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WILLIAM VACCHIANO (1912 2005): A TRIBUTE

TO HIS LIFE, CAREER, AND PEDAGOGICAL METHOD
BY

BRIAN SHOOK

March 2006 Page 6

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WILLIAM VACCHIANO (1912 2005):

A TRIBUTE TO HIS LIFE, CAREER, AND
PEDAGOGICAL METHOD
BY

BRIAN SHOOK

illiam Vacchiano, the former principal trumpet

of the New York Philharmonic, passed away on
Monday, September 19, 2005. Mr. Vacchiano
had an extensive career as an orchestral musician and was one
of the most sought after pedagogues of the 20th century.
Vacchiano joined the Philharmonic as third trumpet in 1935
and was later appointed principal by Bruno Walter in 1942;
he held that position continuously until 1973. The incredible thirty-eight years Vacchiano spent with the Philharmonic
were undoubtedly its most formative years, with music directors such as Sir John Barbirolli, Leonard Bernstein, Pierre
Boulez, Dimitri Mitropoulos, Leopold Stokowski, Arturo
Toscanini, and Bruno Walter. At the time of his retirement,

he had maintained the longest tenure of any principal trumpet player in America.
When Vacchiano came to New York City in 1930, he
intended to go to college to begin a career as a CPA. As he
would say in retrospect during an interview with the author,
Beginning in the early days of my childhood, and continuing through my years as principal trumpet with the Philharmonic, my entire career happened by accident. I was
extremely lucky.1 In reality, his life and career were not accidents, but the result of his love for people and music. His
impassioned performing, teaching, and friendships will be
sincerely missed and will certainly live on in the lives of
everyone he touched.

trumpet. Weekly lessons were composed of studies from three

main
method books: Arbans Complete Conservatory Method for
Vacchianos teaching career spanned an incredible seven
Saint-Jacomes Grand Method for Trumpet or Cornet,
Trumpet,
decades where he instructed at The Juilliard School (1935
100 Studies for Trumpet. In addition to these
and
Sachses
2002), Manhattan School of Music (1937 1999), Mannes
materials,
Vacchiano
would frequently compose exercises
College of Music (1937 1983), Queens College (1970
specifically
addressing
the
students particular weaknesses. He
1973, 1991 1994), and Columbia Teachers College (dates
eventually
compiled
these
drills into his own various etude
unavailable). In addition to his tenure at these renowned music
books.
schools, he instructed many stuVacchianos general apdents at his home in Flushing, New
proach
to teaching was very
York, where he taught from 1935
simple:
build the strongest
2005. Vacchiano estimated he had
and
most
complete foundataught well over 2,000 students prition
possible
to prepare the
vately during those seven decades.
student
for
any
and every sitVacchianos professional teaching
This
was
accomplishuation.
and playing careers began simultaed
by
drilling
the
student on
neously when he joined the New
t
he
b
as
ic
s
o
f
arp
eggi o s ,
York Philharmonic as third trumscales,
transposition,
articupet at the age of 23. Due to the
lation,
and
style.
Malcolm
declining health of his former
McNab, Los Angeles studio
teacher, Max Schlossberg, Vacchimusician, commented, If
ano was appointed to the faculty of
you practiced everything he
Juilliard where he subsequently
assigned you, you would be
taught some of his peers from the
an incredible technician!
previous year. One of those stuA typical first lesson with
dents was Jimmy Smith, who later
Vacchiano
was very much
became fourth trumpet in the Philthe
same
for
everyone. It did
harmonic.
not
matter
if
you were a proThe teaching style Vacchiano
fessional
or
an
amateur; he
employed during his long career
p
u
t
a
l
l
o
f
h
i
s
students
was strikingly similar to that of
their
paces
to expose
through
Max Schlossberg, focusing primaritheir
strengths
and
weaknessly on orchestral style, transposition,
es. Initially, he would check
and the rudiments of playing the
the students quality of tone
Collection of Lee Soper
On Teaching

