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Electronic Theses, Treatises and Dissertations The Graduate School
2018
Philip Collins: The Career of a

Distinguished Trumpet Performer and
Pedagogue
John Robert Kilgore
Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact lib-ir@fsu.edu
FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
PHILIP COLLINS: THE CAREER OF A DISTINGUISHED
TRUMPET PERFORMER AND PEDAGOGUE
By
JOHN R. KILGORE
A Treatise submitted to the

College of Music
in partial fulfillment of the
requirements for the degree of
Doctor of Music
2018
© 2018 John Robert Kilgore

John R. Kilgore defended this treatise on November 2, 2018.
The members of the supervisory committee were:
Christopher Moore
Professor Directing Treatise
Steven Kelly
University Representative
John Drew
Committee Member
Michelle Stebleton
Committee Member
The Graduate School has verified and approved the above-named committee members, and
certifies that the treatise has been approved in accordance with university requirements.
ii
ACKNOWLEDGMENTS
The process of writing this treatise has been one of the most rewarding and challenging
experiences of my academic career. I extend my deepest gratitude and thanks to Philip Collins for
accepting my project idea to document his artistic career, and for his enduring commitment to
work with me throughout the research and writing process. Without his extensive interviews and
enthusiasm, this project would not have been possible.
I also wish to thank my applied trumpet professor and doctoral committee chair, Dr.
Christopher Moore, for his invaluable dedication to assisting with this project, and for his
commitment to guide me toward my artistic goals. I am beyond thankful for his mentorship.
Additionally, I extend my thanks and gratitude to the members of my doctoral committee: Dr.
Steven Kelly, Dr. John Drew and Professor Michelle Stebleton. Their guidance has been essential
throughout the entirety of my doctoral program.
I would also like to thank my former teachers: John Schlabach, Alan Siebert, Philip Collins,
Brian Maskow and Michael Hazlett. Their dedication as educators provided me the opportunity to
reach my current academic and professional achievements. Also, I wish to thank my friends who
have supported me throughout my journey.
Finally, I would like to thank my family for their continuous love and support, which has
been a guiding force throughout my academic career and beyond. I would not have been able to
reach my aspirations without their support.
iii
TABLE OF CONTENTS
ABSTRACT .................................................................................................................................. vii
1. INTRODUCTION ......................................................................................................................1
Statement of Purpose ...................................................................................................................2

Methods and Procedures .............................................................................................................3
Survey of Literature.....................................................................................................................3
Chapter Organization ..................................................................................................................4
2. BIOGRAPHY: EARLY LIFE ....................................................................................................5
3. BIOGRAPHY: ACADEMIC AND FESTIVAL EDUCATION ................................................9
Eastman School of Music ............................................................................................................9

The Tanglewood Music Center .................................................................................................11
4. BIOGRAPHY: EARLY PROFESSIONAL ORCHESTRAL EXPERIENCES .......................13
The Cleveland Orchestra ...........................................................................................................13

National Arts Centre Orchestra .................................................................................................14
5. BIOGRAPHY: THE CINCINNATI SYMPHONY ORCHESTRA .........................................16

AND POPS ORCHESTRA
6. PEDAGOGICAL APPROACH ................................................................................................22
Musicianship .............................................................................................................................23
Articulation ................................................................................................................................23
Flexibility ..................................................................................................................................23
Range .........................................................................................................................................24
Transposition .............................................................................................................................24
Endurance ..................................................................................................................................25
Collins’ Favorite General Use Etude Materials ........................................................................25
Additional Pedagogical Topics .................................................................................................26
7. PUBLICATIONS ......................................................................................................................28
In The Singing Style, 1982 .........................................................................................................28

Trumpet 1, Pops Orchestra: 138 Original Compositions in the Style of the Pops Repertoire,
2006....................................................................................................................................29
100 Trumpetudes: Performers’ Show Prep, 2007 .....................................................................30
Piccolo Trumpet Studies, 2012 ..................................................................................................30
iv
Classic Style: A Collection of Favorites from the Classical Repertoire, 2018 .........................32
TrumpetMatters: Blog, 2006-present ........................................................................................33
8. AUDITION EXPERIENCES....................................................................................................34
Lessons Learned at Auditions ...................................................................................................36
9. COLLINS’ PRIMARY TEACHERS........................................................................................37
Melvin ‘Mel’ Broiles .................................................................................................................37

William Vacchiano ....................................................................................................................39
Bernard ‘Bernie’ Adelstein .......................................................................................................41
Arnold Jacobs ............................................................................................................................43
10. ORCHESTRAL AUDITIONS.................................................................................................47
On Audition Preparation ...........................................................................................................47

On Serving on Audition Panels .................................................................................................47
On Developing Audition Excerpt Lists .....................................................................................48
11. ADDITIONAL ARTISTIC EXPERIENCES ..........................................................................50
In Chamber Music .....................................................................................................................50

As a Soloist ................................................................................................................................50
On Recording Sessions ..............................................................................................................51
12. REFLECTIONS FROM COLLEAGUES, STUDENTS AND FRIENDS..............................53
Within the Artistic Workplace ..................................................................................................53

A Single Artistic Characteristic .................................................................................................53
A Typical Lesson.......................................................................................................................54
Influence on Your Career as a Performer ..................................................................................54
Trumpet Lesson Memories ........................................................................................................55
Memorable Experiences ............................................................................................................55
13. CONCLUSION ........................................................................................................................56
APPENDICES ...............................................................................................................................58
A. ANNOTATED BIBLIOGRAPHY OF PUBLISHED MATERIALS ......................................58

