symphony-orchestra\/tuba\/gene-pokorny\/\">Gene Pokorny<\/a>, 66, principal tuba since 1989.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Whether the Chicago brass would be recognizable in a blind test is open to debate \u2014 many of the regional styles that once differentiated orchestras have been sanded over in this age of jet-setting maestros and more peripatetic players \u2014 but it is still considered one of the jewels of the orchestral world.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em><em>[<\/em><a href=\"https:\/\/www.nytimes.com\/2014\/08\/03\/arts\/music\/what-makes-the-vienna-philharmonic-so-distinctive.html\"><em>Read about the still-unique sound<\/em><\/a><em> of the Vienna Philharmonic.]<\/em><\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">After a rehearsal on Friday, several brass players gathered backstage at Carnegie to listen to some classic recordings.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThat\u2019s what\u2019s made the Chicago Symphony brass unique: that sound jumping out of the horn,\u201d Mr. Friedman said as he listened to Rafael Kubelik\u2019s recording of Smetana\u2019s \u201cMa Vlast,\u201d made in 1952. The recording features two of the architects of the Chicago sound: <a href=\"https:\/\/www.windsongpress.com\/arnold-jacobs\/\">Arnold Jacobs, its principal tuba<\/a> from 1944 to \u201988, and <a href=\"https:\/\/www.nytimes.com\/2013\/04\/29\/arts\/music\/adolph-herseth-91-trumpeter-with-chicago-symphony-dies.html\">Adolph (\u201cBud\u201d) Herseth<\/a>, its principal trumpet from 1948 to 2001.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Both men overcame physical impediments to dominate their fields. Mr. Jacobs\u2019s lung capacity was sharply reduced by various ailments, so he developed breathing techniques that he passed on to generations of players. (\u201cWe want as little tension in the body as we can get, so the torso becomes a resonating chamber,\u201d Mr. Friedman said, summing up the Jacobs technique.)<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img decoding=\"async\" src=\"https:\/\/estebanbatallan.com\/wp-content\/uploads\/2020\/06\/newyorktimes3.jpg\" alt=\"\" class=\"wp-image-284\"\/><figcaption class=\"wp-element-caption\">Members of the Chicago Symphony in 1966, including principal horn Dale Clevenger (fourth from left), principal trumpet Adolph (\u201cBud\u201d) Herseth (third from right) and Mr. Friedman (far right).<br>Credit\u2026The Samuel and Marie-Louise Rosenthal Archives of the Chicago Symphony Orchestra<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">And Mr. Herseth, a virtuoso who effectively led the brass section for more than half a century, was in a car accident in 1952 in which he broke teeth and damaged his lip \u2014 potentially disastrous for a trumpet player. \u201cHe didn\u2019t know if he was ever going to play again,\u201d Mr. Friedman said.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mr. Pokorny called the two men \u201cthe bookends\u201d of the section, which was joined by Mr. Friedman in 1962, then by <a href=\"https:\/\/www.daleclevenger.com\/\">Dale Clevenger as principal horn in 1966, <\/a>a position he held until 2013. The old sound is still alive in the orchestra \u2014 and not only stylistically.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mr. Batall\u00e1n plays on Mr. Herseth\u2019s old trumpet, and Mr. Pokorny plays on Mr. Jacobs\u2019s tuba. And the whole horn section plays the same make \u2014 <a href=\"http:\/\/www.swlewis.net\/testimonials.php\">Lewis horns<\/a>, constructed by a Chicago craftsman \u2014 which helps their sound blend.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThat\u2019s what we\u2019re talking about right there,\u201d Mr. Friedman said, after listening to three pulse-quickening brass chords in Fritz Reiner\u2019s 1956 recording of Strauss\u2019s \u201cSymphonia Domestica.\u201d \u201cOther orchestras might ease into those chords. It would be great for that style \u2014 but that\u2019s just not our style.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first time Mr. Cooper heard Georg Solti\u2019s 1971 recording of Mahler\u2019s Seventh Symphony, he said, was on an iPod while snowboarding.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cI was just bombing down the mountain, and I was like, yeah!\u201d said Mr. Cooper, who noted that, in addition to its thrilling power, it also captures the delicate, varied phrasing of Mr. Clevenger\u2019s horn playing. \u201cI\u2019ve never been more pumped. Just so much energy behind it.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Solti was famous for pushing for a big brass sound \u2014 sometimes too big.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWhen Solti came, at first he could not get the brass section to play loud enough for him,\u201d Mr. Friedman recalled. \u201cEven on a Schubert symphony.\u201d Mr. Pokorny recalled a violist in the orchestra, Max Raimi, joking that some Solti recordings \u201creduced the string section to tape hiss.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But after critics began to complain, Mr. Solti dialed it back, in what Mr. Friedman called \u201cthe great diminuendo.\u201d Near the end of Solti\u2019s tenure, he said, a recording of Verdi choruses was stopped when the recording engineer had a novel complaint: He couldn\u2019t hear the brass.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cYou can hear all the attacks,\u201d Mr. Batall\u00e1n said, referring to the decisive way each note is struck in Leonard Bernstein\u2019s 1988 recording of Shostakovich\u2019s Seventh Symphony. \u201cIt\u2019s a pure sound, with a clear attack.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mr. Pokorny said that when he started in Chicago, one of his first conductors was a guest, Leonard Slatkin, for whom he had played in the St. Louis Symphony Orchestra. \u201cI went to him,\u201d Mr. Pokorny said, \u201cbecause he knew the Chicago sound, and he knew the St. Louis sound, and I said, \u2018What do I have to do to my St. Louis sound to match here?\u2019 And he said that what you really have to do is put a lot of front-end on the note.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIt\u2019s more attack, and less follow-through,\u201d added Mr. Pokorny. \u201cIt\u2019s probably a product of the hall\u201d \u2014 Orchestra Hall in Chicago \u2014 \u201cmore than anything else, because the hall is pretty dead. And he proved to be right.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThere\u2019s lots of energy \u2014 and you can still hear the chorus,\u201d Daniel Gingrich, who joined the horn section in 1975 and served as acting principal horn for the past six years, said of Mr. Muti\u2019s 2010 recording of the Verdi Requiem.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThey are still number one in the world, in my opinion,\u201d Mr. Muti said of the orchestra\u2019s brass, \u201cbut also able to meld together with the rest of the orchestra. Not to be only dominant, but in a better balance.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This desire to keep the brasses in balance is now well known. \u201cI\u2019m very sensitive to the hand going up,\u201d Mr. Pokorny said.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mr. Friedman quickly chimed in: \u201cWhich he rarely does, I have to say. He loves the brass section. Rarely does he give us the hand \u2014 only when he absolutely has to.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As the orchestra\u2019s storied brass section breaks in two young musicians, listen to what has made it so renowned. The New York Times. Nov.18, 2019 by Michael Cooper What distinguishes one top-rank orchestra from another? For the Chicago Symphony Orchestra, it\u2019s long been the brass. For decades, the \u201cChicago brass\u201d has been prized for its [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":1736,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_wpcom_ai_launchpad_first_post":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1],"tags":[],"class_list":["post-279","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-press"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Chicago Symphony\u2019s Brass Is World-Famous. 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