He never performed with Rodzinski (whose music directorship ended in April 1948) but would go on to serve under five CSO music directors: Rafael Kubelík, Fritz Reiner, Jean Martinon, Sir Georg Solti, and Daniel Barenboim.Herseth made countless solo appearances and recorded extensively with the Orchestra, including seven recordings of Ravel’s orchestration of Mussorgsky’s (under Kubelík, Reiner, Seiji Ozawa, Carlo Maria Giulini, Solti (twice), and Neeme Järvi).He originally planned to become a teacher but gravitated to performance as a career while in the armed forces. He ended his military service with the Commander of the Philippine Sea Frontier in the South Pacific.During World War II, Herseth served as a bandsman at the pre-flight school in Iowa and at the U. In early 1948 while studying for his master’s degree from the New England Conservatory of Music in Boston, Herseth was appointed by Music Director Artur Rodzinski to the post of principal trumpet of the Chicago Symphony Orchestra.
Adolph “Bud” Herseth, who served the Chicago Symphony Orchestra for fifty-six years as principal trumpet (1948–2001) and principal trumpet emeritus (2001–2004), passed away on April 13, 2013, at home in Oak Park. Born in 1921 in Minnesota, Herseth earned a degree at Luther College in Decorah, Iowa.
I believe the C trumpet is the best point of departure for this study, and once the student is firmly based here he can adjust easily as he studies multi-pitched instruments. I was only 8 at the time, but I remember it to this day. I know lots of people who can play a million notes - there's always somebody who will play higher than you do, faster than you do, louder or softer than you do, and longer than you do, but it's a matter of "What can you do with the various kinds of music? I practice scales, long tones, and nice broad vocalise-type studies every day. I like the Charlier 36 Etudes, Smith Top Tones, Clarke 2nd and 3rd books, and of course I practice the difficult things that are coming up.
" That's where it's really at..this kind of work at least. The guy sounds fabulaous, that' all...that's all I can say. But I try not to over-practice and go stale on them.
Bud Herseth on Louis Davidson (Cleveland Orchestra/Rodzinski)... I practice to the point where I've got them, but I don't try to grind them into myself because then they become automatic. Bud Herseth on "Getting Back in Shape after a Lay-off"...
I always thought him a really very elegant and marvelous player. When you hear something you like in someone else's playing, it eventually becomes (almost instinctively) a little part of your own equipment. The negative side is that sometimes you hear a player whose style or phrasing you do not like, an almost unconsciously you omit that from your style - it does not become part of your concept. I always like to go on the stage with the feeling that I'm doing this for the first time..let's really go! After I've been off a couple weeks I take my mouthpiece along and buzz in the car while I'm driving to the golf course.
“The contributions he made—as a performer, a teacher, a mentor and colleague—to classical music, trumpet playing, and certainly to the CSO, are incalculable.” Legendary for his remarkable technique, robust yet refined and individual tone, and the various shades of purple he would often turn while performing, Herseth served under five CSO music directors (Rafael Kubelik, Fritz Reiner, Jean Martinon, Sir Georg Solti and Daniel Barenboim).