B. SELECT DISCOGRAPHY: CINCINNATI SYMPHONY ORCHESTRA .............................65
C. SELECT DISCOGRAPHY: CINCINNATI POPS ORCHESTRA ..........................................79
D. SELECT DISCOGRAPHY: OTHER NOTABLE RECORDINGS .......................................166
E. COLLINS’ EQUIPMENT .......................................................................................................167
v
F. HUMAN SUBJECTS COMMITTEE INSTITUTIONAL REVIEW BOARD
APPROVAL .........................................................................................................................168
G. FSU IRB HSC APPROVED SURVEY QUESTIONS...........................................................170
REFERENCES ............................................................................................................................172
BIOGRAPHICAL SKETCH .......................................................................................................175
vi
ABSTRACT
This treatise will detail the artistic career of world-renowned classical trumpeter Philip R.
Collins (b. 1948). The aim is to provide a clear depiction of his artistic journey by describing his
upbringing, education, professional career experiences and contributions as an educator. The
numerous artistic contributions Collins made throughout his career are substantial and valuable to
document for current and future generations of musicians.
Over a timespan that covered four decades, Collins served as Principal Trumpet of the
Cincinnati Symphony Orchestra and Pops Orchestra. As a member of both orchestras, Collins
amassed a substantial catalog of more than 100 professional recordings in a wide range of
orchestral and pops genres. On several occasions, he soloed with the orchestras in both concerts
and recordings. Prior to his appointment in Cincinnati, he was a member of the Cleveland
Orchestra, National Arts Centre Orchestra and the Eastman Brass Quintet. His pedigree as a
preeminent orchestral musician was guided and developed by world-renowned trumpet and brass
educators and performers Melvin Broiles, William Vacchiano, Bernard Adelstein and Arnold
Jacobs.
In addition to a lengthy orchestral career, Collins is the Adjunct Associate Professor of
Trumpet at the College-Conservatory of Music at the University of Cincinnati. His effectiveness
as an educator has resulted in several of his students attaining professional orchestra, premiere
military band, and collegiate teaching appointments. As an author and composer, he has published
several trumpet books that present unique musical styles and approaches to trumpet practice and
performance, and has published hymn arrangements for trumpet ensemble.
Research for this treatise was done by conducting several e-mail interviews with Philip
Collins. The information from these interviews provided a large foundation of original information
vii
for the treatise. In addition, several audio recordings were referenced to gain further insight into
Collins’ artistry. Further information was gathered through various internet sources, including
newspaper clippings and journal articles. Finally, a survey was sent to former colleagues, students
and friends of Collins with the purpose of providing further insight into his legacy.
Philip Collins is one of the most successful orchestral trumpeters and teachers whose
influence through preeminent musicianship and professionalism has provided a positive impact on
countless aspiring musicians. His exceptional legacy can be heard through hundreds of
professional classical and pops recordings, can be studied from his published materials, and is
remembered by those who worked with him. Collins’ significance to the trumpet and music
communities is important to document and share.
viii
CHAPTER 1
INTRODUCTION
One of the most distinguished orchestral trumpet players is Philip R. Collins (b. 1948), a
preeminent orchestral musician active in the 20th and 21st centuries. He prominently served as
Principal Trumpet of the Cincinnati Symphony Orchestra (CSO) and Pops Orchestra (Pops) from
1975 until his retirement in 2007. Throughout his tenure with the CSO and Pops, the orchestras
produced more than 100 commercial recordings, made multiple Carnegie Hall appearances, and
toured Asia, Europe and the United States. Prior to his appointment in Cincinnati, Collins served
as Principal Trumpet of the National Arts Centre Orchestra in Ottawa, Canada, 4th/Utility Trumpet
of the Cleveland Orchestra, and was a member of the Eastman Brass Quintet.
In addition to an orchestral career, Collins is a collegiate music educator. Currently, he
serves as Adjunct Associate Professor of Trumpet at the College-Conservatory of Music (CCM)
at the University of Cincinnati. Many of Collins’ former students hold professional performance
positions and teach at the collegiate level, including positions with the CSO and Pops, Colorado
Symphony, Boise Philharmonic, West Virginia Symphony, Lexington Philharmonic, Pershing’s
Own United States Army Band, the United States Navy Band, the United States Coast Guard Band,
the United States Naval Academy Band, the United States Army Old Guard Fife and Drum Corps,
Ball State University, Northern Kentucky University, and Boise State University, among others.
As an author and composer, Collins has written and published several trumpet books and
educational materials including: In the Singing Style (1982), Trumpet I, Pops Orchestra: 138
Original Compositions in the Style of the Pops Repertoire (1995-2006), 100 Trumpetudes:
Performers’ Show Prep (2007), Piccolo Trumpet Studies (2012), and Classic Style: A Collection
of Favorites from the Classical Repertoire (2018) as well as hymn arrangements for trumpet
1
ensemble. Finally, Collins publishes and maintains the online blog TrumpetMatters, which
provides his personal insight into various trumpet practice, performance and pedagogical topics.
Philip Collins’ distinguished career as a principal trumpet player and educator has
solidified his legacy as a preeminent trumpeter. His artistic influence and contributions are
captured by the length and substance of his orchestral career, his students’ successes, and his
published materials. The significance of Collins’ contributions is important to document and share
for current and future generations of musicians.
Statement of Purpose
The purpose of this treatise is to provide comprehensive documentation of Philip Collins’
life and artistic career. The biographical chapters detail his early upbringing, collegiate and early
professional experiences, and career with the CSO and Pops Orchestras. The pedagogical chapters
detail his teaching at CCM, approaches to teaching specific components of trumpet performance,
and a description of his published trumpet materials. The second to last chapter is a reflection on
Collins as a musician and person with comments from former colleagues, students and friends.
More specifically, this treatise describes Philip Collins’ journey in becoming one of the
most successful orchestral trumpet players and teachers in the profession. This rare position is
occupied by just a few elite trumpeters whose legacies serve to influence and inspire countless
trumpet players and teachers. While Collins is well known for his extensive body of orchestral and
pops recordings, the aim of this treatise is to provide a thorough description of Collins as a person
and trace the steps that determined his musical journey and effectiveness as an educator.
Collins’ positive impact as an educator is significant and as such worth documenting. His
dedication as an educator is evidenced by his students’ placement in professional ensembles,
2
university teaching positions, and acceptance into collegiate music programs. Collins’ published
materials serve an important artistic and pedagogical purpose, providing a practical approach to
developing musicianship by employing both familiar and unique artistic styles. Outside of the
collegiate studio, Collins’ online pedagogy blog TrumpetMatters captures his concepts on trumpet
performance and practice; these remain digitally archived for future generations of musicians. The
recognition of Collins’ past and current pursuits to inspire and educate trumpet players is an
important resource that further captures the significance of his career.
Methods and Procedures
The researcher collected information through extensive interviews with Philip Collins,
which was approved by the Florida State University (FSU) Institutional Review Board (IRB)
Human Subjects Committee (HSC). Further information was collected through an FSU IRB HSC
approved Qualtrics survey sent to select former students, colleagues and friends of Collins. The
results from the survey have added depth and insight into the career of Collins as a performer,
educator and mentor. In addition, published trumpet materials by Collins and notable professional
recordings were examined and referenced as part of this project. The combination of interviews,
surveys and an examination of published materials and recordings has been organized and
documented to portray the artistic career of Philip Collins for the reader.
Survey of Literature
The primary sources used to complete this treatise include interviews with Philip Collins
and the surveys from his former professional colleagues, students, and friends. The survey was
conducted through Qualtrics, provided by Florida State University. In addition, Collins’ published
3
trumpet materials, arrangements and on-line blog TrumpetMatters were examined and referenced.
Further musical information pertaining to Collins as a performer was completed through the
examination of audio recordings.
Chapter Organization
The treatise begins with a four-chapter (chapters two through five) biographical section
describing the life of Philip Collins. These chapters outline his early musical experiences and high
school years; his collegiate studies at the Eastman School of Music and studies at the Tanglewood
Music Center; his first major professional experiences with the Blossom Festival School, the
Cleveland and National Arts Centre Orchestras; then his career with the Cincinnati Symphony
Orchestra and Pops Orchestra. The next two chapters (chapters six and seven) describe Collins as
an educator and his approach to teaching specific trumpet performance-related topics, and
examines his published trumpet materials and their educational purpose. Chapter eight discusses
Collins’ specific experiences at auditions and lessons learned through audition processes. The
ninth chapter describes his primary trumpet teachers and experiences studying with them. Chapter
ten describes specific elements of orchestral auditions beginning with his preparation for auditions,
service on audition panels, and creation of a trumpet audition excerpt list. Collins’ additional
artistic experiences are detailed in chapter eleven, and include chamber music, solo performance,
and recording within a professional orchestra. Chapter twelve presents results from the FSU IRB
HSC-approved Qualtrics survey in which participants provided their insight, thoughts and
reflections on Collins as a musician and person. The final chapter (chapter thirteen) is the
conclusion of the treatise and is followed by appendices.
4
CHAPTER 2
BIOGRAPHY: EARLY LIFE
Philip R. Collins was born on January 3, 1948 in New Jersey and was raised in Summit, a
modestly-sized city approximately thirty minutes outside of New York City, New York. Early in
his life, Collins was immersed in a household filled with music. His parents, Barbara and Richard
Collins, were not musicians, but frequently played music on the radio and stereo, and they were
avid supporters of the arts.1 The Collins’ family lineage is connected to the professional music
world by means of Philip’s great-grandfather, Edward Brodeur, a trombonist in the John Philip
Sousa Band.2 Additionally, Philip’s brother, Ken Collins, was also fond of the arts and became an
accomplished musician working as a pianist, arranger and composer in New York City and Los
Angeles.3 The initial musical exposure provided by their parents gave the young Collins brothers
positive impressions of music and created the foundation for a lifelong artistic journey.
While growing up in Summit, Collins attended the city’s public elementary, junior high
and high schools. From 1954 to 1960, he attended the Brayton Elementary School where in his
third-grade year, students were introduced to musical instruments and encouraged to begin lessons
and participate in band.4 Collins selected the trumpet and began studies on a basic student-model
instrument. Initially, he struggled to make a sound, and as a result, did not enjoy his early
experience. Collins states: “[My] first trauma [occurred when I was] unable to make a sound on
the trumpet [during] the first week of group lessons in the third grade. After the second week, the
rest is history.”5 Following this brief hurdle, his curiosity and enjoyment of playing rapidly
1
Collins, Philip. E-mail interview messages to author. Received September 5, 2018.
2
Ibid.
3
Collins, Philip. E-mail interview message to author. Received October 10, 2018.
4
Collins, Philip. E-mail interview message to author. Received March 12, 2018.
5
Ibid.
5
developed, as Collins recalls: “I thought [trumpet] was the best instrument ever”…“I couldn’t
hardly wait until it was lesson day.”6 His enthusiasm and interest to learn and play the trumpet was
nearly immediate, and this artistic curiosity continued to grow and develop throughout his youth.
Following grade school, Collins attended Summit Junior High and High School from 1960
until 1966. By this time, trumpet had become a central part of his life and participating in the band
program was his absolute favorite scholastic activity.7 Joseph Loreti, the junior high band director
at Summit, was one of the first musical mentors who recognized Collins’ talent and potential.8
With mentorship and guidance from Loreti, he had numerous opportunities to perform solos with
the band and was asked to play gigs outside of school.9 The environment fostered by Loreti and
other teachers in the Summit High School band program provided Collins a foundation on which
to focus his artistic enthusiasm, develop skills and further cultivate a passion for music, as Collins
remembers: “He [Loreti] was key in nurturing [me] to develop and appreciate music.”10
By the time Collins entered high school, he knew music would be a major part of his life
and future. He was spending summers (1961, 1963 and 1964) studying at the Brevard Music Center
in North Carolina learning music theory and gaining his first substantial experience performing
orchestral music.11 In his sophomore year of high school, his school traveled to attend a matinee
performance of Giacomo Puccini’s La Bohème at the Metropolitan Opera in New York City.
Melvin ‘Mel’ Broiles (d. 2003) was the opera orchestra’s principal trumpet and is still regarded as
an iconic artistic figure in the trumpet world, known for his superb musicianship, lengthy career,
6
7
Ibid.
8
Collins, Philip. E-mail interview message to author. Received September 5, 2018.
9
10
Ibid.
11
6
influence and publications. The artistic impact of this performance, in particular Broiles’ soaring
artistry, served as a pivotal moment in his life. In that moment, hearing both the opera and Broiles,
Collins decided to pursue becoming a professional orchestral trumpet player.12
Throughout his mid-to-late high school years, Collins undertook private trumpet study
from the leading performers and teachers in New York City. His first private teacher during this
time, ironically, was Mel Broiles, who Collins studied with twice per month from 1964 through
1965.13 When regular lessons with Broiles concluded, he began private studies with William
Vacchiano, Principal Trumpet of the New York Philharmonic and instructor at the Juilliard School.
He studied with Vacchiano from 1965 through 1966 and considers him both an impactful teacher
and a guiding mentor.14 Collins’ artistic enthusiasm, passion and successes during high school
further solidified his pursuit to become a professional orchestral musician. When asked how his
family reacted upon learning of this career path, Collins recalls: “My family knew by then that
some sort of career in music was inevitable and soon [they] became supportive.”15
At the end of his senior year of high school, Collins was presented with the opportunity to
attend college at either the Juilliard School or the Eastman School of Music in Rochester, New
York. At Juilliard, he could continue studies under Vacchiano in a familiar environment close to
home. In contrast, Eastman allowed for artistic studies within an unfamiliar environment, new
teachers and unique experiences. Upon graduation from high school in 1966, Collins decided to
study Trumpet Performance at the Eastman School of Music. The decision was made with
guidance from his parents who emphasized the importance of life away from home, as Collins
remembers:
12
13
14
15
Ibid.
7
“My parents thought I would do well not to be in New York City during my college years,
a brilliant bit of advice. Although I preferred to go to Juilliard, I could see soon enough
that Eastman was a good place for me. Eastman afforded me some priceless opportunities
and experiences that I still treasure. I met my wife-to-be [Sandra] before the first day of
classes. That worked out very well (six children and eleven grandchildren).”16
Prior to moving to Rochester, Collins recalled a moment with his teacher Mel Broiles who
told him: “It matters not where you go, but how hard you work.” Collins says: “I never forgot that
challenge, and I [was] determined to work and improve as much as possible no matter where I
was.”17
16
Collins, Philip. E-mail interview message to author. Received April 13, 2018.
17
Ibid.
8
CHAPTER 3
BIOGRAPHY: ACADEMIC AND FESTIVAL EDUCATION
Eastman School of Music
In the fall of 1966 Collins moved to Rochester, New York to begin his freshman year at
the Eastman School of Music. For the most part, he had a typical undergraduate conservatory
experience. As a student musician, Collins performed with the Eastman Philharmonia and recorded
with the Eastman Wind Ensemble under the direction of Donald Hunsberger.18 However, early in
his freshman year, trumpet professor Daniel Patrylak invited Collins to sit in on a rehearsal with
the renowned Eastman Brass Quintet (EBQ). Unbeknownst to him, this experience served as an
audition for the open trumpet spot in the ensemble, and at the age of 18, Collins was invited to join
the faculty ensemble as second trumpet. He remained a member of the EBQ for the entirety of his
time at Eastman.19
Throughout Collins’ time with the quintet, the ensemble remained very active and
frequently toured the United States. During July and August of 1967, under the sponsorship of the
U.S. State Department, the quintet had the unique experience of touring Central and South America
for eight weeks.20 Additionally, in 1967, the EBQ recorded the album German and English Music
of the Late Renaissance for Brass (1969), featuring arrangements for brass quintet by Verne
Reynolds, the quintet’s hornist and the horn professor at Eastman.21 Performing with the EBQ was
one of the most valuable artistic experiences Collins remembers having while at Eastman, and the
level of musicianship expected provided a significant and rewarding challenge, as he recalls:
18
19
Ibid.
20
21
Ibid.
9
“Playing in a professional chamber ensemble of that quality was an education in itself.
Intonation, rhythm, blending, and all of the vital basics were required, as well as consistent,
accurate [and] clean playing. Being able to hang with four adults, however, was a challenge
for an eighteen-year-old. I remember having more problems with that than with intonation,
endurance, etc.” 22
As Collins transitioned to the upperclassman level, his artistic maturation provided
additional musical opportunities. During this time, he gave the premiere performance of Verne
Reynold’s Concertare II, a work for solo trumpet and string ensemble. Collins jokingly recalls:
“The next person to play [Concertare II] I believe, was Allen Vizzutti. Obviously, my premiere
performance was dwarfed and soon forgotten.”23 Additionally, he began to gain professional
orchestral experience outside of school. Throughout his junior and senior years, Collins was
frequently hired to play third trumpet with the Rochester Philharmonic Orchestra.24 When the
Orchestra held an audition for the third trumpet chair at the end of his senior year, Collins won the
audition, but had to decline the position, as he would move to Cleveland to join the Cleveland
Orchestra and undertake graduate studies at the Cleveland Institute of Music.25
By the time Collins graduated from Eastman in the spring of 1970, he had amassed artistic
experiences like that of a seasoned professional musician. His success during this time can be
traced to the tutelage of his first teachers Mel Broiles and William Vacchiano, who both instilled
in him a work ethic that positioned him for professional success. Additionally, Collins credits the
competitive challenges from the Eastman student-colleagues and the trumpet studio for aiding his
development: “We had a flock of trumpeters in our class, seventeen to be exact; lots of friendly
competition.”26 A few of Collins’ trumpet classmates included Vince DiMartino, international
22
23
Ibid.
24
Ibid.
25
26
10
trumpet soloist and teacher, and Marvin Perry, retired Principal Trumpet of the Indianapolis
Symphony Orchestra.27 Over the course of four years at Eastman, Collins’ dedication and work
ethic prepared him to take the next step in his career. When recalling his time at Eastman, Collins
suggests a bit of advice:
“Looking back on those years, I wish I had learned sooner that being the best trumpeter
isn’t so important in the big scheme of things. Learning maturity as a person is just as
important as developing musical excellence. Someone has said that becoming a well-
rounded person is as valuable as having a well-rounded sound.”28
The Tanglewood Music Center
One of the world-renowned summer music institutions is the Tanglewood Music Center,
part of the Berkshire Music Center in the Berkshires, Massachusetts. The inaugural 1940 season
was led by Serge Koussevitzky, Boston Symphony Orchestra’s (BSO) Conductor and Music
Director. The purpose of this institution is to provide a music academy where young musicians
can develop their skills under the tutelage of the BSO musicians and other leading artists. In
addition to serving as an institute for young musicians, Tanglewood is the summer home for the
BSO.29 To this day, the combination of academic training and professional orchestral
performances continues to create a lush artistic environment.
In the summers of 1968 and 1969, Collins was selected to participate in the Tanglewood
Music Center Fellowship Program and was one of seven Berkshire Music Center Orchestra
Fellows in 1969.30 For this summer in particular, there were a total of four trumpet fellows.
Unbeknownst to the young trumpeters, each was destined for astounding professional success:
27
28
Ibid.
29
“Tanglewood Music Center History.” Tanglewood Music Center. Boston Symphony Orchestra. Web.
30
Gustin, Daniel. Report on the Twenty-Seventh Session of the Berkshire Music Center. 1969. Web. 21;
503.
11
Louis Ranger served as co-Principal Trumpet of the New York Philharmonic and was a member
of the American Brass Quintet; Susan Slaughter served a multi-decade tenure as Principal Trumpet
of the St. Louis Symphony; and Stephen Weger served a multi-decade tenure as Principal Trumpet
of the Ft. Worth Symphony Orchestra.31
Throughout the summer at Tanglewood, Collins had opportunities to work directly with
leading professional musicians, including: Erich Leinsdorf, Music Director of the BSO and
director of Tanglewood; Gunther Schuller, Head of Contemporary Musical Activities; Armando
Ghitalla, Principal Trumpet of the BSO and Teacher of Chamber Music; Rodger Voisin, former
Principal Trumpet of the BSO and Teacher of Chamber Music; and Michael Tilson Thomas, the
future Conductor and Music Director of the San Francisco Symphony.32 Without question, Collins
received many of his most important artistic studies at Tanglewood from the numerous leading
musical minds of the day. Collins fondly remembers summers at Tanglewood offering memories
from his experiences:
“Walking onto the Tanglewood grounds was even more thrilling for me than a little kid
being taken to FAO Schwartz toy store in New York City! Those summers there were
extremely inspiring. Great student colleagues, the world-class Boston Symphony in
residence, private lessons from top performers and teachers, chamber music ensembles,
orchestral playing experience, etc. We were totally immersed in the best musical
environment on the planet! Life could not have been any better. I have returned there
countless times in my mind to draw upon the many things learned and experienced. Years
later it was quite a déjà vu when one of my sons was accepted to the program.”33
31
Gustin, Daniel. Report on the Twenty-Seventh Session of the Berkshire Music Center. 1969. Web. 21;
503.
32
Ibid. 5; 19; 154.
33
Collins, Philip, E-mail interview message to author. Received October 11, 2018.
12
CHAPTER 4
BIOGRAPHY: EARLY PROFESSIONAL

ORCHESTRAL EXPERIENCES
The Cleveland Orchestra
In the summer of 1970, Philip Collins successfully auditioned for the 4th/Utility Trumpet
position with the Cleveland Orchestra, thus commencing his professional orchestra career.34
Considered one of the most storied orchestras in the world, the Cleveland Orchestra was founded
in 1918 by Pianist Adella Prentiss Hughes and the Russian-American violinist and conductor
Nikolai Skoloff.35 Labeled as one of the ‘Big Five’ American orchestras, the Cleveland Orchestra
is historically regarded as one of the world’s finest orchestral ensembles. By joining the orchestra,
Collins achieved his goal to become an orchestral trumpeter – a goal he had set forth for himself
in high school.
In addition to joining the Cleveland Orchestra, Collins spent the summer, 1970 performing
in the Cleveland area at the Blossom Music Center in Cuyahoga Falls, Ohio and began to pursue
graduate studies at the Cleveland Institute of Music (CIM).36 Both Blossom and CIM share a
connection to the Cleveland Orchestra, as Blossom is the summer home of the Orchestra and the
CIM faculty is comprised of members of the Cleveland Orchestra.
While in Cleveland, Collins was under the tutelage of legendary trumpeter Bernard
‘Bernie’ Adelstein, then-Principal Trumpet of the Cleveland Orchestra. Additionally, he had
joined a trumpet section that included two prominent musicians, David Zauder and Charles
34
35
Rosenberg, Donald. The Cleveland Orchestra Story: Second to None. 2000. 33-59. Print.
36
13
‘Charlie’ Schlueter.37 The notoriety of the orchestra attracted many famous conductors including
Pierre Boulez, Eugene Ormandy, Rafael Kubelik, Erich Leinsdorf, Aaron Copland and Lorin
Maazel to name a few.38 The influx of leading musical minds provided Collins with a breadth of
artistic interpretations of orchestral repertoire.
Bernie Adelstein was undoubtedly the most important artistic influence--as a teacher and
colleague--on Collins while he was in Cleveland. Collins credited Adelstein with refining all the
facets of his trumpet abilities: “[He was a] vital influence in strengthening basics: articulation,
control of vibrato, rhythm, projection, flexibility and consistency. Artistry needs secure basics.”39
Collins was a member of the Cleveland Orchestra from 1970 to 1972 while simultaneously
completing graduate coursework at CIM. Inevitably, he never completed his degree, stating: “I
was one essay short of officially getting my MM from CIM. The professor left before we finished
that spring. At that point I was playing in the Cleveland Orchestra, so finishing up was not my
priority.”40 Although Collins did not finish his graduate degree, the experience gained from his
time with the Cleveland Orchestra served as priceless preparation for the next steps in his
professional career.
National Arts Centre Orchestra
In 1972, Collins won the Principal Trumpet position with the National Arts Centre
Orchestra (NACO) in Ottawa, Canada.41 Created in 1969 to celebrate Canada’s Centennial
anniversary (1867), the National Arts Centre (NAC) was designed to be a dual-lingual venue for
37
Collins, Philip. E-mail interview message to author. Received July 8, 2018.
38
Rosenberg, Donald. The Cleveland Orchestra Story: Second to None. 2000. 396-422. Print.
39
40
41
14
all types of performing arts. The three unique performance spaces within the Centre allowed for
numerous kinds of performances that included ballet, opera, and orchestra, among others. Within
the first year of the NAC opening, the National Arts Centre Orchestra became the Centre’s resident
orchestra.42
Winning this position with the NACO was an important step in his career and was the first
time Collins would serve exclusively as Principal Trumpet of a professional orchestra. The
orchestra was very active at this time and undertook regular recordings sessions for the Canadian
Broadcast Company (CBC) radio network.43 One such recording was the Triple Concerto for
Bassoon, Clarinet and Trumpet by Canadian composer Sophie Carmen Eckhardt-Gramatté,
representing the first substantial recording of Collins as a soloist.44 Collins was a member of the
NACO for three seasons, concluding his tenure in 1975.45 The leadership and artistic experience
Collins gained with the NACO set the foundation for his orchestral development and career, as he
remembers:
“My three years in Ottawa with the National Arts Centre Orchestra were extremely helpful
to me for musical as well as personal development. Being quite green I badly needed
experience in learning to play as a team player and to relate better with colleagues. Being
an excellent chamber orchestra, NACO gave me a crash course in playing softly and
accurately. The trumpet’s role is much less prominent than in a large orchestra. Refinement
and sensitivity matters. My wife [Sandra] and I both learned a lot there. It afforded us
valuable experiences that I am grateful for to this day.”46
42
Jennings, Sarah. “About the National Arts Centre.” National Arts Centre, n.d. Web.
43
44
“S.C. Eckhardt-Gramatté 100 – A Centenary Celebration.” Discogs, n.d. Web.
45
46
15
CHAPTER 5
BIOGRAPHY: THE CINCINNATI SYMPHONY ORCHESTRA