6 ITG Journal / March 2006

2006 International Trumpet Guild

of the sound. The trumpet must come through with a clear

by having them play the simple exercises on page 40 in the
tone in a 100-piece orchestra. Tone is everything, technique is
Arban. After assessing the tone, he would go over to page 73
secondary.3
to check the low register (G major scales). Vacchiano would
then proceed to check lip flexibility on page 44. Beginning on
Mario Guarneri, formerly with the Los Angeles Philharpage 155, the students triple and double tongue would be testmonic, tells how Vacchiano taught the concept of weight and
ed. The chord studies on page 142 (and following) would be
sound in his lessons: I was working hard trying to make
used to determine the understanding of chord structure and
everything sound perfect on the opening of Don Juan. Bill was
harmony. Scales and various articulation patterns were examstanding by an open window looking down to the street while
ined both in Arban and Saint-Jacome. The interval studies
I was playing. When I finished what I thought was a pretty
beginning on page 125 of the Arban were used for ear training
good performance, he said, Guarneri, that was terrible, but
and flexibility. 2 In addition to
with a warm smile on his face.
I was not surprised by that resplaying these exercises at the sugponse since that was his usual
gested tempo, Vacchiano also adevaluation of almost everything
vised that these pages be practiced
I did in our lessons. What he
at an extremely slow tempo to
said next has stayed with me
develop the proper orchestral
through my career, and is really
weight and heaviness to the tone,
basic to my music making and
with each note maintaining a conteaching. He said, I was looksistent timbre in all registers. Fining down on the street while
ally, the lesson was rounded out
you were playing and not one
with sight-reading and transposiperson stopped and looked up.
tion work from various etude
That was very instructional
books.
and inspiring.
During the students initial lesThe weekly lesson consisted
son with Vacchiano, each one had
of studies from various method
a unique introduction into his
books or orchestral excerpts.
pedagogy and personality, often
Vacchiano, Nat Prager, John Ware1950
The entirety of each lesson was
times mixed with both humor and
(photo courtesy of NYP Archives)
comprised of simultaneous
seriousness. Albert Ligotti, Professight-reading and transposition. A typical lesson would take
sor Emeritus of Trumpet at the University of Georgia, recalls
the following course: two or three etudes in Sachse (all in the
how poignant Vacchiano could be while making a specific
hardest transposition possible), a few pages in both Arban and
point: For my first lesson I had prepared two etudes the best
Saint-Jacome to work on fundamentals and technique, a wide
I could, one from Arban and one from Saint-Jacome. After
variety of etudes, and a few orchestral excerpts (always in at
playing about the first three-quarters of the Arban etude, he
least three different transpositions). None of these exercises,
stopped me. I will never forget what happened next: he
etudes, or excerpts was ever played in the written key. Upon
reached into his pocket and took out a nickel (in those days, it
completing the sight-reading of an etude, Vacchiano would
only cost a nickel to ride the subway). He flipped it into the air
say, Okay, work that up. Over the course of the following
and it landed on the music stand. He said, You see that nickweek, the student would zealously work up each etude that
el? With that nickel and the way you play, you could ride the
was sight-read in the lesson. Vacchiano, however, rarely
subway! You are playing all these little notes and they do not
requested to hear an etude from the previous week. He did this
mean anything. Play a C major scale in quarter-notes in one
to cover as much material as possible with each student. He
octave from low C to middle C at 72 bpm? I played them and
was more interested in how well the student could play withhe responded, You played eight notes up and eight notes
out preparation, instead of what could be accomplished after
down. What did you accomplish? Every note leads to another
hours of practice.
note, then to a third note, and suddenly you are playing music.
Many of Vacchianos students noted the fact that they never
There is music in everything you do. Any time the mouthpiece
played more than a few consecutive measures during a lesson
goes to your lips, you must play music. From that point on, it
because of the intense sight-reading and transposition requirewas like somebody turned on the lights to the world.
ments. Vacchiano would incessantly stop them to demand corLee Soper, a New York freelance artist, chuckled when he
rect transposition, rhythm, and style. Consequently, Vacchiremembered his first lesson: The first time I met Bill my
ano very rarely heard the polished and rehearsed capabilities of
knees were shaking. I was straight out of the West Point Band
his students. Gerard Schwarz, Music Director of the Seattle
and very happy to be a civilian again. I walked in wearing
Symphony, reminisced about Vacchianos response after hearmulti-colored bell-bottom pants with vertical stripes. He
ing his student recital at Juilliard: I remember when I was
looked at me and said, Hey Soper, did you forget to take your
studying with Bill at Juilliard I still felt (after having studied
pajama bottoms off? That was my first lesson. It was that kind
with him already for three years) that he had never really heard
of humor that broke the ice and made you feel calm and
me play. So I arranged a recital and I asked him if he would
relaxed.
come. He said he couldnt because he was too busy and he did
The overall concept of sound and weight was of paramount
not like to go to recitals. I said I would arrange the recital
importance to Vacchiano. He used to practice long tones for
around his schedule. I had to remind him of his promise to
hours just to get the perfect sound. He said, Many students
attend on several different occasions. Finally, it was the night
come to me not understanding the significance of the weight
2006 International Trumpet Guild

March 2006 / ITG Journal 7

want to hear a recital; he was there to help me with my liabilof the recital and the Philharmonic had a matinee, so he was
ities rather than my assets.
available. Of course, when I saw him there I was shocked and
Vacchiano also had a very
thrilled at the same time! I
specific ability to critique a stuplayed my recital, and when the
dents playing and immediately
concert was over Vacchiano
find their weaknesses. He uncame backstage and he said to
derstood how each weakness,
me, That was terrific! I had no
no matter how small, could poidea you could play like that!
tentially evolve into a fatal flaw
Even though the lessons were
that would inhibit the students
based on sight-reading, Vacchiprogress. He enjoyed the chalano had a progressively methlenge of each individual perodical and strategic plan for
sonality regardless of how
each student. Mario Guarneri
headstrong they were, and
comments on his weekly lesson
would not relent until the
routine: If he gave you page
problem was fixed. Ronald An142 in Arban (major triads),
derson, former principal trumthen all week you would pracpet of the New York City Baltice viciously on them. The next
let, expressed his appreciation
week you would come in ready
for Vacchianos relentless crito play them from memory, and
tique: The cleanliness he
then he would say, Lets read
hounded out of me during my
the minors. So you would fall
lessons allowed me to play both
all over it and he would say,
accurately and passionately.
You dont know these very well,
Had he not ironed out my
you had better learn them.
weakness, I would not have
What have you been practicing
been able to do all the things I
all week? So you would work
have done.
even harder on those, and then
the next week we went on to the
Courtesy of the New York Philharmonic Archives
On Transposition
seventh chords. It was always
One of the first things that come to mind when former stucontinuous. My two years at Juilliard were certainly the most
dents
reminisce about their lessons with Vacchiano is how the
intense period of practicing that I ever had in my life.
two words Vacchiano and transposition are almost synonyMalcolm McNab describes the atmosphere created by Vacmous. Before Vacchiano ever picked up the trumpet, he took
chiano during his weekly lessons: While you were turning to
solfge lessons with Seor DiNobile for an entire year while in
a certain page in Arban, Saint-Jacome, or Sachse, he would be
grade school. This early training, along with piano lessons,
solfging the etude in the key you were about to play in, as well
developed his ear and ability to sight-sing, both of which
as the desired tempo. He was already putting pressure on you
assisted him greatly in the skill of transposition.
before you had even found the right page. Then he would say,
There are many types of exercises for technique and facility
Ok, you ready? D trumpet and change articulationslur two,
on
the trumpet, but the best exercise for ear training is transtongue two. You had to concentrate on an extremely high
position. The purpose of transposition is to address the stulevel. He would put you on the spot and then youd fall on
dents overall musicianship by developing the mind and ear. A
your butt. The idea was that you would be so embarrassed that
note is usually cracked when
youd go home and practice so it would
student does not hear the
not happen again.
Those players who cannot trans- the
note prior to it being sounded.
The purpose of this type of instruction
was not to be intimidating, but rather to pose are merely buglers; those who If the player attempts to play a
create a professional environment for the can are musicians. If you can play G#, an F# or an A# may come
out instead. Consistent practice
student, allowing them to perform under
pressure in the professional world. the Sachse book in every key, you of transposition will greatly
reduce the chances of cracking
Thomas Stevens, former principal trumcan play anywhere. W. Vacchiano or splitting notes.4
pet of the Los Angeles Philharmonic,
Vacchiano said on many
attributes his success in overcoming these
occasions, Nothing will develop a musician better than transtypes of pressures to his studies with Vacchiano: After endurposition. Those players who cannot transpose are merely
ing the rigors of Vacchiano lessons, situations like studio
buglers; those who can are musicians. If you can play the
recordings or concerts with no rehearsals were never problemSachse book in every key, you can play anywhere.5 Manny
atic for me. I have always believed this was why he taught in
Laureano, principal trumpet of the Minnesota Orchestra, remthe manner he did, one which simulated the actual pressures
inisced about his studies with Vacchiano on transposition:
and requirements of the professional music business. MoreThe study of transposition was another constant; and God
over, he always concentrated on what I could not do. If I were
bless him, he always had us do them on the B-flat trumpet.
to come in and play something very well, he would stop me
You pulled out your Sachse book and the B-flat at the same
and move on to something else. He once remarked he did not
8 ITG Journal / March 2006

