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Caldwell, Michael – Gerard Schwarz: From Virtuosic Trumpet Artist

to World-Class Conductor Mar2000/24
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 Gerard Schwarz:

From Virtuosic
Trumpet Artist
to World-Class
Conductor

MICHAEL CALDWELL

M
any people spend an entire lifetime work- Company, the Eliot Field Dance Company, and the
ing toward a goal and achieve varying Waterloo Festival in New Jersey. In 1976, he became
degrees of success. When we think of leg- conductor of the New York Chamber Symphony,
endary trumpeters such as Maurice André, Harry where he is currently in his twenty-third season at
James, William Vacchiano, Louis Armstrong, Adolph Alice Tully Hall. In 1978, he followed Sir Neville
Herseth, Armando Ghitalla, Timofei Dokshizer, and Marriner as the second conductor of the Los Angeles
many others, we reflect on players who were very Chamber Orchestra for eight years. In 1982, he be-
successful at a young age but continued on lifelong gan his post as music director for New York’s Mostly
paths as major artists. As a young man and graduate Mozart Festival at Lincoln Center. He will continue
of the Juilliard School of Music, Gerard Schwarz was at this position through 2001. Schwarz began an
internationally recognized as one of the world’s fore- association with the Seattle Symphony Orchestra
most trumpet players. He was a member of the famed (SSO) in 1983 as music advisor, and in 1984, he was
American Brass Quintet, shared the principal trum- named principal conductor. The SSO has received
pet post in the New York Philharmonic, and released international acclaim and is emerging as one of the
over 20 recordings constituting a large body of classic world’s leading orchestras. Under Schwarz, the SSO
performances from the trumpet repertoire. In 1977, has recorded more than 70 compact discs on the
at age 30, he gradually set aside the trumpet to begin Delos label, including an outstanding series featur-
a “second life” as a full-time conductor. ing great American symphonic composers from the
Schwarz began preparing for a conducting career 1930s through the 1950s. Schwarz has received more
in 1966 at the age of 19. Within ten years, he was than ten Grammy Award nominations, as well as two
appointed music director of the Erik Hawkins Dance Record of the Year awards.
Photo by Yuen Lui Studio

24␣ ␣ ITG Journal / March 2000 © 2000 International Trumpet Guild

 Twenty years after Schwarz chose to depart
from his successful career as a trumpeter, his
performances with the American Brass Quin-
tet and New York Philharmonic, in addition to
appearances at major events such as the New
York Brass Conference for Scholarships and
the National Trumpet Symposium, still reso-
nate with players today. His influence as a
trumpeter can still be experienced through
numerous solo recordings, including an exem-
plary performance of Bach’s Brandenburg
Concerto No. 2 with the Los Angeles Cham-
ber Orchestra.
I distinctly remember the first time I heard
his Cornet Favorites album. Soon after this, I
began searching the music library for every-
thing he had ever recorded. With each new
listening experience, I was further enamored 1970 performance at KQED TV in San Francisco, California
and inspired by his unique and expressive ap-
proach to music. While Schwarz has not played
a note on the trumpet in over two decades, his
contribution to the evolution of trumpet play-
ing in the twentieth century is cherished by
many.
The following interview took place at
Schwarz’ home overlooking the spectacular
skyline of Seattle and the landmark Space
Needle. It was apparent throughout the inter-
view that he has many fond memories of his
trumpet playing days, including all of his teach-
ers, colleagues, and the many fine conductors
with whom he has performed.

MC: When did you begin to play the trum-

pet, and who were your major influences?
GS: I started playing when I was eight years
Schwarz in Weehauken, New Jersey, 1965
old in the public school music program in my
hometown of Weehawken, New Jersey. I actu-
ally tried to start when I was seven because I
went to see the movie version of Aida with my
parents. I really wanted to play the trumpet
after hearing the Triumphal March. In my
elementary school, the head of the music pro-
gram was a trumpet player. He recognized me
because my father was the town doctor, and
he told me to come back the next year when I
was eight. He was my first teacher, and at
age␣ 11, I had my great experience when I went
to Interlochen. I decided to become a musician
after playing Sibelius’s Second Symphony as
an intermediate student. After spending three
years at Interlochen, I studied with Trenton
State College professor Don Benedetti, who
had just graduated from Juilliard as a Will-
iam Vacchiano student. When he went on tour 1970 performance at KQED TV in San Francisco, California