AND POPS ORCHESTRA
Regarded as one of America’s leading orchestras, the Cincinnati Symphony Orchestra
(CSO) has a significant historical lineage of notable conductors, an extensive recording archive,
and numerous United States and world premieres. One of a handful of full-time American
orchestras, the CSO was founded in 1895 and is the sixth-oldest orchestra in the United States.
The inaugural season of the Cincinnati Orchestra Association Company was made possible by
Helen Herron Taft, the wife of President William Howard Taft, who sponsored nine orchestra
concerts.47 Since then, the orchestra has sustained and expanded its prominence by maintaining
the utmost artistic level.
Since its inception, the CSO has maintained a tradition of hiring some of the world’s most
prominent conductors and music directors. A few examples include Leopold Stokowski, Fritz
Reiner, Max Rudolf, Thomas Schippers, Michael Gielen, Jesús López-Cobos, Paavo Järvi, and
Louis Langrée.48 Under the direction of Fritz Reiner, the CSO made notable artistic achievements,
including American premieres of works by Bartok, Debussy, Mahler, Ravel, and Respighi.
Specifically, the CSO performed the American premiere of Gustav Mahler’s Symphony No. 5 and
commissioned and premiered Aaron Copland’s Fanfare for the Common Man.49 A substantial
addition to the orchestra’s growth was the inception of the Cincinnati Pops Orchestra (Pops) in
1977 led by Music Director Erich Kunzel which utilizes CSO personnel. 50 The CSO and Pops
concerts alternate to provide both patrons and performers a diverse orchestral season. The result
47
“History, 1895 – Today.” Cincinnati Symphony Orchestra, n. d. Web.
48
Ibid.
49
“About Us – Cincinnati Symphony Orchestra.” Cincinnati Symphony Orchestra, n. d. Web.
50
Ibid.
16
of the diverse programs, repertoire and recordings enabled Collins to become one of the most
versatile and recorded orchestral trumpet players in the world.
Collins was appointed principal trumpet of the CSO under the direction of Thomas
Schippers in 1975. Regarding his first week on the job, Collins recalls: “[Musio] Clementi[‘s]
Symphony No. 4 was on for week one. I remember saying to myself after my first week in
Cincinnati that I think I can actually do this!”51 As his inaugural season progressed, Collins
proceeded with confidence and a meticulous work ethic. He describes a performance of Richard
Strauss’ Also Spracht Zarathustra: “Later that season was my first crack at Zarathustra. I could
not have been more prepared. It went very well, with NO cracks, nailing it every time!”52
Occasionally, Collins was engaged as a soloist, with his first substantial performance occurring on
November 21, 1977 performing J. S. Bach’s Cantata No. 51 with the Cincinnati Chamber
Orchestra.53 A few years later, in 1979, he had the opportunity to perform Johann Nepomuk
Hummel’s Trumpet Concerto with the CSO.54
The 1980 season began with the appointment of new CSO Music Director Michael Gielen.
The Austrian-born conductor and composer served the CSO from 1980 through 1986.55 Under the
direction of Gielen, the CSO grew its national prominence with premiere performances and annual
tours to Carnegie Hall, including a performance of Mahler’s Symphony No. 7 in 1982.56 Regarding
a performance of the work, Collins describes his former teacher and colleague, Bernie Adelstein’s
approach:
51
52
Ibid.
53
Wyler, Joan. “Cityscape – Music.” Cincinnati Magazine Nov. 1977: 20. Google Books. Web.
54
Sowder, Fred. “Calendar – Music/Dance.” Cincinnati Magazine Jan. 1979: 24. Google Books. Web.
55
Elste, Martin, and Schwinger, Wolfram. “Gielen, Michael (Andreas).” Grove Music Online. Oxford
Music Online, January 20, 2001 and February 28, 2002. Web.
56
“History, 1895 – Today.” Cincinnati Symphony Orchestra. Web.
17
“When we played it [Mahler 7] in Cincinnati and at Carnegie Hall, I still had [Adelstein’s]
nonchalant, highly efficient approach firmly in mind. It was as if he were still sitting there
expecting me to play accurately, in time, and in tune. I always tried.”57
Collins’ solo engagements from this decade contributed to solidifying his prominence as a
leading principal musician. His first notable solo appearance was in 1985, performing
Brandenburg Concerto No. 2 as part of the CSO’s 300-year anniversary celebration of Johann
Sebastian Bach.58 In the following season, Collins performed Haydn’s Trumpet Concerto in Eb
Major59 and, in 1989, he had another opportunity to perform Franz Joseph Hummel’s Trumpet
Concerto in Eb Major.60 For Collins, his first decade as Principal Trumpet of the CSO and Pops
was filled with many fond artistic experiences, including Mahler’s Symphony No. 7 at Carnegie
Hall, recording Mahler’s Symphony No. 9, and recording and performing the trumpet solo on
Jacques Offenbach’s American Eagle Waltz with the Pops.61
Under the direction of newly-appointed Jesús López-Cobos, the CSO further developed its
prominence in the 1990s by continuing to frequently record and tour. Domestically, López-Cobos
continued to lead the orchestra on annual performances at Carnegie Hall.62 Additionally, the CSO
toured both Taiwan and Japan in the fall of 1990. In 1995, the orchestra completed its first
European tour since 1969, performing concerts in the Canary Islands, Switzerland, Germany, and
Austria. Collins enjoyed traveling the world, having the opportunity to experience the cultures of
numerous countries and cities, which included some of his favorite performance venues in
57
58
59
60
Cooper, Catherine. “Calendar: Music/Dance.” Cincinnati Magazine July 1989: 29. Google Books. Web.
61
62
“Additional Conductors – Jesús López-Cobos.” Cincinnati Symphony Orchestra. July 5, 2015. Web.
18
Barcelona, Tokyo, and Vienna.63 Collins notes that, while he enjoyed visitng the different cities,
his favorite place was the Cincinnati airport upon returning home.64
The 1990s was one the most active decades in Collins’ career, as the CSO and Pops
Orchestras recorded more than 40 albums. Under Erich Kunzel, the Pops recorded Aaron
Copland’s Quiet City that featured Collins as a soloist, and several albums that featured him in the
orchestra with Doc Severinsen. Under López-Cobos, the CSO recorded Bruckner’s Symphonies
No. 7, 8, and 9, as well as Mahler’s Symphony No. 3.65 These recordings, along with others from
this era, represent many of Collins’ most prominent engagements, and provide some of his best
recorded representation. The 1990s was one of the busiest recording and performance decades of
Collin’s career.
During the 2000s, the CSO and Pops continued the longstanding tradition of touring and
recording. Prior to his retirement, López-Cobos led the CSO on another European tour with
concerts in Spain, Poland and Germany. Upon his retirement in 2001, the CSO hired Estonian-
born Music Director Paavo Järvi. Under the direction of Järvi, the CSO undertook national and
international tours throughout North America, Europe, and Japan.66 As a soloist, one of Collins’
most prominent engagements was performing Dmitri Shostakovich’s Concerto for Piano and
Trumpet in 2005.67 Additionally, the CSO and Pops continued to frequently record and produce
albums, often prominently featuring Collins. A few examples include recordings of Béla Bartók’s
Concerto for Orchestra, Igor Stravinsky’s Petroushka (1947), and Sergei Prokofiev’s Romeo and
63
64
Ibid.
65
66
“History, 1895 – Today.” Cincinnati Symphony Orchestra, n. d. Web.
67
19
Juliet Suites 1, 2 and 3. At the conclusion of the 2006-2007 season, and after 31 seasons as
Principal Trumpet, Collins retired from the CSO and Pops.
Collins’ career with the CSO and Pops spanned four decades--from the fall 1975 until his
retirement in the spring of 2007. Throughout this time, he amassed a body of work that includes
more than 100 recordings, multiple tours of the United States, Europe and Asia, and numerous
performances and recordings as a soloist. His artistic commitment as a musician is eternalized by
an extensive recording archive and in the memories of those who heard him perform. The rare
achievement to hold a principal trumpet position in a full-time orchestra for 31 seasons is a
testament to his enduring dedication. When asked which moment was the most artistically
rewarding in Cincinnati, Collins describes:
“There were many. A standout was my first time playing John Williams’ Summon the
Heroes, the one with the big trumpet solo. After the solo portion of the piece in rehearsal,
I received an impromptu massive foot-stomping from the orchestra. Praise from colleagues
can be a most rewarding and encouraging moment when it happens. Anytime a difficult
piece is successfully performed, it is a treasured moment. All musicians cherish those
wonderful times.”68
After reflecting on the entirety of his Career with the CSO and Pops, he offers the
following reflection on the importance of his faith as a guiding influence:
“I stand in amazement at the staggering amount of repertoire we recorded over the years!
I am grateful to the Lord for granting a little kid from New Jersey so many opportunities
and blessings in the field He has allowed me to love.”69
From his early musical beginnings in New Jersey and New York City, to Eastman, the
Cleveland Institute of Music, summer festivals, the Cleveland Orchestra, the National Arts Centre
Orchestra and the Cincinnati Symphony Orchestra and Pops Orchestra, Philip Collins’ musical
commitment and resulting achievements have solidified his place as a master orchestral musician.
68
69
Collins, Philip. Facebook message to author. Received October 11, 2018.
20
While retirement from the CSO signaled a change from full-time professional playing, new doors
for additional artistic outlets began to develop.
21
CHAPTER 6
PEDAGOGICAL APPROACH
Collins began teaching as Adjunct Assistant Professor of Trumpet at the College-
Conservatory of Music (CCM) at the University of Cincinnati in the fall of 2002, teaching applied
trumpet and occasionally coaching and conducting chamber music ensembles, orchestral repertoire
classes, and trumpet studio class. Years prior to teaching at CCM, Collins was Adjunct Professor
of Trumpet at the University of Ottawa, Canada from 1972-1975 where he taught applied trumpet
and coached brass quintets.70
To complement his teaching, Collins regularly composed melodies comprising much of
the literature in his etude books. Specifically, Trumpet I, Pops Orchestra: 138 Original
Compositions in the Style of the Pops Repertoire (2006), 100 Trumpetudes: Performers’ Show
Prep (2007) and Piccolo Trumpet Studies (2012) feature his original compositions. Additionally,
Collins’ books In The Singing Style (1982) and Classic Style: A Collection of Favorites from the
Classical Repertoire (2018), feature melodies collected from standard orchestral repertoire that he
arranged for trumpet. Collins remains an active private teacher and educator at CCM, and since
the fall of 2018 began serving as Adjunct Associate Professor of Trumpet.71
There are several approaches Collins utilizes to assist students with the improvement of a
specific skill or fundamental trumpet technique. To Collins, the most important aspects of trumpet
performance and pedagogy include: musicianship, articulation, flexibility, range, transposition and
endurance, all augmented with etude materials. In his own words, Collins addresses and describes
his approach to teaching specific trumpet-related topics with suggested materials:
70
71
22
Musicianship
“(I) have the student sing, show phrasing, communicate the appropriate drama. Basically,
get out of the classroom and onto the stage, even in the practice room. There should be a
reason to play music other than note production. Encourage students to create interest as
well as accuracy and ease of playing. Storytelling changes practice into performance. That
approach tends to lessen the boredom of the daily practice routine.”72
Materials:
“I use music to teach musicianship. Take any good piece of music and let the student
perform it. First in the mind, then singing, and [then] playing it so that it will be appreciated.
It must have dramatic impact of some sort.”73
Arban, J. B. Complete Conservatory Method for Trumpet or Cornet;

The Art of Phrasing
Rochut, Joannes 120 Melodious Etudes for Trombone
Various opera arias
Articulation
“Slow, clean, in-tune notes with a good sound. Remove rough edges from all notes. Copy
the consistency of say, a piano.”74
Materials:

Interval studies p. 124
Goldman, E. F. Practical Studies for the Trumpet
Flexibility
“For ‘smooth and easy’ in spite of large intervals.”75
“I try to keep internal and external movement to a minimum when connecting large
intervals trying not to lose contact with any notes. The goal is to copy as much as possible
the smoothness of a half step interval. Buzzing helps with this. Avoid too much pressure
on the lips when jumping registers. Copy what you do when you sing a challenging line,
72
73
74
75
Ibid.
23
locating the sweet spot of the pitch immediately. Schlossberg has a great exercise for this
starting on one pitch ascending up and then down, gradually widening the interval.”76
Materials:
Arban, J. B. Complete Conservatory Method for Trumpet;

Arpeggio sections
Irons, E. D. 27 Groups of Exercises for Cornet and Trumpet
Schlossberg, M. Daily Drills and Technical Studies for Trumpet;
Page 11 #37
Range
“I approach it like building a skyscraper, you need to finish one floor at a time. Build
security in the middle range first before going higher. Use scales from [a] comfortable
range gradually ascending, rest, continue. Pause briefly on your top note and listen for good
sound and check for ease. It’s a slow process that cannot be hurried. Maintain good sound
and ease on top notes. As Ernest Williams writes in his chromatic section of Complete
Method, “Do not attempt to play a higher note until the preceding note sounds pure and
free.”77
Materials:
Clarke, Herbert L. Technical Studies for the Cornet;

Hold top note as a test for before proceeding upward
Williams, Ernest Complete Modern Method for Trumpet;
Lip slur and lip trill sections
Various 5-note scales Ascending only when tone is clear and easy
Transposition
“[I] start with scales [teaching] C transposition first. This is an excellent way for the student
to learn intervals. [I may also] have [the] student say the new note [out loud] before playing.
This is more brain work than lip work. In fact, just sit on a park bench somewhere with the
Sachse or Caffarelli 100 Studies and sing/think through each piece. [The] fingers must be
taught to find each note quickly. Easy studies like the Getchell Practical Studies Book 1
are ideal. Take heart, every great classical trumpet player has likewise been reduced to
sounding like a beginner when beginning to learn to transpose. Remember: agonize now
so you won’t be embarrassed on stage! You can do this!”78
76
77
78
24
“Some teach transposition by learning a new clef for each key; too much work [as] I prefer
transposing by interval. A couple of new challenges happen when using a C trumpet and
likewise a D trumpet. Good brain work is always a good thing.” 79
Materials:
Caffarelli, R. Melodic Studies for Transposition (100)

Getchell, R. W. First Book of Practical Studies for Cornet and Trumpet
Sachse, E. 100 Studies for Trumpet
Endurance
“Like weight-training, you need to increase the weights gradually. Build muscles with a
consistent workout. Push the muscles but not too far. Balance aggressive playing with rest.
Strive for better results with less effort. Don’t forsake soft playing when adding range.
Sensitivity cannot be sacrificed for strength.”80
Strategies:
“[Add] fermatas on notes starting PP crescendo to FF diminuendo back to PP and proceed

upwards. [Gradually] play longer [to avoid] damage; look at clock and play for longer
segments. [Utilize] firm corners with all parts of embouchure contributing. [Eventually]
play higher. Don’t work so hard. Less effort, better product and longer passages. Again,
Clarke had all this figured out decades ago.”81
Collins’ Favorite General Use Etude Materials:82
Caffarelli, R. 100 Melodic Studies for Transposition