2006 International Trumpet Guild

made it very clear that Mozart was played differently from

time. During one of Jeffrey Silberschlags lessons, Vacchiano
Wagner, and that Strauss was played differently from Brucktold him, When you stop practicing the Sachse book, you
ner. The Italian style is vastly different from the French style,
have stopped practicing!
which is different from the German style. The rules addressed
In his teaching, Vacchiano taught three main ways of transhow to play each style appropriately in terms of rhythm, articposition: clefs, intervals, and numbers. He tended to favor clefs
ulation, sound, and dynamics. Vacchiano taught the rules in a
in lessons, but he did not require the student to use this
general sense rather than as individual rules pertaining to spemethod; he merely wanted them to understand the various
cific compositions. This instruction enabled the student to colways to transpose. In his playing he primarily used clefs, but he
lect the necessary tools to perform even if they were not familalso visualized everything on the piano.
iar with a particular composition. The rules, if applied and
While teaching orchestral excerpts in lessons, Vacchiano
studied correctly, would be sufficient to govern the appropriinsisted that each passage be played in at least three different
ate style of virtually every composition.
keys and on three different trumpets. The purpose and end
To emphasize how fundamental these rules are to orchestral
result enabled the student to play whichever trumpet made the
performance, Jeffrey Silconcert or recording sesberschlag relates the folsion easiest. His contenlowing story: On my
tion was that if you walked
first day as principal of
into any gig with B-flat, D,
t h e It a l i a n Na t i o n a l
and piccolo trumpets
Symphony, I was con(with both A and B-flat
sciously playing with the
slides), you would be preVacchiano orchestral
pared to play anything in
rules in mind when the
any transposition. Lauresecond trumpet player
ano recalled the imporleaned over to the French
tance of Vacchianos relenthorn player and said in
less study of transposition:
Italian, Everything is
During my first concert
going to be fine, this guy
as principal trumpet with
knows the rules. I was
the Seattle Symphony, we
completely across the
had to play two very heavy
Atlantic Ocean and the
programs back-to-back at
rules still applied even
an outdoor season opener.
though I could barely
Of course, the last piece we
speak Italian.
played was the final moveSt e p h e n C h e n e t t e ,
ment of Tchaikovskys
Professor
Emeritus at the
Symphony No. 4. The first
Courtesy of the New York Philharmonic Archives
University
of Toronto,
time through was fine, but
(Promotional photo in support of the Red Cross)
made the following obby the second time I was
servation about Vacchianos conception of sound and style:
thinking, Im starting to feel a little heat! So I reached down
Vacchiano not only had an incredible ear for transposition
and picked up my D trumpet and read the entire last moveand solfge, but also for subtle nuances of sound. In the lesment in that transposition, even though I had never played it
sons, while various experimentations of mouthpieces and
before on the D trumpet. All of these transpositions were fresh
trumpets occurred, he would intently listen for the timbre and
in my mind and it was exactly what Vacchiano had trained us
sound that would be most desirable in an orchestra. The
for.
absolute best thing about his teaching was his ear. He could lisVacchiano also used the study of transposition to develop
ten to you play on a number of different mouthpieces and
range and endurance. He advocated taking excerpts, like Wagtrumpets and he could say which one was better and why. I
ners Parsifal Prelude to Act III, and playing them in the lowhave never heard such a beautiful trumpet sound from anyone.
est possible transposition, gradually moving up in half-step
Also, if you played a passage in two different styles, he could
increments until the pupil reached the original key. By practictell you which way was preferable. His lessons educated your
ing in this manner, the student also learned the intonation tenear, so that after a while you could recognize the proper qualidencies of the trumpet in each key.
ties of sound, style, and nuance. He pointed you in the right
The Rules of Orchestral Performance6
direction of your mental conception. No one could do this as
In the context of sight-reading and transposition, Vacchiano
well as Vacchiano.
taught many rules of orchestral performance. Vacchiano
On the Mouthpiece7
absorbed these rules from his lessons with Schlossberg as well
as from his exposure to all of the great conductors who came
As every one of his students will give testament to,
through New York. Vacchiano performed under all of them so
Vacchiano possessed an uncanny knowledge of the inner workmany times that he knew how to play every major trumpet
ings of the mouthpiece. Moreover, he had the distinctive aptisolo to their individual taste.
tude to find the right mouthpiece for each student. He used to
These rules were taught as a starting point for interpreting
say, If you have a problem with your feet, you change your
orchestral music, rather than hard-and-fast rules. Vacchiano
shoes. If you have a problem with your eyes, you get different
2006 International Trumpet Guild

