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Appendix E: Selected Discography of William Vacchiano withthe New York Philharmonic, 1935–1973

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APPENDIX E

Beethoven, Ludwig van

Leonore Overture No. 3, op. 72a 10/24/1960

(Bernstein)

LPs: MS-6223, ML-5623,

M-30079, M-31071,

M3X-31068

CDs: MK-42222,

SMK-47521, SMK-63153

Beethoven, Ludwig van

Leonore Overture No. 3, op. 72a 12/6/1954

(Walter)

LPs: ML-5232, ML-5368

CDs: SMK-64487,

SX9K-66249

Beethoven, Ludwig van

Symphony No. 9 in D Minor, op. 125

(Bernstein)

5/19/1964

LPs: M2S-794, D8S-815

CDs: MK-42224,

SMK-47518, SMK-63152

Beethoven, Ludwig van

Symphony No. 9 in D Minor, op. 125

(Walter)

4/16/1949

LPs: SL-56, SL-156 (with

1949 finale), SL-186,

A-1067(EP),

ML-5200, 32-66-0001,

32-16-0322(e)

(with 1953 finale)

CDs: MPK-45552 (with

1953 finale)

Berg, Alban

Wozzeck

(Mitropoulos)

4/12/1951

LPs: SL-118, Y2-33126,

M2P-42470

CDs: MH2K-62759

Berlioz, Hector

Symphony Fantastique, op. 14

(Bernstein)

5/27/1964

LPs: MS-6607, ML-6007

CDs: SMK-47525,

SMK-60968

Berlioz, Hector

Symphony Fantastique, op. 14

(Bernstein)

3/5/1968

LPs: MS-7278, M-31843,

MY-38475

CDs: MYK-38475

Brahms, Johannes

Symphony No. 1 in C Minor, op. 68

(Walter)

12/30/1953

LPs: SL-200, DSL-200, ML5124, 32-36-0007

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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 1: Biography

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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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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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Chapter 5: Pedagogical Methods

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Chapter FIVE

P edagogical Methods

F

Vacchiano’s teaching career spanned seven decades as an instructor at The Juilliard School (1935–2002), Manhattan School of Music

(1937–1999), Mannes College of Music (1937–1983), Queens College

(1970–1973, 1991–1994), North Carolina School of the Arts (1973–

1976), and Columbia Teachers College.1 In addition to his tenure at these renowned music schools, he instructed many students at his home in Flushing, New York, from 1935 to 2005. Vacchiano estimated he privately taught over 2,000 students during his entire career.2

Vacchiano’s professional teaching and playing careers began simultaneously when he joined the New York Philharmonic as third trumpet

(and assistant principal) at the age of twenty-three. Due to the declining health of his former teacher, Max Schlossberg, Vacchiano was appointed to the faculty of The Juilliard School.

Teaching Style

The teaching style Vacchiano employed during his career was strikingly similar to the style learned during his studies with Max Schlossberg, focusing primarily on orchestral style, transposition, and the rudiments of playing the trumpet. Weekly lessons were comprised of studies from three main method books: Arban’s Complete Conservatory Method for Trumpet, Saint-Jacome’s Grand Method for Trumpet or Cornet, and

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