Charlier, T. 36 Études Transcendantes
Getchell, R. W. First and Second Books of Practical Studies for Cornet
and Trumpet
Goldman, E. F. Practical Studies for Trumpet
Reynolds, V. 48 Etudes for Trumpet
Small, J. L. Twenty-Seven Melodious and Rhythmical Exercises for Trumpet
Voxman, H. Selected Studies for Cornet or Trumpet
79
80
81
82
25
Additional Pedagogical Topics
When asked if there are any unique elements or special characteristics to his pedagogy, Collins
answered:
“No. All I’ve learned was given to me from some very great players and very great teachers.
I have found it most helpful in teaching to first emphasize the voice and musical aspects as
a means to develop the technical demands of the instrument. When a firm musical concept
is present, the body tends to find a way to express it. As Bud Herseth was quoted, ‘Man,
you’ve got to know how it’s supposed to sound first!’”83
When asked to describe a common characteristic or trait in his most successful students, Collins
states:
“I’d like to think that my students will be known not only for a great sound, but possessing
the other necessary skills of great rhythm, intonation, ease of playing, a mature sense of
ensemble playing, and that each student is a fine person, easy to work with, and able to
enjoy his/her music making for the rest of their lives. As Myron Bloom told me years ago,
“It’s not enough to have just a good sound.”84
When asked if he believes a notable difference exists between the trumpet pedagogy of today
compared to his youth, Collins describes:
“Yes. [Rodger] Voisin and his generation stressed solfege as a vital skill. Not so much is
that an emphasis today. Likewise, transposition was a major part of Vacchianno’s and
Broiles’ teaching, among others. Today I think that too is not required as much. Another
observation is that in the rush to cover a lot of repertoire, schools can easily shortchange
the students by not insisting on better development of basic fundamental skills. As one
prominent brass player in the Chicago Symphony recently stated, ‘I didn’t attempt to
master orchestra excerpts until my final year of school. I needed to learn how to play the
instrument first.’”85
The overall scope of Philip Collins’ teaching is to provide students with simple and practical
music-first concepts to yield the greatest artistic results. While he believes there is not a special
element to his teaching, the foundation of simplifying trumpet concepts is unique, as it encourages
83
84
Ibid.
85
Ibid.
26
students to develop skills without feeling micromanaged. As Collins states, his approaches are
directly linked to his primary teachers: Mel Broiles, William Vacchiano, Bernie Adelstein and
Arnold Jacobs. These concepts are documented within his published materials placing an
overarching emphasis on developing melodic, dramatic and vocally-inspired trumpet skills, which
may be considered one of Collins’ most important teaching and orchestral performance
characteristics.
27
CHAPTER 7
PUBLICATIONS
In The Singing Style, 1982
The first book published by Collins is In The Singing Style, a collection of melodies
arranged for trumpet and treble clef instruments. The 47 etudes come from orchestral repertoire
melodies and the majority were originally written for instruments other than trumpet. The etudes
are lyrically-based and cover a range of time periods from the Baroque through the early 20th
century. The artistic goal is to develop the nuances of different cantabile and expressivo styles
from various composers and time periods.86
One of Collins’ major influences in writing In The Singing Style was Arnold Jacobs, the
former Principal Tubist of the Chicago Symphony and former Professor at Northwestern
University. Their relationship began in the 1970s and 1980s when he undertook occasional studies
with Jacobs. In developing the book, Collins describes: “[I] collected famous lyrical songs and
excerpts heard in many of Jacob’s lessons with many different students. I made note of them and
added a few of my own findings.”87 Within the forward section Collins further elaborates the use
of cantabile and espressivo styles, emphasizing how they can bring life to unsatisfying and
unproductive practice routines.88 While the artistic challenge is to hone the nuances of lyricism,
he believes the book should be approached for simple enjoyment of playing and states: “Why not
warm-up and practice great melodies that trumpet players never get to play?”89
86
Collins, Philip. In The Singing Style. Queen City Brass Publications, 1982. 2. Print.
87
88
Collins, Philip. In The Singing Style. Queen City Brass Publications, 1982. 2. Print.
89
28
Trumpet I, Pops Orchestra: 138 Original Compositions in the Style of the Pops Repertoire, 2006
The book Trumpet I, Pops Orchestra: 138 Original Compositions in the Style of the Pops
Repertoire represents a stylistically unique method. While many etude books are connected to the
traditional trumpet pedagogical canon, the focus of this book is to develop contemporary pops
orchestra styles. Trumpet I contains original works composed by Collins between 1995-2006. A
major influence in Collins’ writing was his tenure as Principal Trumpet of the Cincinnati Pops
Orchestra. Specific stylistic influences include movie soundtracks, musicals, symphonies, operas,
operettas, ballets, chamber music and cartoons.90 To give artistic directions, the name of each etude
corresponds to the intended vision or technical purpose, and a brief line of text further describes
the purpose, goal, or an inspirational thought. The etudes range in length from one-half to one page
and are lyrical or technical.91
The primary goal of the book is to develop and realize pops-styled artistic imagination. In
the forward section, Collins describes this type of mindset as hearing a captivating or contagious
piece of music and performing with the corresponding feelings.92 Additionally, he recommends
the performer visualize these etudes within the pops orchestra setting, and to imagine performing
them for an audience. In his own words, Collins discusses Trumpet I:
“The purpose as before is to pour yourself into the drama of the music. They are
programmatic studies with some accompanying movie in mind. The Pops demands all
kinds of styles with prominent solos. This book provides a chance to prepare for that in the
practice room.”93 … “These were written over time on vacations in the sun, bus trips on
tour, hotel lobbies, mountain top hikes, on long walks, etc. Inspired by movie sound tracks.
Totally Hollywood in mind.”94
90
Collins, Philip. Trumpet 1, Pops Orchestra: 138 Original Composition in the Style of the Pops
Repertoire. Collinsnotes Publications, 2006. Forward. Print.
91
Ibid.
92
Ibid.
93
94
Ibid.
29
100 Trumpetudes: Performers’ Show Prep, 2007
The book 100 Trumpetudes: Perfomers’ Show Prep is a continuation of Trumpet 1 and
contains original compositions by Collins. The 100 etudes cover numerous styles and techniques
a professional orchestral and pops trumpeter can expect to encounter. The book is not designed in
a progressive manner by difficulty, technique or style, rather, the etudes are arranged such that a
player can begin at any point in the book. Each etude is numbered and given text descriptors. The
text written by the etude number provides the ‘name’ and gives an idea of the forthcoming material.
The text at the bottom of each page is an explanatory snippet related to the etude material.
Occasionally, Collins notes a light-hearted twist on tempi markings and occasional pedagogical
phrases in the upper-left corners.95
In the foreward section, Collins states that this book should be utilized as a practical and
fun way to prepare the various orchestral and pops styles. With a complementary relationship to
Trumpet 1, Collins further describes 100 Trumpetudes: “Same [as Trumpet 1] here. [I also]
combined etudes with a corresponding piece of famous music. For instance, a cross between
[Stravinsky’s] Pulcinella and a Brant etude [and] more programmatic content.”96 While the artistic
and technical components of the etudes are important, the underlying goal with this book is to
provide musical enjoyment.
Piccolo Trumpet Studies, 2012
The book Piccolo Trumpet Studies is one of few trumpet materials solely intended for the
piccolo trumpet. The book is organized into two distinct sections. The first section is dedicated to
Collins’ thoughts, concepts and approaches to learning and performing on the piccolo trumpet. He
95
Collins, Philip. 100 Trumpetudes: Performers’ Show Prep. Collinsnotes Publications, 2007. Print.
96
30
specifically addresses breathing, sound, intonation, trills, transposition, the fourth valve,
mouthpiece, styles, listening and observing. At the end of the first section, a suggested piccolo
trumpet warm-up includes scales patterns, arpeggios, intervals and common ornaments. The
warm-up instructions place focus on sound, intonation, articulation and ease.97 The second section
features 106 etudes generally organized in a progressive manner. Each etude is numbered and
given a ‘title’ related to the influence, intended technique, specific style, or composer. The etudes
are short to moderate length and cover a large breadth of styles and key signatures. For the most
part, the etudes are in the low to middle register of the piccolo trumpet with some extending
through the range common in Baroque-era trumpet works.98
Collins describes the purpose of Piccolo Trumpet Studies as material to provide a student
or professional with easy to moderately difficult practice literature.99 While a trumpeter new to the
piccolo trumpet may first gravitate to more advanced baroque music, Collins asserts that this book
can provide a primary foundation for healthy endurance, range, sound and technique
development.100 The step-by-step design of Piccolo Trumpet Studies can provide a friendly,
approachable introduction to develop healthy piccolo trumpet skills. In his own words, Collins
describes the various elements of the book stating:
“These [etudes] were inspired by the Getchell Practical Studies Books 1 and 2. Each is a
short piece teaching some element of writing, dynamics, articulation, key and style
chances, etc. I like the idea of gradually gaining familiarity with the piccolo trumpet rather
than busting chops right away on Brandenburg. Easy does it a little at a time. Different
keys are introduced too, unlike Bach who works usually in D-major.”101
97
Collins, Philip. Piccolo Trumpet Studies. Collinsnotes Publications, 2012. 2-6. Print.
98
Ibid. 7-60.
99
Ibid. 2-6.
100
Ibid.
101
31
Classic Style: A Collection of Favorites from the Classical Repertoire, 2018
The newest material published by Collins is Classic Style: A Collection of Favorites from
the Classical Repertoire. Similar to In The Singing Style, the etudes in Classic Style originate from
non-trumpet melodies from the classical music repertoire. There are 109 etudes from 47 different
composers spanning the Baroque through early 20th century periods. The melodies cover a breadth
of music that includes orchestral, operatic and solo repertoire.102 Since much of the orchestral
literature does not feature melodic trumpet writing, this book uniquely presents such melodies for
study on the trumpet.
There are two intended purposes presented in Classic Style. First, it provides an opportunity
to study various lyrical styles in which the trumpet seldom has a significant role. Second, the
material provides an opportunity to utilize lyricism in the development of endurance, range, and
refinement.103 Collins further encourages approaching the book with a soloist’s mindset to aid in
delivering an inspired performance.104 Similar to his other books, he writes brief comments and
quotes throughout Classic Style to help provide inspiration and artistic visions. He gave a simple
description for Classic Style and mentions: “[It’s] a collection of songs that are never played by
trumpet players. Strings, singers, pianists, woodwinds, yes, but us [trumpeters] never. Why not
listen to great singers doing the opera arias and copy that?”105 With the goal to develop lyrical and
sensitive artistry, Classic Style provides trumpeters the means to study and perform familiar
melodies.
102
Collins, Philip. Classic Style: A Collection of Favorites from the Classical Repertoire. Collinsnotes
Publications, 2018. 1. Print.
103
Ibid.
104
Ibid.
105
32
TrumpetMatters: Blog, 2006-present
Since 2006, Collins has regularly published the online blog TrumpetMatters, a source for
his insights and thoughts on trumpet and brass pedagogy. Through 2018, he has written more than
380 posts, with 2008 being his most active year with 61 posts. The majority contain a few short
paragraphs and are generally kept to the point. The titles are typically light-hearted and connected
to the content in the post. For example, What to Pack for the Audition, published on October 5,
2011, implies a literal assumption of clothing and instruments. However, the post contains a picture
of a suitcase and Collins’ audition packing list: a beautiful sound, clear and correct articulation,
perfect rhythm, great intonation, and direction of the phrase.106 The brevity of the posts leave room
for the reader to make connections to their musical goals and experiences.
Collins began TrumpetMatters to communicate easily with his students, and mentions
much of the information on the blog originated as a thought or answer to questions from the
teaching studio. He believes publishing the blog is the most efficient way to address pedagogical
topics and reach a broader audience.107 As long as TrumpetMatters is maintained, insights into
Collins’ teaching approach will be accessible by musicians for years to come. In his own words,
Collins further described his writing:
“[My inspiration is] students. I observe a need. Think about it. Jot down thoughts on the
subject. Collect them and start writing a remedy or idea on how to approach a conquer the
problem, i.e. nerves, fear, laziness, etc.” … “So many people have written on trumpet
issues, it becomes harder to come up with something that has not already been addressed
by someone else. Rather than just write anything, I sit on an idea and see if it’s worth
posting. I plan to continue as long as I can come up with something cogent.”108
106
Collins, Philip. “What to Pack for the Audition.” Trumpet Matters. Blogspot, October 5, 2011. Web.
107
108
Ibid.
33
CHAPTER 8
AUDITION EXPERIENCES
Collins first envisioned a professional orchestral career in his sophomore year of high
school. For the remainder of high school and through his collegiate years, he studied under leading
orchestral trumpet players and remained poised to achieve his dream. With a strong work ethic
and professional mentorship, he was positioned for the opportunity to accomplish professional
success.
The first professional audition Collins took was for the 3rd/Assistant Principal Trumpet
position in the Pittsburgh Symphony Orchestra (PSO) in 1968. Founded in 1896 as the Pittsburgh
Orchestra, the organization became the ‘new’ Pittsburgh Symphony Orchestra in 1926 and has
remained a preeminent American orchestra.109 As a Junior at Eastman, Collins’ primary goal was
to gain audition experience. To his surprise, he was selected as the winner. While initially a
resounding success, Collins mentions: “It was my first audition with no realistic expectations, still
a student [who went] for the experience of it. [I] was selected but was passed by as I would have
been an A1 in the [Vietnam War] draft.”110 Although the political climate prevented him from
joining the PSO, the experience served as a positive step. Collins recalled his mindset during this
audition: “[It was] fun times with no worries, just playing all out for the fun of it. Life was good
indeed.”111
Collins’ first major professional audition win was for 4th/Utility Trumpet in the Cleveland
Orchestra in 1970. Given his age, experience, and the world-renowned notoriety of the Orchestra,
this was a monumental step forward in his professional career. Collins described his mindset
109
“A History of the Pittsburgh Symphony Orchestra.” Pittsburgh Symphony Orchestra. Web.
110
Collins, Philip. E-mail interview message to author. Received May 5, 2018.
111
Ibid.
34
throughout the auditions stating: “[I was] totally confident under the instruction of [Bernard]
Adelstein [Principal Trumpet, Cleveland Orchestra], [and I] played courageously unaware that I
should be very nervous. It worked. They accepted the green rookie.”112 Undoubtedly, the
combination of mental focus, comfort and musical confidence was the foundation for his success
at this audition. He served as the Cleveland Orchestra 4th/Utility Trumpet for two seasons.
Following his time in Cleveland, Collins won the audition for the Principal Trumpet
position with the National Arts Centre Orchestra in Ottawa, Canada in 1972. Collins described his
mindset throughout the audition: “[I was] very confident and proud, sad to say, but they went for
it.”113 Collins further detailed his approach throughout the audition day: “[I] sailed through the
audition, [it felt like] a piece of cake [and I] felt unstoppable. As I said, way too proud!”114 His
confident and extroverted approach to the audition was a major factor in his success that day.
Collins’ most significant audition achievement was for Principal Trumpet in the Cincinnati
Symphony Orchestra (CSO) in 1975. His journey to the CSO began with a phone call inquiring if
space was still available for another candidate (himself) at the audition. Collins jokingly recalls
having to make the call because it was almost past the date to receive applications.115 During the
call, a statement of inspiration occurred which Collins recalls: “‘They’re looking to hear you,’ said
someone on the staff when I called. That was all I needed to hear. Now I felt that I had a chance at
this job. It’s amazing what an impact a simple statement can have on one’s confidence level!”116
At the audition, Collins experienced many mental and physical tests. He recalled one
example stating: “Thomas Schippers, the CSO music director, was demanding at my audition. I
112
113
Ibid.
114
Ibid.
115
Ibid.
116
Ibid.
35
played a grueling excerpt from [Richard Strauss’] Ein Heldenleben confident that he’d love it. He
called out, ‘play it again!’ They were looking for stamina just like is required for a 3-hour rehearsal.
I managed to get through it again. He nodded.”117 Collins was a member of the CSO from 1975
and the Pops Orchestra from 1977 until his retirement in 2007. His tenure as a principal brass
musician in a prominent American Orchestra remains one of his most outstanding achievements.
Lessons Learned at Auditions
For many musicians, it is uncommon to find audition success right away. Through trial and
error, Collins absorbed his audition successes and challenges to develop a successful formula. In
his own words, he describes some light-hearted audition experiences learned throughout his career:
On auditioning for the Boston Symphony Orchestra:
“I played fantastic the day before the audition in a gym. Unfortunately, the committee was
not in the gym.”118
Collins gave more detail on the BSO audition:
“[I] played excerpts for 3-hours in a gym on tour prior to a Boston [Symphony Orchestra]
audition. Sadly, I left it all right there. All of that wonderful resonant trumpet sound never
made it into Boston’s Symphony Hall!”119
On auditioning for the Philadelphia Orchestra:
“[I] was underprepared [and] took for granted that I’d play ok. Needed to have worked
harder on [Igor Stravinsky’s] Petroushka!”120
On auditioning for the St. Louis Symphony Orchestra:
“[I became] nervous listening to myself as I played; not a good idea. Came across as too
careful and unconvincing. [I] did not prepare well enough, internally and externally.”121
117
118
Ibid.
119
120
Ibid.
121
Ibid.
36
CHAPTER 9
COLLINS’ PRIMARY TEACHERS
Melvin ‘Mel’ Broiles
In his sophomore year of high school, Collins decided to become a professional orchestral
trumpet player. At this time, he began to study privately with Melvin ‘Mel’ Broiles (d. 2003), who
was serving as Principal Trumpet of the Metropolitan Opera Orchestra (Met.) in New York City.
Known for a near half-century tenure with the Met., Broiles is regarded as one of the most
influential trumpet personalities and orchestral musicians. As an educator, he served on the trumpet
faculty at Juilliard (beginning in 1971), composed numerous trumpet methods and various brass
arrangements.122 From 1964 through 1965 Collins studied with Broiles twice a month throughout
his sophomore and junior years of high school.123 He was influential in solidifying Collins’
foundational trumpet skills, and the result opened numerous avenues for artistic growth. Collins
describes the importance of Broiles on his development, stating:
“His influence [was] enormous! He gave his students a clear understanding of the amount
of work required to succeed as a professional trumpet player. He was able to instill a
passion to practice as well as a love for great music.”124
Broiles continually challenged Collins to achieve artistic excellence and hone all facets of
playing the trumpet. To achieve this, the focus in lessons was etude materials and occasionally
trumpet solos. Collins recalls: “[Broiles] was able to bring out all we needed [for trumpet and/or
artistic development] from study books.”125 The primary materials Broiles assigned Collins
included:126
122
Broiles, Karen and Broiles, Thresa and Mortenson, Gary. “Mel Broiles: Biography.” Windsongpress.
Web.
123
124
Ibid.
125
Ibid.
126
Ibid.
37
Arban, J. B. Complete Conservatory Method for Trumpet or Cornet
Caffarelli, T. 100 Melodic Studies for Transposition
Regardless of the assignment, Broiles advised him to conceive of the trumpet as a vehicle
to develop artistry and deliver musical drama. To achieve this, Collins specifically remembers:
“[I] always [had] to go home and improve transposition, endurance, sight reading, as well as
confidence, power, and expression.”127 Regarding Broiles’ artistic expectations, Collins states:
“While he made [students] transpose, he also expected [students] to perform. You always had to
use your brain and your heart.”128 The continual demand to deliver musical drama was relentless:
“As he said to me during one lesson when I was just happy to get most of the notes: ‘If you don’t
practice with any pizazz, don’t expect it to be there in the show!’ That was typical Mel!”129
Broiles’ expectation was for all of his students to deliver artistry in every scenario, as
Collins remembers:
“It was not easy to meet his expectations, although I think I was able to pleasantly surprise
him on more than one occasion. He almost never had me play what I was assigned
previously, always delving into new challenges. That kept us humble and continually
challenged, or frustrated.”130
The two years of study with Broiles set the foundation for Collins’ forthcoming artistic
achievements. One of the most important lessons he imparted to Collins was his sound and musical
style:
“What was worth the cost of the lesson ($9.00!), was his [Broiles’] practice of first playing
most of, if not all of the etude before me. He’d put down his trumpet and it was my turn!
‘Simon Says’ worked well! I [never] forget his pizazz comment.”131
127
128
Ibid.
129
Ibid.
130
Ibid.
131
Ibid.
38
The positive influence Broiles had as Collins’ first primary teacher and mentor is profound.
He established a foundation of sound and music with Collins that would be difficult to replicate
elsewhere. Broiles’ larger-than-life bravura has imparted many memories and stories within the
trumpet community, and Collins provides one such example:
“Recollections about [Broiles] abound. One standout was a performance of [Giuseppe