March 2006 / ITG Journal 9

concert. He could swap mouthpieces in the middle of a solo

glasses. Why should the lips be any different?8 He acquired
and you would never know. He always had one main mouththis vast knowledge from many years of personal experience, as
piece as home base, all the others he switched to were very simwell as critical analysis of each students embouchure and facial
ilar; there were no major changes that would throw his
structure.
embouchure off.
Vacchiano would spend countless hours each week with
The cup is the most important factor of the mouthpiece in
Vincent Bach and John (Peppy) Pettinato studying every
determining the overall sound and attack. It also has a proaspect of the mouthpiece by combining all possible variants.
found affect on range and intonation. When a comfortable rim
Vacchiano estimated that he had accumulated about 500
is attained, the student can change the depth and shape of the
mouthpieces over the years. This type of curiosity and expericup for various styles of music without detriment to the
mentation made Vacchiano an authority on mouthpieces.
embouchure.
The first time VacchiThe cup depth can also affect articulaano became aware of the
tion in the lower register. A shallower
importance of the mouthcup will offer more resistance and conpiece is related in his foltrol of intonation in the lower register,
lowing story: One day I
while a deeper cup has less resistance and
was walking on 57th
tends to go flat in pitch. The general
Street and I met George
principle is that low notes have less
Mager and I was pretty
resistance than high notes, and a shallow
depressed about my playcup has more resistance than a deep cup.
ing. After I told him what
If a deep cup (with little resistance) is
mouthpiece I had, he exused to play a low passage (also with litplained why it was too
tle resistance), then the result will be one
small for me and then
of tubbiness and troublesome intonaproceeded to give me a
tion. The opposite is also true: if a cup
copy of his mouthpiece.
Vacchiano backstage at the Philharmonic
that is too shallow (with significant
That night we were doing
(photo courtesy of Phyllis Stork)
resistance) is used to play in the upper
Don Juan and I kept kickregister (also with much resistance), then the tone will sound
ing my second trumpet player and telling him, Dont double;
pinched and the pitch will go sharp. Vacchiano observed,
dont double! I thought he was doubling with me because it
When I played something in the lower register, I usually
was so loud!9
resorted to a shallower mouthpiece to gain greater control over
In finding the right mouthpiece for each student, the first
those notes.12
element of the mouthpiece Vacchiano would ascertain was rim
Louis Ranger, professor of trumpet at University of Victoria
diameter. The common misconception is that a large rim
diameter will give you more tone. Vacchianos position was
in British Columbia, explains how Vacchiano would use an
that the cup depth affects the tone more than the diameter:
array of mouthpieces to develop the students concept of
You cannot get as much sand in a one pound bag as you can
sound: He would use mouthpieces in a therapeutic manner.
in a two pound bagthe same is true with the mouthpiece. If
If he decided your attack was too heavy, he would say, Okay,
you want more sand (i.e., tone
play this 7D for a week
and volume), you must increase
with the idea that your
the size of the bag (i.e., cup)
attack would be magnified
rather than the mouth of the
so you would have to
bag (i.e., rim diameter).10
attack lighter. If he wanted
The most important aspect
you to play brighter he
of the mouthpiece, in terms of
would say, You had better
comfort, is the rim. It is essenplay this 1A for a week so
tial to find a rim that is comyou would have to work
like mad to get any kind of
fortable and then match it with
brightness at all.
other aspects of the mouthThe information and
piece. You can use dozens of
knowledge Vacchiano posdifferent cups with impunity if
sessed of mouthpieces,
you keep the same rim. In spite
of the stories of how many
music, and trumpet equiptimes I changed mouthpieces, I
ment was unfathomable.
always kept the same rim. I was
More importantly, Vacchiano allocated his passion
not out to be a hero.11
Courtesy of the New York Philharmonic Archives
and zest for both music
Albert Ligotti, who played
and people to everyone who came in contact with him. He
extra with the Philharmonic for eleven years, confirmed
made individuals feel as if they were the most important perVacchianos claim: For the Friday and Sunday afternoon conson in the world while talking with him. Virtually every stucerts, Bill wore a vest that had three pockets on each side. I
dent, colleague, friend, and family member never recalled
would watch him as he stocked each pocket with a different
hearing the same story twice.
mouthpiece so he could easily switch mouthpieces during the
10 ITG Journal / March 2006

2006 International Trumpet Guild

I had the pleasure one time of playing with Vacchiano on

stage. The West Point Band played a concert where we sat
behind the orchestra and we played the Berlioz Symphony Funeral and Triumphant. When the march begins, the band joins
the orchestra. William Steinberg was conducting and we were
Comments on the Musician and the Music
all sitting there in our band uniforms. We could only see the
heads of the brass section that were several rows in front of us.
When I first joined the orchestra, the principal brass players
Vacchiano was laying out on one of the tutti parts in the march
were Vacchiano, Gordon Pulis (trombone), and James Chamwhere the band and orchestra were playbers (horn). Everything they
didintonation, rhythm, ar- I will always remember that the ing together. I will always remember that
the instant he brought his horn up and
ticulation, timbre, and dynamstarted to play, the volume of sound in
instant
he
brought
his
horn
up
and
icswas right where it needed
to be all the time; there was started to play, the volume of sound the hall doubled! He was the only one
who had not been playing! (Malcolm
never any question. Bernstein
McNab, Los Angeles Freelance Artist)
used to say, This is a push-but- in the hall doubled! M. McNab
ton brass section. All you have
One wonderful experience I had was
to do is push the button and they play it the way you want.
the
first
time
I
ever
heard
Vacchiano play live; he played
(Ranier De Intinis, Horn, New York Philharmonic, Retired)
Coplands Quiet City, and he played it on his D trumpet. His
lyrical playing was outstanding; he made it sound like the
I saw a concert once of the Philharmonic in which they
trumpet had no valves. He had this incredibly liquid sound. I
played Petrouchka. When they got to the Ballerinas Dance,
asked him in my next lesson, How did you do that? He kind
Bill played the articulated sections, and Nat Prager (second
of smiled and said, Does Macys tell Gimbels? He never did
trumpet) played the slurred parts; they traded off through the
tell me. (Adel Sanchez, Assistant Principal Trumpet, National
whole solo. I sat there staring from the balcony of Carnegie
Symphony Orchestra)
Hall with my mouth wide
I distinctly remember hearing a concert
open. I could not believe what The solos he played were so paswhere
the Philharmonic was playing the
I was seeing and hearing beSaint-Sans
Symphony in B-Flat, which
cause it sounded like one guy. I sionate and beautiful that it brought
has
a
lot
of
lyrical
passages for trumpet.
had also seen Bill play Pettears
to
my
eyes.
M.
Hipps
The
solos
he
played
were so passionate
rouchka on other occasions
and beautiful that it brought tears to my
when he played the whole
eyes. (Mike Hipps, Minnesota Orchestra, Retired)
thing like it was no sweat. They did things like that all the
time; it was just part of the job. (Frank Kaderabek, Principal
There is a very important recording of Bill in his prime playTrumpet, Philadelphia Orchestra, Retired)
ing Bergs Wozzeck with Mitropoulos conducting. Bill sounded absolutely magnificent on that
I will always remember Vacchianos
record. This was also at a time when
tone. It wasnt dark; it was bright,
most orchestral players would have
shiny, and coppery. It matched perlooked at that music as something
fectly with James Chambers on horn;
from outer space. All of those
it had a core. The primary thing I
impossible licks are clean and briltook from Vacchiano was his concept
liant; despite their treacherous charof tone. I have always tried to sound
acter, it was quite miraculous. It was
like that. (Chandler Goetting, Solo
a real lesson in how to play literaTrumpet, Bavarian Radio Orchestra,
ture many people considered off the
Retired)
beaten path, but play it beautifully.
(Louis Ranger, Professor of TrumVacchiano had an extremely hauntpet, University of Victoria, British
ing sound that was full of a many colColumbia)
ors. He could really float a note out
with no sense of power or energyit
One remarkable experience that I
would just be there. It was a very disremember
was when Mr. Vacchiano
tinctive and very beautiful musical
invited
me
to come to a Monday
sound. He learned to play with a cersession when
night
CBS
recording
tain lightness of approach even
he was soloist in the Shostakovich
though he was an orchestral player.
Piano Concerto, Opus 35 with the
His sound was his most unique qualiPhilharmonic. Bernstein was conty. Just listen to the Mahler recordings
ducting while Andr Previn was the
with Bruno Walterthe solos are
piano soloist. Mr. Vacchiano was
haunting and his interpretations are
Vacchiano with Ray Mase at Juilliard during his
immaculately impeccable. (Frank 85th Birthday partynotice the mouthpiece in his unbelievably fine, even after recording Nielsen Symphony No. 5 all
Hosticka, New York Freelance Artist)
right hand! (photo 1997 Peter Schaaf)
The following quotations are excerpts from interviews
conducted by the author in which those who knew
Vacchiano best described him in their own words.