© 2000 International Trumpet Guild March 2000 / ITG Journal␣ ␣ 25

 American Brass Quintet: Edward Birdwell, Bob Biddlecome, John Eckert, Arnold Fromme, Gerard Schwarz, 1966

with Valley Theater, he sent me to a teacher named pet, but they felt that since he had done such a
Ronald Anderson, who was also a Vacchiano student wonderful job for so many years it would be nice to
from Juilliard. Anderson played in the American Brass have co-principals. After I left and Phil Smith came
Quintet and the New York City Ballet Orchestra. He on, Phil became the principal trumpet.
got me started in the right direction just before my MC: What kind of playing were you doing after
first year of high school. you left the orchestra?
In the middle of my sophomore year, I began study- GS: During my fourth year in the orchestra, I
ing with Vacchiano in Astoria, Queens, where he knew that I wanted to become a conductor, so I started
lived – it took me over an hour to get there. He was to keep my options open. Not only was it a wonderful
my idol as a kid, of course, along with Helmut Wobisch orchestra and position – one that I loved – it also paid
from Vienna and Roger Voisin. In orchestral music, I reasonably well. I had two children at the time, so I
loved Vacchiano’s sound but it was the soul of his had to figure out a way to make a living. I had been
playing that got to me. I studied with him through- teaching at Juilliard since just before I joined the
out high school. During my freshman year at Juilliard, Philharmonic and I took on other jobs at the Univer-
I joined the American Brass Quintet and played with sity of Connecticut, Montclair State College in New
them for seven years. Also, just out of high school, I Jersey, and I was adjunct at Columbia University
joined the American Symphony with Leopold and New York University. I really miss teaching
Stokowski. I played under him until I joined the New because I had many wonderful students. I got back
York Philharmonic in 1972 at age 25, when Vacchiano into a little bit of freelance and solo work in New
retired. York so I could keep my playing up. I knew that I
MC: How long were you with the New York Phil- would be quitting eventually, but I needed to keep
harmonic? working until I could make the transition to being a
GS: Four seasons. I was co-principal trumpet with full-time conductor. During those two years, I was
Johnny Ware. I had auditioned for principal trum- conducting more and more and playing less and less

26␣ ␣ ITG Journal / March 2000 © 2000 International Trumpet Guild

– thank goodness I was able to keep my playing up, borhood, in a sense. While I admired Herseth, Boston
but it was hard. As you know, it is not easy being a was closer. I loved many players, including Gil
trumpet player, and you have to practice a lot just to Johnson in Philadelphia. In fact, I found things I
maintain fundamental skills. I was studying scores a loved in all of them. I remember listening to Bernie
lot at that time. I think I actually squeaked by during Adelstein in Cleveland – conductor George Szell was
those years without having any disasters. I would be one of my idols – and I loved some of the things
conducting for one or two weeks, and then I would Bernie would do. The excitement in his playing was
need a week to ten days to practice to get into shape. extraordinary.
The last six months were not the most pleasant be- I was very meticulous about practicing when I was
cause of this – but I survived. in high school, and I was constantly analyzing things.
MC: Were there other influences? I spent years listening to myself at half-speed for the
GS: In the later years, Armando Ghitalla in Bos- speed of the vibrato, the exactness of the attack, and
ton was an influence to me. His sparkling, lyrical how the slurs were. Were they smooth and were they
style was so musical and beautiful. I loved his play- clean? I was very analytical about everything: about
ing. Like everyone else, when I was getting in my how fast I pushed the valves down, what syllables I
orchestral thinking, Bud Herseth was a major influ- would use when I tongued, and what kind of attacks I
ence. I admired the kind of power he had, and he used. I analyzed other people as well. I analyzed
never sounded brassy, ugly, or edgy. However, I was everyone. I remember listening to a recording of Ri-
a New Yorker, and interestingly enough, you become chard Strauss’ Symphonia Domestica with Reiner
regional regarding your influences. The people that I and one with Szell. Bud was clean as a whistle, and
cared about were the people that were in my neigh- Bernie was not as clean, but very exciting. There was