Verdi’s opera] Aida by the Met. on tour in Cleveland. He pivoted his chair in the pit to give
his raised bell a straight shot into the vast audience. Every note counted and could be clearly
heard. It was in my mind a trumpet clinic in projection and energy-charged first trumpet
playing more exciting than I’d ever heard. At the end of Act 2 he stood in place long after
his orchestra colleagues had left the pit. He applauded the singers and at the same time
seemed to be accepting the bravos of the crowd, and rightly so. That mindset was
communicated in every lesson and at every performance. It seemed not to be about himself,
but for an unstoppable passionate commitment to great music. My lessons with him were
pretty much life-changing.”132
William Vacchiano
From 1965 through 1966, Collins studied privately with William Vacchiano (d. 2005) who
was the Principal Trumpet of the New York Philharmonic (NYP).133 Vacchiano taught him on a
semi-regular basis throughout his final two years of high school, and provided invaluable lessons
which guided Collins’ musical development.
Vacchiano’s impact on the trumpet community and prominence as a principal trumpet was
and is still immense. As a student of Vacchiano, Collins felt this sense of occasion in each lesson.
He describes Vacchiano as a teacher, stating: “He had a way of looking at you, sizing you up and
inspiring you at the same time. Many great trumpet players had been there before me. It was awe-
inspiring just to enter his studio.”134 The next challenge was the difficult process required to meet
Vacchiano’s expectations. As Collins recalls:
132
133
134
Ibid.
39
“At my first lesson I played a difficult flashy etude after which he had me open my Arban
Book and attempt to play page 124 very slowly and in perfect time. I proceeded to flub
every other note. He told me to go home and practice that and come back in two weeks. I
labored over that assignment and returned much improved. It was the most humiliating but
yet one of the most valuable lessons I ever had. Find a problem and fix it.”135
Throughout Collins’ two years with Vacchiano, he maintained an emphasis on
transposition, steady rhythm, sustaining notes and phrases, and clear immediate articulation.136 He
recalls Vacchiano mentioning: “‘Your notes have to speak just like that!,’ he said as he snapped
his fingers.”137 Additionally, Vacchiano stressed the importance of maintaining and developing
the fundamental elements of playing by telling him: “‘A trumpet player must develop all his
phases,’ he told me. Every basic skill must be addressed regularly.”138 Over the two years Collins
studied under Vacchiano, he worked from:139

Interval patterns
Caffarelli, R. 100 Melodic Studies for Transposition
Transposition work
While lessons served to refine and develop Collins’ abilities, hearing Vacchiano perform
with the NYP was equally as important and awe inspiring, and he remembers:
“[The] key influence was his concept of sound. Mr. Vacchiano in his prime and beyond
was a giant role model for how a trumpet ought to sound. His huge warm singing sound
was distinctive and the gold standard for many eager young trumpet students. He was a
force in the back of the orchestra. It was always memorable. I would go home and practice
like a possessed boy.”140
135
136
Ibid.
137
Ibid.
138
Ibid.
139
Ibid.
140
Ibid.
40
Collins’ course of study with Vacchiano provided a monumental step in his development.
Vacchiano imparted skills and expectations on him that few high school musicians typically
received. When asked to recall a fond memory of Vacchiano, Collins details:
“I remember one lesson while visiting Aspen one summer. He had me play a whole virtual
audition and concluded that all I needed was a good job. He then spoke of the enormous
pressures encountered on a high-paying job. He said, ‘you kids think playing in concerts
here [in Aspen] is pressure. You should play Schumann [Symphony] 2 on tour in Vienna!’
I took from that the necessity of securing a solid dependable technique that would make
you mistake-proof under fire. Secure technique will serve us well when we have to produce
great trumpet playing in high pressure situations.”141
Bernard ‘Bernie’ Adelstein
In 1970, Collins joined the Cleveland Orchestra as the 4th/Utility Trumpet, was a member
of the Blossom Music Center in Cuyahoga Falls, Ohio, and began to pursue graduate studies at the
Cleveland Institute of Music. At all three institutions the primary trumpet performer and instructor
was Bernard ‘Bernie’ Adelstein (d. 2017). Adelstein is best known for serving as Principal
Trumpet of the Cleveland Orchestra from 1960 until 1988. He is regarded as one of the preeminent
principal trumpets from the 20th century because of his lengthy tenure, artistry and extensive
recording archive with the Cleveland Orchestra.142 Additionally, Adelstein performed on the 1969
Grammy Award-winning record, The Antiphonal Music of Gabrieli, which features the brass
sections from Philadelphia, Chicago and Cleveland Orchestras.143 The album is accepted as one of
the most influential brass recordings ever. Under the academic and professional tutelage of
Adelstein, Collins made substantial strides in preparing to become a future principal trumpet.
141
142
Sherman, Rodger. “Cleveland Orchestra & More.” Bernard Adelstein: Virtuoso Trumpeter. The
International Trumpet Guild Journal, Dec. 1988. Web.
143
Gabrieli, Giovanni. The Antiphonal Music of Gabrieli. 1969. 12. LP and CD.
41
At the Cleveland Institute of Music, Adelstein served as Collins’ primary trumpet
instructor. In the applied lesson, he addressed developing the basics, which included improving
intonation, articulation, rhythm, projection, flexibility and consistency. Collins recalls: “Bernie
was a tremendous help to me as I was right out of Eastman and needed a crash course in all of the
above.”144 Some notable materials Adelstein utilized with Collins include:145

Glanz, H. 52 Famous Trumpet Studies
Goldman, E. F. Practical Studies for the Trumpet
Schlossberg, M. Daily Drills and Technical Studies for Trumpet
Orchestral Excerpts
The most valuable aspect of Collins’ education in Cleveland came from sitting next to
Adelstein in the Cleveland Orchestra. For him, absorbing Adelstein’s approach on the job through
performance and leadership was a very impactful aspect of his pedagogy. He recalls Adelstein’s
character and influence in the orchestra:
“Bernie was the best! I learned a lot by sitting next to him in the [Cleveland] Orchestra.
Bernie was a machine. It was always on time and in tune. It was an amazing experience to
sit in that Orchestra. Perfection was all around you every single day. There was no room
for mistakes. What a way to learn! And what a preparation for teaching others.”146
Collins further elaborates on Adelstein’s influence on him as both a student and
professional colleague:
“It was a challenge [to meet his goals], but that’s what we do, and what is expected. He
[Adelstein] was a perfectionist on rhythm, intonation and articulation. There was no
‘almost’, it had to be spot on every time. I loved the challenge, and his high standards
improved my playing immensely.” … “That was another Adelstein trait. He didn’t miss
ever that I remember. He was highly efficient, just seemed to pick up the trumpet at any
given time and play cleanly and accurately. I loved that about him.”147
144
145
Ibid.
146
Ibid.
147
Ibid.
42
Being immersed in Adelstein’s pristine and seasoned principal trumpet skills helped
Collins’ preparation for a similar orchestral position in the future. Additionally, his impact as a
teacher shaped several aspects of Collins’ pedagogy. Specific examples include teaching the
expectation of accuracy, consistency and ease of playing. Collins elaborated on these concepts and
states: “How could all of that not become part of who you are? Such a concentrated emphasis on
perfection begins to define your playing, your approach to every day, and the type of person you
are, I would even say.”148
Throughout their two years together, Adelstein was an overwhelmingly positive figure in
Collins’ professional development. When asked to discuss a memorable moment together in
Cleveland, Collins recalls:
“[There are] many. How about this one? I was assisting him on Mahler 7, and he showed
up at the very last minute for one of the rehearsals. I never knew if that was by design or
not, but it was both a moment of sheer panic as well as eagerness to play his part. I think I
could have done ok having sat there and knowing how he approached it, but we’ll never
know!”149
Arnold Jacobs
Throughout the 1970s and 1980s, Collins occasionally traveled to Chicago to study with
Arnold Jacobs (d. 1998), the former Principal Tubist of the Chicago Symphony Orchestra (CSO)
and former Professor at Northwestern University. Jacobs is considered a pioneer of modern brass
pedagogy and breathing techniques.150 After Jacobs joined the CSO in 1944, he began to teach at
Northwestern and later received a full professorship in 1972--he became Professor of Performance
148
149
Ibid.
150
43
Studies Emeritus in 1995.151 Jacobs’ approach to brass pedagogy was transformative for Collins
and countless other musicians.
Like others studying under Jacobs, he generally took a building-block-like approach with
Collins. He began with the simplest studies. As Collins recalls: “Often the lesson would begin by
playing the easiest exercises in the front of the Arban Book, seeking to make absolutely the best
sound and musical line possible, first on the mouthpiece.”152 After beautiful, easy music and tone
production was established, Jacobs took this concept into more involved pieces of music. Collins
recalls this process: “We would then transfer that approach into etudes and to excerpts, always
seeking to relieve embouchure stress and to maximize musical product.”153 In addition to
implementing physical and artistic ease, Jacobs frequently encouraged him to follow artistic
examples set forth by great musicians, as Collins remembers: “[Jacobs] would often reference
famous trumpet players and encourage copying them. Again, a strong concept should be the
motivation for playing.”154
The materials Jacobs assigned Collins were not intended to provide a technical or flashy
challenge. Instead, they were generally simple or lyrically based with the purpose to implement
ease, develop tone, improve wind movement, and artistry. Materials Jacobs used with him
included:155
Arban, J.B. Complete Conservatory Method for Trumpet or Cornet;

The Art of Phrasing
Concone, G. Lyrical Studies for Trumpet
Rochut J. Melodious Etudes for Trombone
Orchestral Excerpts
151
Frederiksen, Brian. Arnold Jacobs: Song and Wind. Windsong Press, 1996. 88-89. Print.
152
153
Ibid.
154
Ibid.
155
Ibid.
44
Collins further describes the pedagogical and artistic goals during lessons with Jacobs:
“For me, his agenda was less on repertoire and more about learning to deliver the most
beautiful trumpet playing no matter what the assignment was. Often we would buzz
Christmas Carols or whatever, and then try to play with the most ease and beauty as
possible. Regardless of the music on the stand, his approach was the same.”156
Jacobs maintained high expectations and never let anything less that excellent pass. He
recalls several Jacobs’ quotes from lessons:
“Better product, less effort!”