2006 International Trumpet Guild

March 2006 / ITG Journal 11

of the master composers; perfection in the art of transposition;

exactness of rhythm and preciseness of the tongue; uniqueness
of a tone that soars above the orchestra while remaining in fine
taste by paying careful attention to style; and that being a character is okay as long as you are always a professional and a gentleman. At one point, I had to be out of school for a while and
I missed a lot of lessons. Vacchiano insisted that I make up the
lessons during the summer at his
Vacchiano impacted the brass commuHe was extremely dedicated.
nity by establishing a sound and style of
We are given that moment to home.
To me the man is like the Lincoln
playing that has brought us to where we
are today. His playing style was always be the best we can, and then to Memorial, and for him to say, I owe
you two lessons, you need to come to
with a big and very lyrical bravura sound.
You always knew when Vacchiano was encourage others to carry it on my house for those lessons, was
playing. Regarding his pedagogy, he was a and run with it. Bill Vacchiano amazing. I will mostly remember his
style, sound, depth of musical knowpioneer and a student of the instrument.
ledge, and the understanding he had
He was always asking himself, How can has done just that. P. Smith
of himself and the purpose of why he
I do this better? (Irwin Katz, President,
was here. He has shared that with so many people. (Bob
Helicon Records)
Karon, Los Angeles Freelance Artist)
Personality and Character
afternoon. His powerful endurance did not wane after playing
for over six hours while he continued to spin that beautiful
Vacchiano sound through the cadenza in the Shostakovich first
movement. The recording is still around and the ending is
spectacular. (Fred Mills, Canadian Brass, Retired; Professor of
Trumpet, University of Georgia)

About twenty-five years ago, I met Bill for lunch in New

York when I was playing there with the Minnesota Orchestra.
As we were saying goodbye, I said, Ill try to call you more
often. He said, Thats okay. Just think about me sometimes.
I said, I dont think I have picked up my trumpet once in the
last 15 years without thinking of you. That is still as true today as it was then! (Charles
Schlueter, Principal Trumpet, He was a soft, gentle
Boston Symphony Orchestra)

The thing I get the most choked up about is how Vacchiano

was always an inspiration and an encouragement, even decades
after his retirement. As I go on in my musical career, I want to
be as willing as he was to hand the baton off and be able to do
everything I can to lift that person up and say, Go on, you can
do it. We are given that moment to be the best we can, and
then to encourage others to carry it on and run
man as with it. Bill Vacchiano has done just that. He and
Julius Baker were both like that to me. They were
a human being and when he giants of their time and to hear them come to you
Bills ego did not require any played first trumpet he was a and say, You can do this, was tremendous.
kind of feeding. He was a very
(Philip Smith, Principal Trumpet, New York
generous man who did not monster. C. Fornarotto
Philharmonic)
need to have his apple polished. In other words, he blew his trumpet, but he never blew
I collect Civil War cornets and consequently am familiar
his own horn. He only had kind things to say about other
with their history and value. One day, when visiting our house,
principal trumpet players in America. He was a soft, gentle
Bill showed me a cornet that he was going to sell and inquired
man as a human being and when he played first trumpet he
as to what price he should ask. I replied, Well, Bill, if it is your
was a monster. (Carmine Fornarotto, Second Trumpet, New
cornet it is worth more than the going price. He would not
York Philharmonic, Retired)
hear of that, so we had to totally ignore the fact that his name
Bills personality and demeanor never changed: he was the
and fame would add value to the instrument. That is the kind
same in the orchestra as he was walking down the street. He
of humility that he was known for. He never took advantage of
was just a down-to-earth,
the fact that he was a livfriendly person who never
ing legend among trumpet
said a negative word about
players. (Lee Soper, New
anybody in rehearsal or
York Freelance Artist)
never told any of us what
to do. He was always very
Guys like Bill brought
calm; I never saw his temto the music business a
per get involved in a lescertain dignity. They carson, concert, or rehearsal.
ried themselves in a special
In my 40 years with the
way; there was a class
Philharmonic I never saw
about them. That, along
him raise his voice to anywith everything else he
one. (John Ware, Co-Printaught, rubbed off on you,
cipal, New York Philhartoo. You not only wanted
monic, Retired)
to play as well as he did,
but you wanted to be like
L R: Joseph Polisi (President of The Juilliard School), Vacchiano, and
The name William
him as a person. (Joseph
Ronald Romm at Vacchianos 90th birthday party at Juilliard
Vacchiano means: excelWilder, New York Free(photo 2002 Peter Schaaf)
lence set in the tradition
lance Artist)
12 ITG Journal / March 2006