Dizzy Gillespie and Gerard Schwarz, 1973

© 2000 International Trumpet Guild March 2000 / ITG Journal␣ ␣ 27

 Seattle Symphony trumpet section: Charles Butler (principal), Geoff Bergler (second), Rick Pressley (assistant principal/third)

something to be learned from both of them. The MC: What were your equipment choices when you
cleanliness wasn’t always the bottom line. On the were at the height of your playing career?
other hand, I had this image of trying to have it all. It GS: I played 95 percent of the time on C trumpet. I
was a very exciting time for me as a player because I had a theory that, if I could feel secure on one instru-
thought I was dealing with technical things a little ment, it was much better than switching around. On
differently than a lot of people. Musically, I was try- the other hand, I practiced on the B-flat trumpet
ing to be more expressive and lyrical than a lot of every day of my life. I never began a day that I can
players had been. That is not to say that I wouldn’t remember without doing my long tones and scales on
have the power or heft of sound, but rather that the the B-flat. I also did not play on the type of equip-
soft and lyrical end would be just as important to me. ment that many players play today. I played much
I often hear players today that are not concerned smaller equipment. I had a sound in my ear, and I
with having the ability to do it all. Many are con- didn’t care what the bore size said. I just cared about
cerned with playing a way, instead of playing all the result. My B-flat trumpet was a medium bore
ways. Musical personality is very important to me. Bach 37. My C trumpet was a medium-large Bach
That is why Ghitalla and Vacchiano were so impor- with a 239 bell. I used a Bach 5C mouthpiece with a
tant – their musical personalities were so extraordi- thin and rounded rim. In the orchestra, I usually
nary. Whether performing as a player or conductor, I used a 25 throat with a symphonic backbore. On a
have always tried to express a musical personality. Bruckner symphony, I might have used a mouth-
Was Vacchiano’s playing ever flawed? It could be. He piece with a bigger throat or a B cup to get a little
had a certain kind of attack that was a little flat on darker sound. On the B-flat, I used a 26 throat on the
occasion, and the vibrato was a little wide at times, mouthpiece because with a 27, which was the stock
but I loved it. Not only did I study with him for many throat in those days, the high notes were a little flat.
years, I started going to hear the Philharmonic when Vincent Bach made a long bell D trumpet for me
I was 11 years old. I remember hearing the orchestra and also a wonderful E-flat trumpet on which I re-
play Shostakovich’s Fifth Symphony at Carnegie corded the Haydn Concerto. I would visit him often
Hall with Leonard Bernstein in 1959. Those were when he was in Mount Vernon. Many of the trumpets
great moments for me when I was a kid. I was a I had were New York Bachs. I had an F␣ trumpet that
season ticket subscriber when I was in high school, I put a D trumpet bell on to make an E␣ trumpet for
and I went every week to hear Vacchiano play. I recording the Hummel. There were some intonation
was a groupie! problems, but it was a beautiful sounding instrument.