“Bigger, fuller sound, more ‘hot’ airflow at the lips.”
“More vowel, less consonant. More ‘ah’, less ‘ee’.”
“Louder, softer, more musical, less stuffy lifeless notes.”157
While these reminders served to both challenge and develop his artistry, Collins jokingly
recalls: “When I was encouraged at how I occasionally was able to do as taught, he smiled and
nodded. It was rare, but it definitely made my day and the long trip to Chicago well worth it!” 158
Similar to his other teachers Jacobs was deeply influential, as Collins describes:
“Profound! Refreshingly freeing from tightness and inhibitions. Mr. Jacobs was able to get
[me] to use air flow efficiently in order to produce the best musical sound possible. The
focus was on music over mechanics.” … “His contention was that when the song in the
brain was paramount, the body would find the easiest way to release it. When I could begin
to incorporate his philosophy into daily playing, it was transformative.”159
Throughout two decades of occasional study, he assimilated many aspects of Jacobs’
technique within his own teaching, such as having a student develop a clear buzz on the
mouthpiece, singing ‘song and wind’ concept, using enough air for each passage, and striving to
discover each student’s unique musical instincts as the means to aid their development. 160 When
156
157
Ibid.
158
Ibid.
159
Ibid.
160
Ibid.
45
recalling a memory or experience with Jacobs that best captures his pedagogy at work, Collins
tells the story:
“I needed his help on the opening of Tchaikovsky’s 4th Symphony. We worked on a couple
of breathing devices followed by singing and buzzing. In a short time that opening high
fortissimo entrance virtually flew out of the bell! I couldn’t believe how easy it was! I
worried however that it would disappear after I left his studio. Before heading to the airport,
I went across Michigan Avenue to the park and unpacked my trumpet to see if it still
worked. To my surprise and that half a dozen passersby, it was just as shockingly great as
I had hoped! Another fabulous lesson with Jake!”161
Throughout all levels of Collins’ career, he was taught by many world-leading brass
pedagogues and performers. His continual drive to remain a student of the instrument and learn,
absorb and develop artistry over the course of many decades directly influenced his professional
successes. The mentorship and education from Broiles, Vacchiano, Adelstein, Jacobs and others
gave Collins the opportunity to achieve a monumental orchestra career.
161
46
CHAPTER 10
ORCHESTRAL AUDITIONS
On Audition Preparation
Collins’ success in his musical career can be traced back to his start in high school studying
under Broiles, Vacchiano, and later Adelstein and Jacobs. Even back then, he knew their advice
was crucial if he wanted to succeed in his forthcoming auditions. Collins recalls the importance of
their mentorship: “[I developed] cumulative confidence gained from top teachers [and] players.”162
A substantial aspect of Collins’ audition preparation came from internalizing the music without
the trumpet. He practiced this by singing audition excerpts aloud as musically as possible, as well
as listening to numerous recordings.163 While at an audition, Collins strived to maintain mental
poise by placing complete trust in himself, and his preparation, saying:
“[It’s a challenge] trying to stay ready when we had to hang around for hours waiting to
play again; trying not to get psyched out knowing the competition; remembering not to
over practice the day of and prior to the audition.”164
On Serving on Audition Panels
As a principal musician, Collins served on audition panels and contributed to the selection
of many trumpet players. From his experience, the most viable candidates present a complete
artistic package that includes a high level of accuracy, tone quality, dynamic contrasts, steady
rhythm and artistic drama.165 When asked to pick the most important quality and strength in a
candidate, Collins says:
162
163
Ibid.
164
Ibid.
165
47
“If I had to pick only one [strength], [I] couldn’t do it. At a high level of competition,
demonstrating only a few good qualities will not get you the job. 166 Again, no single
strength will make you a winner. For starters, however, consistency, especially for a section
job is vital. Can the player be depended upon to be accurate and reliable?”167
Two categories for which an auditionee will be evaluated include 1.) objective elements of
accuracy, pitch, rhythm, etc., and 2.) subjective elements such as tone, interpretation, artistry, etc.
Collins believes the ability to control all aspects required to play the instrument is the most
important quantifiable element.168 Regarding the subjective elements of an audition winner,
Collins states:
“Which one sounds like he/she will fit into the section; which player sounds like he/she
knows the music; who sounds most experienced, mature, and musical; which one captures
[the committee’s] interest; who has something to say; who is not boring.”169
On Developing Audition Excerpt Lists
When developing an audition excerpt list, Collins makes selections that demonstrate a
candidate’s artistic and technical abilities. He details a few notable excerpt choices and their
intended purpose:
“[I like to select] something like [Mussorgsky’s] Pictures [at an Exhibition] Promenade
and [Beethoven’s] Leonore Overture 2 or 3 to let them ‘warm up’ and get a feel for the
hall. Those excerpts also will quickly give the committee a good opportunity to hear if this
is a viable candidate. These brief excerpts show a candidate’s sound, style, articulation,
rhythm, and ability to stay in control. You obviously want to hear low trumpet excerpts for
a 2nd or 3rd trumpet position. You’ll also want to test for high range, multiple tonguing,
very soft and very loud, whether for low or high [trumpet] positions. A good balance of
high/low, loud/soft, short/long, fast/slow, etc.” … “Versatility and accuracy matters. [I]
definitely try to include Mahler, [Richard] Strauss, among others [on the] list. Mahler
symphonies demand every aspect of great trumpet playing. If you can play Mahler, you
can play anything.”170
166
167
Ibid.
168
Ibid.
169
Ibid.
170
Ibid.
48
A journey on the orchestral audition circuit can test the fortitude of even the most seasoned
musicians. For those taking auditions, Collins offers the following advice:
“Over prepare! Don’t miss notes! Don’t be boring! Exude confidence! Don’t be distracted
from your mission! As Arnold Jacobs said about winning an audition, “you simply have to
play better than everyone else!” Your love of the music must transcend nerves and
obstacles.”171
171
49
CHAPTER 11
ADDITIONAL ARTISTIC EXPERIENCES
In Chamber Music
In addition to performing with the CSO and Pops in Cincinnati, Collins occasionally
performed with the Cincinnati Chamber Orchestra (CCO), a professional chamber music
ensemble. The CCO was founded in 1974 and is recognized as one of the leading performing arts
organizations in the region.172 Collins was most active with the CCO in his first few years, and
frequently performed at Memorial Hall adjacent to the CSO’s Music Hall in Cincinnati.173
When preparing and performing chamber music, Collins states that the processes have both
similarities and unique elements when compared to preparing and performing for full orchestra:
“[My] approach to chamber playing is not much different than full orchestra. However,
more finesse is required, softer dynamics, and more expression. In small ensembles
there is nowhere to hide. Accuracy and musicianship are on full display. There is nothing
better than chamber music and recording sessions to vastly improve one’s playing.”174
“A big challenge with small ensemble playing is being comfortable with lower decibels
than trumpet players are used to. Can you blend with woodwinds? Can you be as
expressive and as musically free in pianissimo as in fortissimo? A chamber music
assignment provides an opportunity to add refinement to your playing. I imagine in
preparation that everything will be way too loud. The challenge is to play as quietly as
possible without loosing musical interest. Bottom line: learn to play softly without being
boring. As the conductor’s left hand goes up, your playing quality does as well.”175
As a Soloist
While the primary aspect of Collins’ job was performing in an orchestral trumpet section, on
several occasions he was featured as a soloist. His solo appearances first occurred in high school,
172
“About.” The Cincinnati Chamber Orchestra. Web.
173
174
Ibid.
175
50
and continued while at the Eastman School of Music, as a member of the National Arts Centre
Orchestra, and with the Cincinnati Symphony Orchestra and Pops Orchestra. Some notable
examples of solo repertoire Collins performed include:176
Bach, Johann Sebastian Brandenburg Concerto No. 2

Bach, Johann Sebastian Cantata No. 51
Copland, Aaron Quiet City
Grammité, Sonja Eckard Triple Concerto for Trumpet, Clarinet, and Bassoon
Handel, George Frederic Let the Bright Seraphim (with Kathleen Battle)
Haydn, Franz Josef Trumpet Concerto in E-flat Major
Hummel, Johann Nepomuk Trumpet Concerto in E/E-flat Major
Martin, Frank Concerto for 7 Wind Instruments
Offenbach, Jacques American Eagle Waltz
Reynolds, Verne Concertare II
To prepare for a solo performance, Collins maintained his standard trumpet routine with
additional focus on artistic refinement and nuance, recalling:
“[My preparation was] not much different than for solo work. However, the product must
be more dramatic, subtle, full of contrasts, more expression, better intonation, more
outstanding in general. A perfect performance is not enough. Showmanship and flare must
be natural. It is expected by the audience. They want more than correct notes.”177
On Recording Sessions
One of the most significant aspects of Collins’ career is a vast catalogue of professional
recordings. Beginning in college, he professionally recorded with the Eastman Wind Ensemble,
Eastman Brass Quintet, the National Arts Centre Orchestra, and the Cincinnati Symphony
Orchestra and Pops Orchestra. Additionally, he recorded during the 1980s and 1990s at the Aire
Born recording studio in Indianapolis, Indiana, and also on the soundtrack to Dragon Quest, a
Japanese video game.178 Notably under the Telarc label, Collins is recorded on more than 100
176
177
178
51
albums with the CSO and Pops spanning the gamut of orchestral and pops repertoire. As a result,
he is archived as one of the world’s most recorded principal trumpet players.
While in Cincinnati, the majority of recordings were done with the Cincinnati Symphony
Pops Orchestra under the direction of Erich Kunzel. Collins fondy recalls a typical Pops recording
session:
“[They were] handled very well! Erich was a master at organizing and thoroughly
preparing music for [the] 3-hour session. Never any wasted time. The issue was not
organization for us, but endurance. He demanded a lot from the brass, and pacing was the
challenge. He often was accommodating so the best results could occur with the least
amount of lip damage. Usually there were 5 rehearsals, 2 or 3 concerts, and 2 3-hour
recording sessions, all in one week.”179
Throughout a week that included recordings sessions, Collins maintained a practical and
sustainable music-first approach. He strived to maintain a healthy physical and artistic pace during
all facets of rehearsals, concerts and recordings. His approach to recording was intense:
“The issue for the brass was eudurance [and] how to sound as good as possible on all takes,
as well as the concerts. Pacing, pacing, and pacing. It was a marathon and you had to win
every race!” … “Instead of freaking over the pressure to get all the notes, I would throw
myself into performance mode, trying to avoid uninspired, average, mediocre playing. I
would listen to every playback when the orchestra took breaks. Hearing what worked and
what didn’t was [an] enormous help.”180 … “I wanted to leave the kind of trumpet playing
on each CD that my kids and grandkids would like. That went a long way towards
eliminating nervousness.”181
From the large catalogue of recordings, Collins recalls several of his favorites: “I like how
we played on many of the Pops albums that featured trumpets. We did some nice Mahler
(Symphony No. 3 and posthorn solo), Bruckner, Respighi, Debussy, Ravel, Offenbach, etc.”182
With a vast library of orchestral and pops recordings to his name, the breadth of Collins’
professional recording experience is among the finest in the world.
179
180
Ibid.
181
182
Ibid.
52
CHAPTER 12
REFLECTIONS FROM COLLEAGUES, STUDENTS AND FRIENDS
Over the course of his orchestral and academic careers, Collins had a monumental impact,
both artistically and personally, on those around him. The following chapter is dedicated to
memories and stories from a number of Collins’ former colleagues, students and friends. The
information in this chapter was collected from an FSU IRB HSC approved Qualtrics Survey with
the corresponding consent information. The aim from the survey and information below is to
provide further description of Collins as a person, performer and teacher.
Within the Artistic Workplace
A true artist. A consistent leader.183 – (Vincent DiMartino, internationally renowned trumpet

performer and pedagogue)
Highest level of integrity and most intense work ethic I have ever worked with.184 – (Douglas
Lindsay, Associate Principal Trumpet, Cincinnati Symphony Orchestra and Pops)
A dedicated practicer, Phil performed at the highest artistic level, and always with remarkable
consistency and accuracy. His musical vision was always communicated eloquently and with
great clarity.185 – (Marie Speziale, Associate Principal Trumpet, Cincinnati Symphony
Orchestra and Pops [retired]; Professor of Trumpet, Rice University [retired])
Phil set and expected an extremely high level of performance. Precision, accuracy and
musicality were all at the forefront.186 – (James Wilt, Associate Principal Trumpet, Los
Angeles Philharmonic; Professor of Trumpet, Colburn School)
A Single Artistic Characteristic
Always strived for beauty in his playing. Never allowed himself to play with less than a
beautiful sound or musical concept.187 – (Douglas Lindsay)
183
DiMartino, Vincent. Qualtrics survey interview. Submitted July 19, 2018. Web.
184
Lindsay, Douglas. Qualtrics survey interview. Submitted July 22, 2018. Web.
185
Speziale, Marie. Qualtrics survey interview. Submitted July 25, 2018. Web.
186
Wilt, James. Qualtrics survey Interview. Submitted May 11, 2018. Web.
187
53
If I could point to a single artistic characteristic, it would be Phil's impressive command of
lyrical playing. His lyrical solos were always so beautifully conceived, and communicated
with great colors and tender sentiment. Really exceptional!188 – (Marie Speziale)
In the singing style. You always know when you're listening to Phil - he had a very distinct
and beautiful sound.189 – (James Wilt)
A Typical Lesson
I remember him assigning more music than I could possibly prepare for a lesson. He loved
assigning multiple etudes, technical studies, solos, and excerpts.190 – (Adrienne Doctor,
United States Army Band “Pershing’s Own”)
Phil's teaching was always crystal clear. I never left a lesson wondering what he wanted
from me.191 – (Douglas Lindsay)
Very demanding, but never demeaning. He was very good about making sure all of your
fundamentals were covered, and really put you through your paces. 192 – (Barret Newman,
United States Army Old Guard Fife and Drum Corps)
Influence on Your Career as a Performer
My approach to lyrically playing was greatly influenced by Mr. Collins. He taught me to