2006 International Trumpet Guild

A few years ago Vacchiano played third trumpet in a summer municipal band near his home. The trumpet section was
seated on a riser and a step had to be made for Mr. Vacchiano
so he could safely get to his seat. Apparently he was embarrassed to use an extra step that
none of the other trumpet
players needed. To remedy
this, he had a box made the
same height as the riser and
practiced all winter getting up
on the box. The following
summer he very proudly removed the extra step. I guess
38 years with the New York
Philharmonic gave him considerable gumption! (Laurie
Frink, Manhattan School of
Music, New York Freelance
Artist)

very precise and you knew exactly how he heard the music in
his head. As I got to know him while serving on the faculty at
Juilliard, I loved to hear him tell stories of the old days. He was
always a sweet man and very easy going. (Mark Gould,
Principal Trumpet, Metropolitan
Opera Orchestra, Retired; Professor of Trumpet, The Juilliard
School)

For years, I heard people comment on Bills vivid memory. I

never gave it much thought until
one day about ten years ago when
I witnessed it firsthand. I was
playing a concert on Long Island
and Bill was in the audience. After
the concert, an elderly man approached me and struck up a conversation mentioning that he had
studied trumpet many years ago
Vacchiano with the Polisi family after receiving his
at the old High School of the PerBill joined my family one
honorary doctorate (photo 2003 Peter Schaaf)
forming Arts in the City. I asked
summer for a vacation at the
if he remembered who his teacher had been. He laughed and
Gettysburg National Park, the site of an epic Civil War battle.
said he didntthat it had been almost sixty years ago. I asked
He was thoroughly captivated with the stories of this moif it might have been Bill Vacchiano, and he replied that yes,
mentous historical event and he was filled with great excitethat was his teachers name, but he hadnt seen him since. I
ment and curiosity during the entire tour of the battlefield. Bill
brought him across the room to meet Billthe teacher he hadwas especially intrigued with the museum display of brass insnt seen since high school. He introduced himself and not only
truments of the civil war era. His knowledge of these unusualdid Bill remember him, but also he recalled they had often had
ly-shaped cornets and saxhorns, mostly pitched in E-flat, was
lessons in Queens where this students father owned a restautruly amazing. As rudimentary instruments, he was aware of
rant. Bill remembered a sunny afternoon at the restaurant
their intonation tendencies, lack of water keys, and the diffiwhere the two of them had lunch,
culty of playing period mouthpieces
what they had eaten, and how they
that resembled those used for the
watched the traffic go by on Queens
modern French horn. During his imBoulevard from their table. With
promptu commentary, I believe Bill
his lower jaw hanging, Bills student
was very much amused by the numnodded in agreement as Bill incredber of visitors at the exhibit who
ibly recounted the details of their
paused to hear him with the belief
day together from over a half-centuthat he was our guide! (Philip Varriale
ry ago! (Raymond Mase, American
M.D. FACC, Chief Emeritus of CarBrass Quintet; Chair of Brass, The
diology, Cabrini Medical Center of
Juilliard School)
New York)
Funny Lesson Stories
I knew Bill as most people did: as a
All of his students tried a vast
very fine gentleman and a talented
number of mouthpieces. One of his
musician. Our professional playing
students came back after months
careers never crossed paths, but I
Vacchiano and Julius Baker congratulating each
and months of trying at least three
would indeed consider him a social
other on receiving their honorary doctorates
dozen mouthpieces and played one
colleague. He was one of the stalwarts
from Juilliard (photo 2003 Peter Schaaf)
of them for him. Bill looked at him
of the legitimate music scene in New
and said, Thats it; see how good you sound on that one! You
York City and everyone admired what he did. If someone said
finally found the mouthpiece for you! The kid was happy, but
to me, Tell me something negative about Bill, I would say,
then he said, Mr. Vacchiano, what am I going to do with all
There is no such thing in my mind. (Raymond Crisara, New
the old mouthpieces? Bill replied one second later, Well, use
York Freelance Artist; Professor of Trumpet, University of
them as sinkers when you go fishing! (Carmine Fornarotto,
Texas at Austin, Retired)
Second Trumpet, New York Philharmonic, Retired)
During one of my lessons, I happened to bring a banana in
I first heard Vacchiano play with the Philharmonic when I
and began to snack on it when the lesson ended. He turned to
was just a kid, and the first thing that comes to mind is his
me and said, Hey, that looks great. And I said, Here, try
sound; he had a huge, beautiful, warm, trumpet sound. No
some. It was so ripe and so perfect that he said, This is one
matter what he played, it was always songlike and never bruof the best bananas Ive ever had! At the time I lived at home,
tal. I loved to hear him sing excerpts of classical music. He was
2006 International Trumpet Guild

March 2006 / ITG Journal 13

so I told my mother what had happened and she began to pack

a banana for him every Monday. One day he actually took the
banana out and sliced it up and put it on a peanut butter sandwich he had brought with him just for that occasion! (Manny
Laureano, Principal Trumpet, Minnesota Orchestra)
Tributes
Your teacher, when you have left him or her, is truly responsible for nearly 100% of what you are artistically. That
amountcall it Xnever changes. You cannot turn it around
and say you are more responsible. But, as that amount never
changes, the amount you add begins to grow as you make your
career. You should always acknowledge that amount in the
beginning which belongs to your teacher. It is to Vacchiano
that I give everything. (Ronald Anderson, Principal Trumpet,
New York City Ballet, Retired; Professor of Trumpet, Bennington College)
He turned me from a second player into a first player. That
was the most concentrated amount of progress that I ever
made. Without Vacchiano, I never would have become a principal trumpet player. (Stephen Chenette, Former Principal,
Minnesota Orchestra; Professor Emeritus, University of Toronto)