28␣ ␣ ITG Journal / March 2000 © 2000 International Trumpet Guild

 Gerard Schwarz with the Seattle Symphony

I used a Schilke 4-valve piccolo. On that, I used a a group called the Renaissance Brass Trio in which I
D cup with the same rim – I always used the same played the cornetto, and I had a few Baroque trum-
rim – and I used a bigger throat, a 21 or 22, I believe. pets before it became a fad.
The shallower cup helped, quite frankly, with the MC: What path did you take in becoming a con-
high notes. The key for playing on that setup is to not ductor?
put too much lip into the mouthpiece. To get used to GS: I had no teachers, but my greatest influence
playing the shallower cup, I would use that size was Bernstein because I lived in New York. Second,
mouthpiece in my B-flat trumpet. I would play the was Szell, and I heard every concert the Cleveland
etudes in the back of Arban, realizing that the mouth- Orchestra did when they came to New York.
piece was doing a lot of the work for me. The sound Stokowski was very influential when I played with
was not quite as beautiful, obviously, but it was fine him and, of course, Pierre Boulez when I started
once I got used to the idea that the mouthpiece was playing with the Philharmonic. Bernstein then be-
helping me, rather than me forcing. came a greater influence on me because I started
MC: Did you have other horns? playing with him a lot, and Erich Leinsdorf was
GS: I had a lot of Conn cornets and a Bach cornet. extraordinary in his knowledge and thoughtfulness.
I did all of my cornet records with the Bach. I had MC: What are your feelings regarding your trum-
trouble with the cornet because I was a trumpet pet sections in the Seattle Symphony and New York
player, and as you know, the trumpet has a lot less Chamber Symphony?
resistance. I would blow the same way, and I would GS: In Seattle, we have three wonderful players
get tired. I probably tried to play too loudly, which it named Charles Butler, Geoff Bergler, and Rick
is not designed for. I tried to figure out a way to make Pressley. I hired Charlie and Geoff, but Rick, who is a
it feel more like my trumpet. I had the leadpipe made great player, was here when I came. In New York,
into a trumpet leadpipe. I thought that maybe if I my players are Neil Balm and Lee Soper. We did not
had my trumpet mouthpiece, it would work. I tried it, have auditions when I hired them, and I chose them
and it made no difference, but I left it anyway. I had personally. In both orchestras, I have fabulous players

© 2000 International Trumpet Guild March 2000 / ITG Journal␣ ␣ 29

 what I do on the podium. Some trumpet players
might think that because of my background I am
listening harder to what they are doing, but that is
not the case. The idea is that you hear it all and you
know everything that is going on. You don’t have to
prove to anyone that you are hearing it all, although
you are. You correct what needs to be corrected.
MC: What are your feelings regarding music edu-
cation?
GS: I am very heavily involved with the Seattle
community in supporting an integrated music pro-
gram, not one that is icing on the educational cake,
but rather part of the substance of education in our
country. I do not believe that music should be taught
as an extra-curricular activity. It should be taught as
part of the fundamentals in education. I fight for this
in the Pacific Northwest and the state of Washington
because it is where I live, though I fight for it every-
Gerard Schwarz and Maurice André, 1970
where. I believe that being involved in music makes
that all know their jobs very well. The chamber sym- for a better human being, one that is well-rounded
phony players have much different requirements, but with better priorities. It develops self-confidence and
they could probably do well in any setting. They are an excellent ability to concentrate and focus. I be-
all very intelligent musicians and excellent players. lieve that people who play music are winners, unlike
MC: Do you ever make equipment or technical sports, where you have winners and losers.
suggestions? I am seeing a positive turnaround in this commu-
GS: I always tell my musicians what sounds I am nity, and the answer is not isolated excellence in a
looking for, and I trust them to figure out a way to do single school. I think that everyone should play. I am
it. I rarely tell them how to make the sounds. It is all not saying that everyone should become a profes-
about sound, and I don’t care what they play it on. sional musician. I am not even suggesting that they
MC: What aspects from your playing experiences will become better audience members. I am not con-
are the most important? cerned about that, though it would be nice. The real
GS: For me, the bottom line was always music essence of what we are doing is trying to make them
making, and everything I did technically was to try better citizens and students, and more caring, sensi-
to enhance the imagination and ideas. I did all of my tive people. I think this can be accomplished through
recordings between the ages of 18 and 30, and I felt music.
that at the time I stopped my ideas had grown. In a MC: Do you have any thoughts on trends in higher
way, it is a shame that I stopped because I could have education?
gone on to do some more interesting things. Toward GS: There was a time recently that it seemed to
the end, I was really happy with the way I was able me, as an outsider looking in, everybody was focused
to accomplish color changes and many other subtle on getting jobs and not focused on music, and that
things. was a little tragic. In auditions, I have started giving
MC: Has your experience as a player had an effect a little more sightreading than I used to because I do
on your style of conducting? not want someone who can only play the excerpts. I
GS: Having played in the orchestra has given me a want them to know how the pieces go. I am also
different perspective. They say that if an orchestra giving more standard repertoire as sightreading ma-
has 100 musicians, there are also 100 opinions. There terial. It brings me back to my audition with the New
is a comfort level I try to achieve. The players should York Philharmonic. I went to the personnel man-
feel comfortable with the music making and interpre- ager, Jimmy Chambers, and asked him what I should
tation of the piece we are playing. I feel that among prepare, and he said, “Everything,” which is what I
the most important things a conductor can do is did – I prepared everything. When I went to my
make the interpretation with the orchestra and have audition, I did not know anything that I was going to
them be part of it. My job is to help them play at the be asked. Now we not only tell people what pieces to
height of their ability, and I draw from what I felt play, we tell them what measures. I try to expand
was successful when I was playing in an orchestra. upon that. I don’t have sightreading in the sense that
Having played in an orchestra has a huge effect on I am trying to catch people to see how well they read.