play like it was easy, and that helped me play lyrical passage with greater freedom. A large
part of my job is playing TAPS in Arlington National Cemetery, and every time I play
TAPS, his influence is heard.193 – (Adrienne Doctor)
No matter what Phil played he treated it with the upmost seriousness. He instilled in me an
almost sacred pride in being a member of the CSO trumpet section. – (Douglas Lindsay)
Humility - he instilled in his students the importance of confidence, not cockiness, and
always emphasized serving the music instead of our own egos.194 – (Barret Newman)
188
189
190
Doctor, Adrienne. Qualtrics survey interview. Submitted July 30, 2018. Web.
191
192
Newman, Barret. Qualtrics survey interview. Submitted May 1, 2018. Web.
193
194
54
Trumpet Lesson Memories
I remember him saying that if I played a certain etude without chipping any notes the next
week, he’d give me $20. I have never practiced so hard for one particular etude. I didn't get
the $20.195 – (Adrienne Doctor)
I remember very well my first lesson. It was all about orchestral sound and “opening up”
my sound. I have never been so excited to get home and practice as I was after this first
lesson.196 – (Douglas Lindsay)
Many! Once, when playing through a lyrical solo, I was being far too timid. His response
was to pick up his cell phone as if he had gotten a text and say: “It's from the back of the
hall. They can't hear you.” Another thing he told me is burned in my brain: “You’re a better
trumpet player than you think you are.” Again speaking to the importance of confidence
and demonstrating his positive impact.197 – (Barret Newman)
Phil had photos of many great musicians around his teaching area in his basement, a bit
intimidating to have Arnold Jacobs or Phil Smith watching you! 198 – (Patrick Tillery,
Associate Principal Trumpet, Colorado Symphony)
Memorable Experiences
He was a brilliant cartoonist and helped create a mural that depicted many of the students
and teachers during our era. 1966-1970.199 – (Vincent DiMartino)
After he did a free lesson for me in preparation for an audition, I offered to buy him
breakfast. We went to Panera, and once it was time to pay he jumped ahead of me and
insisted. So he basically did a free lesson with me on a Saturday morning and then bought
me breakfast. After I won my job, I asked if I could take him and his wife out for dinner
before I moved. He agreed, and again, he insisted on paying at the meal. He might be one
of the most dedicated and generous teachers out there.200 – (Adrienne Doctor)
His performances of Mahler 3 posthorn solos and the Church Windows recordings and
performances were absolute perfection every time.201 – (Douglas Lindsay)
I have so many performance memories, I wouldn't know where to begin. Suffice it to say
that we've all been truly blessed in this category.202 – (Marie Speziale)
195
196
197
198
Tillery, Patrick. Qualtrics survey interview. Submitted July 22, 2018. Web.
199
200
201
202
55
CHAPTER 13
CONCLUSION
When examining the entirety of Philip Collins’ artistic career, the significance of his
contributions to the classical music communities place him as a preeminent classical musician.
Collins’ eager attitude toward performing and teaching music has been a driving force propelling
his professional career into the 21st century. His meticulous work ethic and dedication to deliver
world-class artistry is noteworthy, important to share, and important to document for future
generations of musicians.
Throughout a near fifty-year orchestral career, Philip Collins achieved a rare privilege to
hold positions in several of the world’s finest orchestral institutions. His achievements demonstrate
an enduring dedication and commitment to attaining preeminent artistry. In particular, Collins’
most noteworthy accomplishment was his tenure as principal trumpet of the CSO and Pops. In
Cincinnati, he honed and maintained world-class artistry within a world-renowned orchestra for
more than 30 seasons; this achievement is impressive in its rarity. Throughout this period, the
orchestras were incredibly active and produced more than 100 albums. As a result, Collins is one
of the most recorded principal trumpet players in the world with representative recordings covering
a range of classical, pops, commercial and jazz styles.
Impressively, the majority of Collins’ teaching achievements began when he retired from
the CSO and Pops in 2007. He currently teaches as Adjunct Associate Professor of Trumpet at the
College-Conservatory of Music at the University of Cincinnati. His positive impact as a teacher is
evident in the achievements of his former students, as many hold positions in professional
orchestras, military bands and at universities. To complement his teaching, Collins’ original
trumpet materials, methods, and pedagogy blog have become widely accepted, capture his
56
professional insights, and present unique and artistically-rewarding trumpet studies. The
combination of Collins’ storied orchestral career and success as a teacher and publisher further
solidifies the importance of his unwavering artistic dedication.
The information provided by the survey portion of this project provides a first-hand
perspective on Philip Collins as a musician, teacher and colleague. The results further describe
major facets of his career, and illustrate not just his positive impact as an orchestral artist, but also
his influence as a teacher.
This treatise represents the first substantial research completed on Philip Collins, and it
covers a wide scope of his artistic career. Future avenues for continued research on Collins are
possible and can include cataloguing his recordings with the National Arts Centre Orchestra and
Eastman Wind Ensemble, as well as learning more about the professional artistic successes within
his immediate family. Since Collins is actively teaching and composing trumpet materials,
additional study on his future publications can be completed and catalogued. This researcher also
believes an audio recording with representative examples of Collins’ artistry would be a valuable
future project.
57
APPENDIX A
ANNOTATED BIBLIOGRAPHY OF PUBLISHED MATERIALS
Title: In The Singing Style
Author/Editor: Philip Collins
Publisher: Queen City Brass Publications; Manduca Music Publication
Year: 1982
Catalogue Number: N/A (QCBP); 00101 (MMP)
Instrumentation: Trumpet; Treble clef instruments
Publication Type: Etude book/Compilation
Style: Lyrical; Cantabile; Expressivo
Composers: American-folk; J.S. Bach; Beethoven; Berlioz; Bliss; Brahms;

Bruch; Donizetti; Dvorak; Gounod; Grieg; Handel; Lehar; Mahler:
Mascagni; Massenet; Mendelssohn; Puccini; Rachmaninoff; Raff;
Ravel; Rossini; Saint-Saens; Schubert; Shostakovich; Tchaikovsky;
‘Traditional’; Verdi; Wagner; Weber
Arranger/Editor: Philip Collins
Notes: In The Singing Style contains 47 melodies and songs selected from
standard orchestral and opera repertoire. The selections are lyrical
in style and intended to further develop expressive style(s).
Additionally, the material presented will help enhance artistic
sensitivity, phrasing and endurance. The author notes the melodies
can provide motivation for more expressive playing, and serve as a
positive relief from one’s daily practice routine. The selections vary
in difficulty and can be utilized by musicians of all levels.
58
Title: Trumpet I, Pops Orchestra: 138 Original Compositions in the Style
of the Pops Repertoire
Author: Philip Collins
Publisher: Collinsnotes Publications
Catalogue Number: N/A
Year: 1995-2006
Instrumentation: Trumpet
Publication Type: Etude book
Style: Various pops orchestra styles
Composer: Philip Collins
Notes: Pops Orchestra: 138 Original Compositions in the Style of the Pops
Repertoire features etudes composed by Philip Collins between
1995 and 2006. The etudes are either technical or lyrical and are
influenced by the various styles present in the pops orchestra realm.
The name of each etude relates to the material and or style, and the
descriptions written by Collins provide an artistic depiction,
pedagogical purpose, or a related memory from his experience. The
etudes are not organized progressively and cover a varying range of
difficulty. The book can be approached by intermediate to advanced
trumpet players.
59
Title: 100 Trumpetudes: Performers’ Show Prep
Year: 2007
Style: Various orchestral and pops-styled etudes
Notes: 100 Trumpetudes: Performers’ Show Prep contains 100 etudes in a

variety of styles common in orchestral, pops, and showtune
repertoire. Each etude is ‘named’ with a descriptor to give an idea
of the material and or style. Additionally. Collins provides short
comments at the top and bottom of each page to further provide
artistic direction. The etudes contrast in style, challenge most all
aspects of trumpet performance and range in difficulty from
moderate to advanced.
60
Title: Piccolo Trumpet Studies
Year: 2012
Instrumentation: Piccolo Trumpet
Publication Type: Complete method; Etude book
Style: Lyrical and technical
Notes: Piccolo Trumpet Studies is a complete method for piccolo trumpet.

The first section of the book is an in-depth discussion on Collins’
thoughts on piccolo trumpet performance and practice. Topics
include breathing, sound, intonation, trills, transposition, the fourth
valve, mouthpiece, styles, listening and observing, and ‘a timeless
one-sentence lesson’. Next, there are 9 piccolo warm-up studies (to
be transposed) to encourage focus on sound, intonation, articulation
and ease. The largest section of the book features 106 short to
medium length etudes. Each etude is numbered and named to aid
with interpretation and purpose. To provide a variety of artistic
challenges, they appear in a variety of styles and keys. The etudes
are organized in a progressive manner and are approachable by
beginner to advanced piccolo trumpet players.
61
Title: Classic Style: A Collection of Favorites from
the Classical Repertoire
Year: 2018
Style: Orchestral; Melodic
Composers: Albinoni; J.S. Bach; Beethoven; Bellini; Bizet; Borodin; Brahms;

Chopin; Collins; Debussy; Delibes; Donizetti; Dvořák; Elgar;
Faure; Gastaldon; Gershwin; Gluck; Gounod; Grieg; Höhne;
Handel; Lange; Leoncavallo; Mahler; Mendelssohn; W.A. Mozart;
Mussorgsky; Offenbach; Paradis; Ponchielli; Puccini;
Rachmaninoff; Purcell; Ravel; Respighi; Rimsky-Korsakov; Saint-
Saëns; Satie; Schubert; Schumann; Suppé; Tchaikovsky; Thomas;
Verdi; Vivaldi; Wieniawski
Arranger/Editor: Philip Collins
Notes: Classic Style: A Collection of Favorites from the Classical

Repertoire features selections from 47 different composers. The 109
etudes originate as non-trumpet melodies from orchestral and
operatic genre and span the Baroque through early-20th Century.
The book is useful for developing various melodic styles associated
with different composers, tone, and endurance. The book is not
organized in a progressive manner, and the difficulty is associated
with lyrical performance skills and endurance. The book can be
approached by early-intermediate through advanced trumpet
players.
62
Title: All Hail The Power of Jesus’ Name
Composers: James Ellor (Diadem); William Shrubsole (Miles Lane);

Oliver Holden (Coronation)
Publisher: Queen City Brass Publications; Manduca Music Publications
Catalogue Number: N/A (QCBP); 30301 (MMP)
Year: 1981
Instrumentation: 3 trumpets; piano or organ
Publication Type: Trumpet Trio
Style: Hymn/Sacred
Arranger: Philip Collins
Notes: All Hail the Power of Jesus’ Name is an arrangement for three
trumpets with piano or organ accompaniment.
63
Title: Rejoice, Ye Pure In Heart
Composer: E. H. Plumptre
Publisher: Queen City Brass Publications; Manduca Music Publications
Catalogue Number: N/A (QCBP); 30302(MMP)
Year: 1981
Instrumentation: 6 trumpets; piano or organ
Publication Type: Trumpet sextet
Style: Hymn/Sacred
Arranger: Philip Collins
Notes: Rejoice, Ye Pure in Heart is an arrangement for six trumpets with

piano or organ accompaniment. The work can also be performed by
three trumpets, and does not exceed a written A above the staff.
64
APPENDIX B
SELECT DISCOGRAPHY:
CINCINNATI SYMPHONY ORCHESTRA
Composer Composition Album Recording Date(s)

(Conductor) Release Date
Album Information
Albéniz, Isaac Iberia (complete) May 11 & 12, 1997

(López-Cobos) 1998
CD: 2CD 80470
Bartók, Béla Concerto for Orchestra May 1 & 2, 2005

(Järvi) 2006
CD: CD 80618
Beethoven, L. V. Symphony No. 3, ‘Eroica’ October 1980

in Eb Major, Op. 55 1981
(Gielen) LP: D-VCL 9007
LP: D-VCL 39007
Beethoven, L. V. Wellington’s Victory, Op. 91 September 10, 1982

(Kunzel) 1983
CD: CD 80079
CD: CD 80640
Berg, Alban Lulu Suite September 2 & 4, 1981

(Gielen) 1983
LP: D-VCL 9042
CD: MCD 10024
Berlioz, Hector Symphonie Fantastique, Op. 14 October 8 & 10, 2000

(Järvi) 2001
CD: SACD 60587
Bizet, Georges Carmen Suite October 1 & 2, 1989

(López-Cobos) 1990
CD: CD 80224
Bizet, Georges L’arlesienne Suite, No. 1 October 1 & 2, 1989

(López-Cobos) 1990
CD: CD 80224
65
Album Information
Bizet, Georges Symphony No. 1 in C Major October 1 & 2, 1989

(López-Cobos) 1990
CD: CD 80224
Britten, Benjamin Four Sea Interludes from January 22 & 23, 2006
Peter Grimes, Op. 33A 2006
(Järvi) CD: CD 80660
CD: SACD 60660
Britten, Benjamin The Young Person’s Guide to January 22 & 23, 2006
The Orchestra, Op. 34 2006 & 2009
CD: CD 80743
CD: SACD 60660
Bruckner, Anton Symphony No. 4 “Romantic” February 10 & 11, 1990

in E-flat Major (1874 version) 1990
(López-Cobos) CD: CD 80244
CD: DIDX 007710
Bruckner, Anton Symphony No. 6 in A Major February 3 & 4, 1991

(López-Cobos) 1991
CD: CD 80264
Bruckner, Anton Symphony No. 7 in E Major January 22 & 23, 1989

(López-Cobos) 1989
CD: CD 80188
Bruckner, Anton Symphony No. 8 in C Minor March 14 & 15, 1993

(1890 version) 1993
Bruckner, Anton Symphony No. 9 in D Minor January 27, 1992

Busoni, Ferruccio Turandot Suite, Op. 41 October 7, 1983

(Gielen) 1984
LP: D-VCL 9072
CD: MCD 10019
66
Album Information
Busoni, Ferruccio Two studies for “Dokter Faust” April 5, 1983

(Gielen) 1984
LP: D-VCL 9072
CD: MCD 10019
Brubeck, Dave Orchestral Suite from January 21 & 26, 1997

Joy in the Morning 1997
Carter, Elloit Piano Concerto October 5 & 6, 1985

(Gielen) 1986
LP: NW 347
CD: NW 347-2
Carter, Elloit Variations for Orchestra October 22, 1985

(Gielen) 1986
LP: NW 347
CD: NW 347-2
Coleman, Charles Streetscape September 14 & 15, 2003;

(Järvi) November 1, 2003
2010
CD: CSOM 945
Debussy, Claude Berceuse Héroïque January 25 & 26, 2004;

(Järvi) February 22 & 23, 2004
2005
CD: CD 80617
Debussy, Claude Ibéria from “Images” for Orchestra March 18 & 19, 2001
(López-Cobos) 2001
CD: CD 80574
Debussy, Claude La Mer January 25 & 26, 2004;

2005
CD: CD 80617
Debussy, Claude Nocturnes January 25 & 26, 2004;

2005
CD: CD 80617
67
Album Information
de Falla, Manuel Homenajes January 31; February 1, 1987

(López-Cobos) 1987
CD: CD 80149
CD: CD 82017
de Falla, Manuel Interlue & Spanish Dance January 31, 1987;

from ‘La Vida Breve’ February 1, 1987
(López-Cobos) 1987
CD: CD 80149
CD: CD 82017
de Falla, Manuel La Vida Breve March 1 & 2, 1992

(López-Cobos) 1992
CD: CD 80317
de Falla, Manuel The Three-Cornered Hat January 31, 1987;

(López-Cobos) February 1, 1987
1987
CD: CD 80149
CD: CD 82017
Dukas, Paul Fanfare to La Peri January 31, 1999;

2000
CD: CD 80515
CD: CD 80515-SA
Dukas, Paul La Peri January 31, 1999;

2000
CD: CD 80515
CD: CD 80515-SA
Dukas, Paul Symphony in C January 31; February 1, 1999

(López-Cobos) 2000
CD: CD 80515
CD: CD 80515-SA
Dukas, Paul The Sorcerer’s Apprentice January 31; February 1,1999

(López-Cobos) 2000
CD: CD 80515
CD: CD 80515-SA
68
Album Information
Dvořák, Antonín Symphony No. 9 in E minor March 13 & 14, 2005

From the New World, Op. 95 2005
Elgar, Sir Edward Variations on an Original Theme January 22 & 23, 2006
Op. 36, Enigma 2006
CD: SACD 60660
Franck, César Le Chasseur Maudit April 2 & 3, 1990

(López-Cobos) 1990
CD: CD 80247
Franck, César Symphony in D Minor April 2 & 3, 1990

(López-Cobos) 1990
CD: CD 80247
Gershwin, George An American in Paris January 5, 1981

(Kunzel) 1981
LP: DG 10058
CD: CD 80058
CD: CD 80445
CD: SACD 60646
Gershwin, George Rhapsody in Blue January 5, 1981

(Kunzel) 1981
(as Cincinnati Pops Orchestra) LP: DG 10058
CD: CD 80058
CD: CD 80445
CD: SACD 60646
Holand, Jonathan Bailey Halcyon Sun May 6 & 7, 2005

(Järvi) 2010
CD: CSOM 945
Coleman, Charles Streetscape April 30; May 2, 2004

(Järvi) 2010
CD: CSOM 945
Hovhaness, Alan Mysterious Mountain January 21 & 26, 1997

Symphony No. 2, Op. 132, Revised 1997
69
Album Information
Liszt, Franz Battle of the Huns September 10, 1982

(Kunzel) 1983
CD: CD 80079
CD: CD 80640
Liszt, Franz Hungarian March to September 10, 1982

the Assault 1983
(Kunzel) CD: CD 80079
CD: CD 80640
Lutosławski, Witold Concerto for Orchestra May 1 & 2, 2005

(Järvi) 2006
CD: CD 80618
Lutosławski, Witold Fanfare for Louisville May 1 & 2, 2005