His voice, his smile, and his sound all

were honest, beautiful, and full of humanity. D. Krauss
Mr. Vacchianos humility and honesty would obscure the
fact that he was the most influential orchestral trumpet player
ever. Just like his small wood paneled basement studio in
Queens, nothing about him was pretentious. His voice, his
smile, and his sound all were honest, beautiful, and full of
humanity. When I think about all the people he taught, I feel
fortunate to have studied with him, and I am thankful for the
wisdom and knowledge he imparted to me. (David Krauss,
Principal Trumpet, Metropolitan Opera Orchestra)
The four years I spent in Mr. Vacchianos studio shaped the
next 40+ years of my professional life. In the early years in
symphony orchestras, I was playing every piece of repertoire
for the first time. If I had any doubts or questions about how
to interpret a piece of music, I would first follow the rules
governing style, rhythm, and articulation. Then if I still didnt get it, I would try to imagine how Vacchiano would sound
playing it. The longer I played professionally, the more I appreciated what I had learned in what seemed like an agonizing
forty-five minutes a week. (Charles Schlueter, Principal Trumpet, Boston Symphony Orchestra)
I have known him over many years and in many different
capacities. I knew him as my idol, then as my teacher, then as
a colleague at Juilliard, and finally as a close friend. The thing
about Vacchiano was that he had a tremendous personality as
a player. You heard him play three notes and everybody knew
who it was. It was an incredible sound with great personality.
I loved the man and just adored him. Lessons were terrific and
we had fun together. (Gerard Schwarz, Seattle Symphony,
Music Director)
After my student days, as a fellow professional, I found
Vacchiano to be an affable, warm, and outgoing person who
14 ITG Journal / March 2006

was always a joy to be around; nothing even remotely like his

teaching style. He once asked one of my fellow students, Do
you guys ever think of me anymore? Was he kidding? For my
part, there was hardly a working day when I didnt think about
him and something he taught me. This is in no way an exaggeration. (Thomas Stevens, Principal Trumpet, Los Angeles
Philharmonic, Retired)

He would accept only the very best from

you, regardless of your level of playing.
L. Soper
I think people who studied with Bill found him to be a very
demanding teacher. He would accept only the very best from
you, regardless of your level of playing. If you werent giving it
your best, then he would be upset with you. He just felt that
if you had talent and you were wasting it, that it was a sin. He
was very serious about playing the trumpet and about music.
Because of that, I looked forward to each lesson with great
anticipation. I couldnt wait for the next week to get in there
and play for him again. (Lee Soper, New York freelance artist)
The Influence of William Vacchiano (1912 2005)
The following is a partial list of former students who studied
with Vacchiano and what positions they hold/held. This list is not
comprehensivethe estimated total number of students taught by
Vacchiano exceeds 2,000.
New York Philharmonic
Morris Boltuchformer fourth trumpet
Carmine Fornarottoformer second trumpet
Philip Smithcurrent principal
James Smithformer fourth trumpet
John Wareformer co-principal
Metropolitan Opera Orchestra
Joseph Alessi, Sr.former second trumpet
Mel Broilesformer principal
Frank Hostickaassociate musician
David Krausscurrent principal
James Pandolfiformer third trumpet
Various Orchestras
Stephen ChenetteMinnesota Orchestra, former principal
Philip CollinsCincinnati Symphony, current principal
Armando GhitallaBoston Symphony Orchestra, former
principal
Richard GiangiulioDallas Symphony Orchestra, former
principal
Chandler GoettingSymphony Orchestra of the Bavarian
Radio, former principal
Don GreenLos Angeles Philharmonic, current principal
Mike HippsMinnesota Orchestra, retired
David KuehnBuffalo Philharmonic Orchestra, former
principal
Manny Laureano Minnesota Orchestra, current principal
Douglas LindsayCincinnati Symphony Orchestra, current associate principal
Adel SanchezNational Symphony Orchestra, assistant
principal
Charles SchlueterBoston Symphony Orchestra, current
principal
2006 International Trumpet Guild

Thomas StevensLos Angeles Philharmonic, former principal

NYC Ballet
Ronald Andersonformer principal, currently teaching at
Bennington College
Neil Balmcurrent co-principal NYC Ballet
Robert HaleyNYC Ballet
Theodore WeisNYC Ballet and Opera, former principal
Studio/Freelance
Neil BalmNew York City
Bob KaronLos Angeles
Malcolm McNabLos Angeles
Alan RubinNew York City
Lee SoperNew York City
Jazz
Donald Byrd
Mercer Ellington
Jonah Jones
Wynton Marsalis
Joseph Wilder
Soloists/Chamber Artists
Stephen Burnssoloist and Artistic Director of Fulcrum
Point
Fred Millsformerly with Canadian Brass, currently at
University of Georgia
Ronald Rommformerly with Canadian Brass, currently at
University of Illinois at Urbana-Champaign
Professors
David BaldwinUniversity of Minnesota
Edward CarrollCalifornia Institute of the Arts
Mario Guarneriformerly with LA Philharmonic, currently at San Francisco Conservatory
James OlcottMiami University of Ohio
Louis RangerUniversity of Victoria, British Columbia
Jeffrey SilberschlagSt. Marys College of Maryland
Conductors
Albert LigottiAthens Symphony, Georgia
Gerard SchwarzMusic Director, Seattle Symphony
Gene YoungPeabody Institute
Honors/Awards/Accomplishments
Honorary Doctorate from Juilliard (2003)
Earned Masters degree in Trumpet from Manhattan School of
Music (1955). In order to show his students how important
it was to have advanced degrees, he went back to school to
earn his masters.
International Trumpet GuildAward of Merit, June 1984
New York Brass Conference for Scholarships Recognition,
January 1978
*Only trumpet player ever to win an audition for the
Metropolitan Opera and the New York Philharmonic in
the same day (1934)
Hired by Toscanini to join New York Philharmonic
*At the time of his retirement in 1973, he was the longest continuous principal trumpet player in America (31 years)
*67 years on the faculty at the Juilliard School of Music
(1935 2002)
*62 years on the faculty at the Manhattan School of Music
(1937 1999)
*46 years on the faculty at the Mannes College of Music
(1937 1983)
2006 International Trumpet Guild

