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Schuller originally played the flute, but switched to the French horn at age 14. Two years later he made his debut when the New York Philharmonic hired him as an extra horn player in the legendary premiere of Shostakovich's Leningrad Symphony, conducted by Arturo Toscanini. The precocious musician was then hired at the tender age of 17 as principal horn of the Cincinnati Symphony. The orchestra's music director, Eugene Goossens, was a major influence. "He was a great mentor, and he supported my composing. He arranged for my professional debut as a composer, when he arranged...

Author: By Anthony Cheung, CONTRIBUTING WRITER | Title: 'Of Reminiscences and Reflections': 75 Years of Gunther Schuller | 11/3/2000 | See Source »

...Through his interest in jazz, Schuller met the pianist John Lewis of the Modern Jazz Quartet, and then proceeded to meet all of the jazz greats of the day, like Charlie Parker, Miles Davis and Charles Mingus. He also played french horn on the great Miles Davis/Gil Evans albums, Birth of the Cool (1950) and Porgy and Bess...

Author: By Anthony Cheung, CONTRIBUTING WRITER | Title: 'Of Reminiscences and Reflections': 75 Years of Gunther Schuller | 11/3/2000 | See Source »

...Jazz, and was artistic director of the Berkshire Music Center at Tanglewood for a number of years. As president of the New England Conservatory of Music from 1967 to 1977, he started groundbreaking jazz and ragtime programs. His various books, such as Early Jazz, The Swing Era and Horn Technique, have also been widely praised as landmarks in musical scholarship...

Author: By Anthony Cheung, CONTRIBUTING WRITER | Title: 'Of Reminiscences and Reflections': 75 Years of Gunther Schuller | 11/3/2000 | See Source »

...Despite the time crunch, the overdub period allowed for the most spontaneity. Matthew would say, "this bridge needs something," and we would whip up vocal harmonies or horn lines on the spot. We plucked out banjo parts on three or four songs, though we kept only one sample. The beloved glockenspiel was a spur of the moment decision, which proved difficult, as the studio's version of the instrument was a few blocks short of a glock (the thing looked like the grin of an unlucky hockey player). This improvising was exciting and nerve-wracking. It was creative energy...

Author: By Ty Gibbons, | Title: That Was Great, Now Do It Again | 11/3/2000 | See Source »

...voice in isolation to get the right sound. Slight changes in the EQ of a vocal track can affect the whole tone of a song. Should it sound bittersweet but with leather jacket and tattoos, or bittersweet like a lone man in an ice cream truck with a broken horn? Pre-dawn or post-dusk, as they...

Author: By Ty Gibbons, | Title: That Was Great, Now Do It Again | 11/3/2000 | See Source »

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