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Appendix C: New York Philharmonic World Premières, 1935–1973

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Appendix C

New York Philharmonic World Premières, 1935–1973

* Symphony Society of New York

** Stadium Concert

+ NYP Commission

++ NYP 150th Anniversary Commission

+++ NYP Messages for the Millennium Commission

# Joint Commission

Composer

Composition

Date

Castelnuovo-Tedesco,

Mario

Barber, Samuel

McBride, Robert

Concerto for Violoncello and Orchestra

Music for a Scene from Shelley for Orchestra

Prelude to a Tragedy

3/24/1935

11/20/1935

Saminsky, Lazare

Luening, Otto

James, Philip+

Fuleihan, Anis

“Three Shadows,” Poem for Orchestra, op. 41

Two Symphonic Sketches

Overture “Bret Harte”

Symphony

2/6/1936

4/11/1936

12/20/1936

12/31/1936

Cella, Theodore**

Purcell-Barbirolli

7/26/1937

10/21/1937

Mason, Daniel

Read, Gardner+

Achron, Isidor

Alpine Impressions

New Suite for Strings, Four Horns, Two Flutes, and

Cor Anglais

A Lincoln Symphony

Symphony No. 1 in A Minor, op. 30

Concerto for Piano and Orchestra in Bflat Minor

Porter, Quincy+

Diamond, David**

Fuleihan, Anis

Haubiel, Charles+

Symphony No. 1

Overture for Orchestra

Concerto No. 2 for Piano and Orchestra

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Chapter 1: Biography

Brian A. Shook University of North Texas Press PDF

chapter one

B iography

F

Family History

William Anthony Vacchiano was born on May 23, 1912, in Portland, Maine, the seventh of eight children to Rafaello and Anna Vacchiano. Of his seven siblings, Vacchiano had five older sisters, one older brother, and one younger brother. The two oldest sisters, Mary and Margarita, were born in Italy before their parents immigrated to the United

States from their hometown of Cicciano, Italy. Vacchiano’s father, Rafaello, was trained as a metal worker after serving as a member of the

King’s Guard.1 Eventually, Rafaello sailed for America where he hoped to find more financial stability and a better life for his family. Many immigrants had various family members already living in America, which made the move and transition easier. It was no different for Rafaello.

When he arrived at Ellis Island, he was greeted by his two brothers,

Megucia and Pasquale.2

Rafaello Vacchiano found a place to live on Atlantic Avenue in

Brooklyn and began working there as a grocer. A year later, after enough money had been saved, he was able to pay for his wife and two daughters to move to America. This trip was more difficult than the usual transAtlantic crossing, for the ship, the Ravelli, developed rudder problems and was forced to dock in order to make the appropriate repairs. It took almost a month for parts to arrive and repairs to be made. Passengers

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Appendix D: New York Philharmonic U.S. Premières, 1935–1973

Brian A. Shook University of North Texas Press PDF

Appendix D

New York Philharmonic U.S. Premières, 1935–1973

* Symphony Society of New York

** Stadium Concert

+ NYP Commission

Composer

Composition

Date

Delius, Frederick

Delius, Frederick

Verdi, Giuseppe

Bax, Sir Arnold

Purcell-Barbirolli

Vaughan Williams, Ralph

“Koanga,” Dance

“Koanga,” Finale

String Quartet in E Minor

The Tale the PineTrees Knew

Suite for Strings

“Job,” A Masque for Dancing

1/2/1936

1/12/1936

1/23/1936

11/5/1936

11/7/1936

11/26/1936

Barbirolli, John

Jora, Mihail

Otesco, Nonna

Bartok, Béla

Oboe Concerto on Themes of Pergolesi

Marche Juive

“De La Matei Citire,” Prelude to Act II

Music for Strings, Percussion and Celesta

1/6/1937

1/28/1937

1/30/1937

10/28/1937

Rossellini, Renzo**

Canto di Palude

7/18/1938

Castelnuovo-Tedesco,

Mario**

Rossellini, Renzo**

Gomez, Carlos**

Aguirre, Julián **

Overture to “The Merchant of Venice”

6/18 /1939

Prelude to “Aminta”

Suite Andaluza

“Huella y Gato” from Two Argentine Dances

6/24/1939

7/15/1939

7/19/1939

Johnson, Horace**

Zemlinsky, Alexander

The Streets of Florence

Sinfonietta for Orchestra, op. 23

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Appendix F: Bibliography of Music Publications by William Vacchiano

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Appendix F

Bibliography of Music Publications by William Vacchiano

Advanced Etudes for Trumpet, for Ear Training and Accuracy. Montrose,

California: Balquhidder Music, 2004.

Bugle Calls. Denver: Tromba Publications, 1998.

The Art of Bel Canto (singing style) for Trumpet. Portland, Maine: Manduca Music, 1999.

The Art of Double Tonguing. New York: C. F. Peters, 1998.

The Art of Solo Playing for Trumpet. Denver: Tromba Publications, 1998.

The Art of Triple Tonguing. New York: C. F. Peters, 1998.

Comprehensive Trumpet Studies. New York: Vacch Press, 2004.

Brandt, Vassily. Etudes for Trumpet (Orchestra Etudes and Last Etudes).

Ed. William Vacchiano. Los Angeles: Universal, 1965.

Graduate Studies for Trumpet, As Taught at The Juilliard School. Denver:

Tromba Publications, nd.

Improvisations Based on Nursery Rhythms and The Marine’s Hymn for

Trumpet or Cornet. Portland, Maine: Manduca Music, 1998.

Miniature Variations on “The Carnival of Venice” for Piccolo or E-flat

Trumpet. New York: C. F. Peters, 1999.

Miniature Variations on “The Carnival of Venice” for Solo Trumpet. New

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Chapter 3: Responsibilities of a Principal Trumpeter

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Chapter three

R esponsibilities of a

Principal Trumpeter

F

Principles of Orchestral Musicianship

In the context of sight-reading and transposition, Vacchiano taught many rules of orchestral style. Vacchiano absorbed these rules from his lessons with Schlossberg, as well as from his exposure to the great conductors who came through New York. Vacchiano performed under them all so many times that he knew how to play every major trumpet solo to their individual taste.

These rules were not hard-and-fast, but rather a starting point for interpreting orchestral music. Vacchiano made it very clear that Mozart was played differently from Wagner and that Strauss was played differently from Bruckner. The Italian style differs vastly from the French style, which is different from the German style. The rules address how to play each style appropriately in terms of rhythm, phrasing, articulation, sound, and dynamics. Vacchiano taught the rules in a general sense rather than as individual rules pertaining to specific compositions. This instruction enabled students to collect the necessary tools to correctly perform compositions with which they were unfamiliar. If studied and applied correctly, this knowledge is sufficient to govern the appropriate style of virtually every composition.1

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