*Premier recording of Gustav Mahlers Fifth Symphony

Bruno Walter conducting
*Recorded Stravinskys Petrouchka twice in one day; in the
morning with New York Philharmonic and Mitropoulos,
and in the evening with a freelance group with Stokowski
*Recorded Nielsen Symphony No. 5 and Shostakovich Concerto
for Piano, Trumpet, and Strings in the same day with Bernstein
*Co-inventor of the Alessi-Vacchiano straight mute
*Every principal or co-principal of the New York Philharmonic
since 1973 has been a Vacchiano student (John Ware,
Gerard Schwarz, Louis Ranger, and Philip Smith)
Method Books
Advanced Etudes for Trumpet, for Ear Training and Accuracy
Balquhidder
Bugle CallsTromba
The Art of Bel Canto (singing style) for TrumpetManduca
Music
The Art of Double TonguingC.F. Peters
The Art of Solo Playing for TrumpetTromba
The Art of Triple TonguingC.F. Peters
Comprehensive Trumpet StudiesVacchiano Press
Etudes for Trumpet (Orchestra Etudes and Last Etudes)by Vassily Brandt, compiled and edited by William Vacchiano
Leonard Publishing
Graduate Studies for Trumpet, As Taught at the Juilliard
SchoolTromba
Improvisations Based on Nursery Rhythms and The Marines
Hymn for Trumpet or CornetManduca Music
March 2006 / ITG Journal 15

Miniature Variations on The Carnival of Venice for Piccolo or

E-flat TrumpetC.F. Peters
Miniature Variations on The Carnival of Venice for Solo
TrumpetC.F. Peters
Moving TranspositionC.F. Peters
Necessary Technique for B-flat TrumpetManduca Music
Orchestral Rhythms for B-flat TrumpetBalquhidder
Trumpet RoutinesCharles Colin
Suppli-Bilities, Advanced Technical Drills for Suppleness and
AgilityVacchiano Press
Studies in Waltz TempoVacchiano Press
A Study of Intervals for TrumpetManduca Music Transcribed
for Two Trumpets
Concerto in D Minor (BWV 1052), J.S. BachCharles Colin
Concerto in C Major (BWV 1053), J.S. BachCharles Colin
Concerto in C Major (BWV 1054), J.S. BachCharles Colin
Concerto in F Major (BWV 1055), J.S. BachCharles Colin
Concerto in A Minor (BWV 1056), J.S. BachCharles Colin
Concerto in E Minor (BWV 1058), J.S. BachCharles Colin
Special thanks to the following people and institutions that
have greatly assisted in the research of William Vacchiano:
Allan Colin for his generosity in providing information previously published in the New York Brass Conference for
Scholarships Journal and The Brass Player.
David Hickman for his guidance and mentorship in preparing
William Vacchianos biography.

THE WILLIAM
VACCHIANO AWARD IN
TRUMPET AT THE
JUILLIARD SCHOOL
In recognition of William Vacchianos lifelong
artistry as a teacher and a musician, contributions
to the scholarship in his name are being accepted at
The Juilliard School.
The William Vacchiano Award in Trumpet will
allow Juilliard to make scholarship grants to talented young trumpet players studying at Juilliard. All
of Mr. Vacchianos students were very close to his
heart, and he would be thrilled to have a scholarship endowed in his name running in perpetuity.
Please give as generously as possible to ensure his
legacy.
Tax-deductible contributions payable to The
Juilliard School for the William Vacchiano Award
in Trumpet can be mailed to Ms. Tori Brand,
Manager of Scholarship Development, The Juilliard
School, 60 Lincoln Center Plaza, New York, NY
USA 10023, or call (212) 799-5000, ext. 692, if
you wish to make a credit card contribution.
16 ITG Journal / March 2006

Albert Ligotti for his inexhaustible information, anecdotes,

and enthusiastic support.
Gary Mortenson for his advisement, benevolence, and attention to detail in preparing this article.
Lee Soper for his longstanding and committed friendship with
Vacchiano, who always treasured his personal and professional relationship with Lee.
New York Philharmonic Archives for allowing access to the
resources necessary to do this research.
The Juilliard School and Manhattan School of Music for
making available their historical records and archives.
All of those who have graciously given of their time for interviews (including over 50 of Vacchianos students, colleagues, and friends).
About the author: Brian Shook is a member of the touring
and recording ensemble The Kings Brass, as well as a founding member of The Brass Co. quintet. He served for two years
as a Trumpet Teaching Assistant at Arizona State University
under the tutelage of David Hickman. For the past three years,
Brian has been researching the life and career of William
Vacchiano in preparation of his doctoral research project at
ASU. In addition to his publications in the ITG Journal, Brian
has also been published in the New York Times, London Times,
and The New York Sun. This summer he will be featured as a
guest lecturer on William Vacchiano at the 2006 ITG Conference at Rowan University in New Jersey. This article is a summation of William Vacchianos full biography that will be completed in May 2006, and published shortly thereafter.
If anyone wishes to contribute to future publications on the
life and work of William Vacchiano please contact:
Brian Shook
1600 W. La Jolla Dr.
Apt. #2102
Tempe, AZ 85282
brian.shook@yahoo.com
602-762-0798
Endnotes
1 William Vacchiano, interview by author, 22 August 2003,
New York, audio recording, home of William Vacchiano,
Flushing, New York.
2 William Vacchiano, The Introductory Lesson, The Brass
Player (Winter 1992): 4.
3 William Vacchiano, interview by author, 22 August 2003.
4 William Vacchiano, interview by author, 15 March 2004,
New York, audio recording, home of William Vacchiano,
Flushing, New York.
5 William Vacchiano, Personal Notes and Memoirs, pp.
143 4, organized and collected by Brian Shook.
6 The rules of orchestral performance taught by Mr.
Vacchiano are being compiled and edited in preparation for
the authors forthcoming biography of William Vacchiano.
7 The information in this section regarding Mr. Vacchianos
analysis of the trumpet mouthpiece has been collected from
his Personal Notes and Memoirs (see note number 5).
8 William Vacchiano, interview by author, 15 March 2004.
9 Ibid.
10 Ibid.
11 William Vacchiano, Personal Notes and Memoirs, p. 47.
12 Ibid, p. 109.
2006 International Trumpet Guild