30␣ ␣ ITG Journal / March 2000 © 2000 International Trumpet Guild

That is not as much of an issue as if they know the
pieces. It is reasonable to expect people to know the
repertoire. I remember when we had the second trum-
pet audition in Seattle when Geoff Bergler got the
job. One of the sightreading pieces was the second
trumpet part to the Stravinsky Octet. Nobody could
play it but Geoff. All of the finalists obviously played
very well, but what was their experience in musical
life? If anyone ever comes to Seattle to audition, they
know my philosophy now. They had better know the
pieces [laughing]. I look for well-rounded musicians
who know the repertoire. When I was in high school,
these pieces were important to me. I not only knew
my parts, I knew the pieces. I am not suggesting that
everyone should be like I was.
MC: How do you feel about the future of the sym-
phony orchestra in general?
GS: A lot depends on the community. Whether the
Gerard Schwarz and Roger Voisin, 1970
community is affluent or not, you must have a strong
music director, a strong presence in the community, of that. I could quit everything I do and just take care
a strong management team, and a good board of of my kids. Everyone who has kids knows how much
directors. Most importantly, you must have a great work it is. I have a phenomenal wife who is a wonder-
orchestra that the community can be proud of. Lately, ful musician and understands all the aspects of what
the economy has helped many institutions like ours I do and how to raise the children. My children are
in Seattle, but if the orchestra wasn’t playing well very understanding and know that I have to study.
and keeping a strong presence in the community, it They are wonderful.
wouldn’t be happening. It is very hard to get people MC: Are any of your children involved in music?
to give away money, and we as artists are always, GS: They all play. My oldest daughter, who plays
unfortunately, asking them to give us money. So, we flute, is 26 and is in medical school. My 22-year-old
have to continually prove ourselves, which I guess in son, a double bassist, is a metal sculptor who has
some ways is not so bad. Strong economies don’t do it tremendous talent. My 11-year-old daughter plays
alone. A lot goes into it, and it is amazing how quickly the violin and piano, and my 8-year-old is a cellist
it can turn around in a negative way. and pianist. My wife is also a wonderful flutist. We
MC: Do you listen to styles other than orchestral play chamber music as a family every 10 days or so. I
music? will play piano and do trios with the younger ones,
GS: I have very little time to listen to music be- and we will all sit around and do family music things.
cause I have to study scores so much. On occasion, I’ll We don’t do it quite as often as I would like because
put on some jazz because I love it, but I have so little of the way children are programmed these days with
time. I will also listen to chamber music because I music, sports, and studying.
love string quartets or the Brahms quintets and sex- MC: Do you have any favorite humorous or inter-
tets – things that I really love. esting stories to share with the members of ITG?
MC: I recently read that you will be scaling back GS: At the first rehearsal I did with Boulez and
some of your obligations to spend more time with the New York Philharmonic, we were playing the
your family. With all of the traveling you do and the Bartok Concerto for Orchestra. We got to the little
commitments you have, how do you keep everything brass chorale in the second movement after all of the
in perspective? pairs of instruments played, and Boulez immediately
GS: It is not easy. When you get to be my age (52), asked to hear the first trumpet and tuba play. He
you realize that your family is the most important was very into tuning and wanted to tune all of the A-
thing you have. As much as I love music, conducting, flats and so forth. The first oboe player said quite
and what I do, nothing takes precedence over my loudly to Boulez, “Would you leave him alone? It’s his
wife and four wonderful kids. I just make that time first day!”
and if it means sleeping a little less, I’ll do that. If it On my first subscription concert with the New
means conducting a little less, I’ll do that. On the York Philharmonic, we were playing Also Sprach
other hand, I am a musician and a conductor, and Zarathustra. It was a pretty big deal for me as a kid.
that is what I do. They have a strong understanding It was a Thursday night, and our concerts were

