TromboneChat

https://www.youtube.com/watch?v=lpfQQPwCmzc&t=168s

This is the "mecca" of trombone, brass, musicians, and musichianship ever. I gave this link to a very famous trombone player which I will not give the name. Not scandinavian. He gave me the answer it was a recording and therefor not to trust. He obvious didn't like it. I got a little chock. I think this recording shows some of the aspects and secrets of the hole Chicago brass. First of all the unity! We like to think we all have it, but nobody can make it like them. I can tell why.

The ability to play very soft. Never heard that soft in a brass group before. And still be present. Thats about the sound each of them can make. The "pure sound" Jay Friedman always talk about. Then its the intonation. Let's be honest, there is no orchestra with that clean brass section. Or maybe there is but not with that unity and baIance. Listen to Berlin philharmonic from the Karajan period. Everyone likes it but the brass was never in tune or balance.

I think in Chicago they got Solti which like the brass. Allowed them to play FF. But also demand them to play soft. Always in time also when ending notes. Bud Herseth told; "I just try to fit in." Is there any other solo or 1st trumpet player that have said this words? And the gigants in the tuba/bass trombone. It makes everyone in between easier to do their work.

There is a tradition in the Chigago Orchestra brass that will be hard to follow! I think thats to fit in and show how to use the radar. Not uncommon in any profession?

Leif

Solti was a great conductor, but I believe the sound goes back to Fritz Reiner. He had a reputation like Toscanini.

Reiner built the machine, Solti turbocharged it.

Raphael Fruhbeck de Bourgos [RIP] once simply said to the NSO brass section --- "Not so hard" ! ---- The result was a rich blend with no single voice that predominated. Resonance without forcing. Effortless. Just the opposite of the Russian approach which was constantly demanded of us. Intonation improved immediately. Glorious ! We were able to play the same dynamic with half the effort because we no longer were fighting to maintain intonation.
The Chicago Symphony could play with incredible power but restrained from forcing their instruments beyond reasonable limits. It works !

I've always had a bias for CSO and Solti. Growing up in the Chicago area I had the opportunity to hear CSO, especially at Ravinia in the summer. I purchased and still enjoy the 1975 multi-album set of Solti Beethoven symphonies.

But my hands-down favorite CSO recording is the 1971 album of CSO playing Mahler's first symphony conducted by Carlo Maria Guilini. It helps that there is more brass work to my taste. It was the first piece of classical music I appreciated, could grasp, from its eerie start to the positive, upbeat finish. The dynamic ranges and intensity brought out of the orchestra are so good. Interestingly, Solti's version is heavy handed by comparison.