© 2000 International Trumpet Guild March 2000 / ITG Journal␣ ␣ 31

 Gerard Schwarz Selected Recordings

Age of Splendor, Vox Box (CD)

Brandenburg Concertos No. 1-4 with the Los Angeles
Chamber Orchestra, EMI Seraphim (CD)
The Classic Trumpet Concerti of Haydn and Hummel,
Delos (CD)
Cornet Favorites/Cousins, Nonesuch (CD)
Gerard Schwarz Performs New Music For the Trumpet,
Phoenix (CD)
Mozart: Exsultate; Scarlatti, Handel, Sony Classical
Photo from Cornet Favorites album,1974
Essential Classics (CD)
The Sound of Trumpets, Delos (CD)
York, Berlin, or London, and it is very exciting to
think that we here in Seattle can make a real differ-
at␣ 8:30. I got to the hall very early, not so much to ence, not only for our community and ourselves but
warm-up, but to focus and make sure that I wouldn’t also for music in general. We have already made a
get distracted. When I got there at 7:00 or 7:15, a tremendous impact on repertoire with the recordings
note from our assistant public relations director was we have made of American music. I think the orches-
delivered to me that said, “Call this number at 8:00.” tra has such a distinctive sound, like few others – we
I thought that maybe the New York Times wanted to have the Seattle sound, which is different from New
know what it was like for the new first trumpet. I York, Chicago, or Boston. I am excited about where
started warming-up, and I realized that was ridicu- we can go, kind of like a new era, now that we have
lous. The Times didn’t give a hoot about the new first the fabulous Benaroya Hall. Without a great hall, it
trumpet – what do they care? I thought it must be the is hard to get to that pinnacle of where things can be.
New York Post. After a few minutes I thought, what The new hall gives us real potential for extraordi-
do they care? I knew that it had to be something like nary things.
the Village Voice because it was from the public rela- I am also looking for more permanence with the
tions department. I figured that a friend of mine New York Chamber Symphony. It is a tremendous
there wanted to ask me something about the new job. orchestra, but New York is kind of a one-orchestra
At 8:00, right on the button, I put my dime in the pay town. It is this huge city that really only has one
phone and dialed the number. It was Dial-a-Prayer major orchestra, while a city like Tokyo has 11 major
[long spell of laughter]. That gag was done by the full-size orchestras and London has a half-dozen.
first horn player John Cerminaro to inaugurate me There is real potential in New York for something
into my first concert with the New York Philhar- else to happen. At the New York Chamber Sym-
monic [more laughter]. phony, we are committed to being there.
MC: Do you have any future plans that might MC: Thank you for taking the time to meet with me
include playing again? and share your thoughts with the ITG membership.
GS: A couple of years ago, my manager at Colum- GS: Thank you for taking an interest.
bia Artists, Larry Tucker, who is now the general
manager here in Seattle, tried to talk me into playing About the Author: Michael Caldwell is the editor of
something for a benefit. He really made me think the International Trumpet Guild Journal and co-
about it. I think I would love to do it – I really would, director of music ministries at Steel Lake Presbyte-
but I figure that it would take me about six months rian Church in Federal Way, Washington. Caldwell
with a reasonable amount of practicing to get to is also a freelance musician in the Seattle, Washing-
where I was comfortable again, maybe more, and I ton, area.
just don’t have the time. I don’t think it is in the
cards, though I would love to try it. My focus is on the
future of the Seattle Symphony Orchestra. This is 2000 ITG Conference • May 24-27
one of the great orchestras of the world, and we are
trying to let people know it. We have a great hall
Conservatory of Music
now, and we have a tremendous opportunity to change at Purchase College,
the perception of music coming from a place like
Seattle. So much of the world is based around New
State University of New York

32␣ ␣ ITG Journal / March 2000 © 2000 International Trumpet Guild