(Järvi) 2006
CD: CD 80618
Mahler, Gustav Das Lied von der Erde 1978

(Susskind) 1980
LP: QCE 31117
CD: CDX 5138
Mahler, Gustav Symphony No. 3 January 18 & 19, 1998

(López-Cobos) 1998
CD: 2CD 80481
Mahler, Gustav Symphony No. 9 May 5 & 6, 1996

(López-Cobos) 1997
CD: 2CD 80426
Mahler, Gustav Symphony No. 10 February 6 & 7, 2000

Mazzetti, Remo Jr. (1997 version) (López-Cobos) 2000
CD: CD 80565
Martinů, Bohuslav Symphony No. 2 March 13 & 14, 2005

(Järvi) 2005
CD: CD 80616
Mendelssohn, Felix Midsummer Night’s Dream, selections 1978

(Susskind) 1978
CD: CDX 5138
70
Album Information
Mendelssohn, Felix Piano Concerto No. 2 March 1980

in D Minor, Op. 40 1984
(Nelson) LP: VCL 9071
Nielsen, Carl Symphony No. 5, Op. 50 January 25 & 26, 2004;

2004
CD: CD 80615
Pann, Carter Slalom January 31; February 1, 2003

(Järvi) 2010
CD: CSOM 945
Prokofiev, Sergei Romeo and Juliet Suite No. 1, Op. 64A November 17 & 18, 2002;
2003
CD: CD 80597
CD: SACD 60597
Prokofiev, Sergei Romeo and Juliet Suite No. 2, Op. 64B November 17 & 18, 2002;
2003
CD: CD 80597
CD: SACD 60597
Prokofiev, Sergei Romeo and Juliet Suite No. 3, Op. 101 November 17 & 18, 2002;
(Järvi) February 9 &10, 2003
2003
CD: CD 80597
CD: SACD 60597
Puts, Kevin Network March 10 & 12, 2005

(Järvi) 2010
CD: CSOM 945
Rachmaninoff, S. Dances from Aleko April 30; May 1, 2006

(Järvi) 2007
CD: CD 80670
Rachmaninoff, S. Scherzo April 30; May 1, 2006

(Järvi) 2007
CD: CD 80670
71
Album Information
Rachmaninoff, S. Symphony No. 2 in E minor, Op. 27 April 30; May 1, 2000

(López-Cobos) 2001
CD: CD 80543
Rachmaninoff, S. Symphony No. 2 in E minor, Op. 27 April 30; May 1, 2006

(Järvi) 2007
CD: CD 80670
Ravel, Maurice Alborada Del Gracioso March 12 & 13, 1988

(López-Cobos) 1988
CD: CD 80171
Ravel, Maurice Boléro March 12 & 13, 1988

(López-Cobos) 1988
CD: CD 80171
Ravel, Maurice Boléro 2003

(Järvi) 2004
CD: CD 80601
Ravel, Maurice La Valse March 12 & 13, 1988

(López-Cobos) 1988
CD: CD 80171
Ravel, Maurice La Valse 2003

(Järvi) 2004
CD: CD 80601
Ravel, Maurice Rhapsodie Espangnole March 12 & 13, 1988

(López-Cobos) 1988
CD: CD 80171
Ravel, Maurice Suite No. 2 from Daphnis et Chloé 2003

(Järvi) 2004
CD: CD 80601
Ravel, Maurice Valses Nobles Et Sentimentales March 12 & 13, 1988

(López-Cobos) 1988
CD: CD 80171
72
Album Information
Respighi, Ottorino Brazilian Impressions May 2 & 3, 1993

(López-Cobos) 1994
CD: CD 80356
Respighi, Ottorino Church Windows May 2 & 3, 1993

(López-Cobos) 1994
CD: CD 80356
Respighi, Ottorino Fountains of Rome May 4 & 5, 1999

(López-Cobos) 2000
CD: CD 80505
Respighi, Ottorino Metamorphoseon Modi XII May 4 & 5, 1999

(López-Cobos) 2000
CD: CD 80505
Respighi, Ottorino Pines of Rome May 4 & 5, 1999

(López-Cobos) 2000
CD: CD 80505
Respighi, Ottorino Roman Festivals May 2 & 3, 1993

(López-Cobos) 1994
CD: CD 80356
Rossini, Gioachino La Cenerentola, Overture October 26, 1976

(Schippers) 1978/1986
LP: QTV 34716
CD: MCD 10045
Rossini, Gioachino La Gazza Ladra, Overture October 26, 1976

LP: QTV 34716
CD: MCD 10045
Rossini, Gioachino Semiramide, Overture October 26, 1976

LP: QTV 34716
CD: MCD 10045
73
Album Information
Rossini, Gioachino Stabat Mater 1975

(Schippers) 1976
LP: QTV-S 34634
CD: VU 9017
Rossini, Gioachino Tancredi, Overture October 26, 1976

LP: QTV 34716
CD: MCD 10045
Rossini, Gioachino William Tell, Overture October 26, 1976

LP: QTV 34716
CD: MCD 10045
Rouse, Steve Into the Light January 21 & 26, 1997

(López-Cobos) 1997
CD: CD 80462
Sallinen, Aulis Symphony No. 8, Op. 81 January 20 & 22, 2005

“Autumnal Fragments” 2011
(Järvi) CD: CSOM 946
Salonen, Esa-Pekka Gambit April 28 & 30, 2005

(Järvi) 2011
CD: CSOM 946
Schumann, Robert Konzertstück in F Major, Op. 86 March 1980

(Nelson) 1984
LP: VCL 9071
Schubert, Franz Symphony No. 8 in B Minor 1976

(Schippers) 1978
LP: QCE 31114
CD: CDX 5138
Schubert, Franz Symphony No. 9 in C Major 1976

LP: QTV-S 34681
CD: MWCD 7161
CD: CDX 5140
74
Album Information
Shostakovich, D. Symphony No. 1 in F minor, Op. 10 February 1979

(Susskind) 1981
LP: VCL 9003
CDX: 5139
Shostakovich, D. Symphony No. 1 in F minor, Op. 10 September 24 & 25, 2000

(López-Cobos) 2001
CD: CD 80572
Shostakovich, D. Symphony No. 9 in F, Op. 70 February 1979

(Susskind) 1981
LP: VCL 9003
CDX: 5139
Shostakovich, D. Symphony No. 15 in A, September 24 & 25, 2000

Op. 141 2001
Sibelius, Jean Symphony No. 2 in D Major, Op. 43 December 1 & 2, 2001

(Järvi) 2002
CD: CD 80585
CD: SACD 60585
Strauss, Richard Burleske for Piano and Orchestra, Op. 11 October 2 & 3, 1994
(López-Cobos) 1995
CD: CD 80371
Strauss, Richard Dance of the Seven Veils May 1976

from “Salome”, Op. 54 1977
(Schippers) LP: QTV-S 34666
CD: MFCD 811
CD: CDX 5140
Strauss, Richard Death and Transfiguration, Op. 24 January 21 & 26, 1997
(López-Cobos) 1997
CD: CD 80462
Strauss, Richard Don Juan, Op. 20 May 1976

(Schippers) 1977
LP: QTV-S 34666
CD: MFCD 811
CD: CDX 5140
75
Album Information
Strauss, Richard Festival Prelude for October 2 & 3, 1994

Organ & Orchestra, Op. 61 1995
Strauss, Richard First Waltz Sequence from May 1976

“Der Rosenkavalier” 1977
(Schippers) LP: QTV-S 34666
CD: MFCD 811
CD: CDX 5140
Strauss, Richard Salome’s Dance October 2 & 3, 1994

(The Dance of the Seven Veils) 1995
Strauss, Richard Suite from Der Rosenkavalier October 2 & 3 1994

(López-Cobos) 1995
CD: CD 80371
Strauss, Richard Till Eulenspiegel, Op. 28 May 1976

(Schippers) 1977
LP: QTV-S 34666
CD: MFCD 811
CD: CDX 5140
Strauss, Richard Tod und Verklärung, Op. 24 1984

(Gielen) 1984
CD: RRC 1034
Stravinsky, Igor Petrouchka (1947 version) March 24 & 25, 2002

(Järvi) 2003
CD: CD 80587
Stravinsky, Igor The Firebird Suite (1919 version) March 24 & 25, 2002
(Järvi) 2003
CD: CD 80587
CD: SACD 60587
Stravinsky, Igor The Rite of Spring January 25 & 26, 2004;

(Le Sacre du Printemps) February 22 & 23, 2004
(Järvi) 2004
CD: CD 80615
CD: SACD 60615
76
Album Information
Sumera, Lepo Symphony No. 6 September 20 & 21, 2002

(Järvi) 2011
CD: CSOM 946
Tchaikovsky, P. I. “1812” Overture, Op. 49 September 6 & 8, 1978

(Kunzel) 1979/1984/2004
LP: DG 10041
CD: CD 80041
CD: SACD 60646
Tchaikovsky, P. I. Capriccio Italien, Op. 45 September 6 & 8, 1978

(Kunzel) 1979/1984/2004
LP: DG 10041
CD: CD 80041
CD: SACD 60646
Tchaikovsky, P. I. Cossack Dance from “Mazeppa” September 6 & 8, 1978

(Kunzel) 1979/1984/2004
LP: DG 10041
CD: CD 80041
CD: SACD 60646
Tchaikovsky, P. I. Piano Concerto No. 2 1981

(Susskind) 1982
LP: VCL 9011
CDX: 5139
Tubin, Eduard Symphony No. 5 in B minor December 1 & 2, 2001

(Järvi) 2002
CD: CD 80585
CD: SACD 60585
Turina, Joaquín Danzas Fantásticas, Op. 22 March 18 & 19, 2001

(López-Cobos) 2001
CD: CD 80574
CD: SACD 60574
Turina, Joaquín La Procesión Del Rocío, Op. 9 March 18 & 19, 2001
(López-Cobos) 2001
CD: CD 80574
CD: SACD 60574
77
Album Information
Turina, Joaquín Sinfonía Sevillana, Op. 23 March 18 & 19, 2001

(López-Cobos) 2001
CD: CD 80574
CD: SACD 60574
Villa-Lobos, Heitor Bachianas Brasileiras No. 4 April 23 & 24, 1995

(López-Cobos) 1995
CD: CD 80393
Villa-Lobos, Heitor Bachianas Brasileiras No. 8 April 23 & 24, 1995

(López-Cobos) 1995
CD: CD 80393
Wagner, Richard Die Fliegende Holländer: Overture August 23, 1994

(López-Cobos) 1994
CD: CD 80379
Wagner, Richard Die Meistersinger von Nürnberg: March 1994

Act 1, Prelude 1994
Wagner, Richard Faust: Overture March 1994

(López-Cobos) 1994
CD: CD 80379
Wagner, Richard Rienzi: Overture March 1994

(López-Cobos) 1994
CD: CD 80379
Wagner, Richard Tannhäuser: Overture March 1994

(López-Cobos) 1994
CD: CD 80379
Wagner, Richard Tristan und Isolde: March 1994

Prelude and Liebestod 1994
78
APPENDIX C
SELECT DISCOGRAPHY:
CINCINNATI POPS ORCHESTRA

Album Information
de Abreu, Zequinha Tico Tico No Fuba June 4, 1990

(Kunzel) 1990
CD: CD 80235
Adam, Adolphe Grand Pas de dux from March 1, 2004

Act II, Giselle 2004
Addinsell, Richard Warsaw Concerto from Suicide Squadron September 6, 1987;

(Kunzel) September 13, 1988
1989
CD: CD 80175
Addison, John Overture to Sleuth October 23 & 24, 1988

(Kunzel) 1989
CD: CD 80189
Ahlert, Fred & I’ll Get By (As Long As I Have You) March 8, 1999
Turk, Roy (Kunzel) 2000
Price, J. (arr.) CD: CD 80532
Albéniz, Isaac Fête-Dieu À Séville September 17, 1985;

Stokowski, L. (Transcr.) (Kunzel) May 11, 1986
1988
CD: CD 80128
CD RE: CD 80338
Alder, Richard & Overture to Damn Yankees September 9, 1996;

Ross, Jerry (Kunzel) February 8; September 8, 1997
Kunzel, Erich (arr.) 1998
CD: CD 80468
Alford, Kenneth Colonel Bogey March September 6, 1987;

1989
CD: CD 80175
79
Album Information
Allen, Peter & Love Theme from Flashdance December 15 & 16, 1990
Bacharach, Burt & (Kunzel) 1991
Cross, Christopher CD: CD 80243
Warnaar, Brad (arr.)
Anderson, Leroy A Trumpeter’s Lillaby September 11 & 12, 1989

Severinsen, Doc (soloist) (Kunzel) 1990
CD: CD 80223
Anderson, Leroy Concerto for Piano September 14, 1992

and Orchestra in C major 1993
Anderson, Leroy Sleigh Ride April 9, 1989;

(Kunzel) September 12, 1989;
December 17 & 18, 1989
1990
CD: CD 80226
Anderson, Leroy (arr.) The Irish Washerwoman March 12, 2001;

2002
CD: CD 80571
CD: SACD 60571
Anderson, Leroy (arr.) The Last Rose of Summer March 12, 2001;
2002
CD: CD 80571
CD: SACD 60571
Anka, Paul March from The Longest Day September 6, 1987;

Hayman, Richard (arr.) (Kunzel) September 13, 1988
1989
CD: CD 80175
Arkin, Alan & Banana Boat Song April 12 & 13, 1992
Carey, Bob & (Kunzel) 1992
Darling, Erik CD: CD 80292
Sebesky, Don (arr.)
80
Album Information
Arlen, Harold & Blue in the Night April 19 & 20, 2002
Mercer, Johnny (Kunzel) 2003
Newsome, Tommy (arr.) CD: CD 80592
Arlen, Harold & Get Happy March 8, 1999

Koehler, Ted (Kunzel) 2000
Sandke, Randy (soloist)
Arlen, Harold & Over The Rainbow from December 10 & 11, 1994
Harburg, E. Y. The Wizard of Oz 1995
Arnold, David Finale from Dragonheart June 2 & 3; September 3, 1996

(Kunzel) 1997
CD: CD 80437
CD: CD 80437-DTS
Arnold, David Main Title from Godzilla June 7, 1999

Price, Joe (arr.) (Kunzel) 2000
CD: CD 80535
Arnold, David Suite from June 2 & 3, 1996;

Dodd, Nicholas (arr.) Independence Day September 3, 1996
(Kunzel) 1997
CD: CD 80437
CD: CD 80437-DTS
Asher, Kenny & Rainbow Connection from December 15 & 16, 1991
Williams, Paul The Muppet Movie 1992
Norris, Lee (arr.) (Kunzel) CD: CD 80245
Ashman, Howard & Suite from Aladdin October 15, 1994;

Menken, Alan & (Kunzel) February 1, 1995
Rice, Tim 1995
CD: CD 80381
Ashman, Howard & Suite from Beauty and the Beast October 15, 1994;
Menken, Alan (Kunzel) February 1, 1995
1995
CD: CD 80381
81
Album Information
Ashman, Howard & Suite from The Little Mermaid October 15, 1994;
Menken, Alan (Kunzel) February 1, 1995
1995
CD: CD 80381
Auber, Daniel François Fra Diavolo September 17 & 22, 1985

(Kunzel) 1986
CD: CD 80116
Axton, Hoyt Joy to the World February 28, 1993;

Beck, Crafton (arr.) (Kunzel) March 1, 1993
1993
CD: CD 80315
Aznavour, Charles Yesterday, When I was Young June 3, 1991

(Kunzel) 1991
CD: CD 80263
Bach, J. S. Chaconne September 11 & 12, 1989

Fazzi, Christopher (arr.) (Kunzel) 1990
Severinsen, Doc (soloist) CD: CD 80223
Bach, J. S. Little Fugue in G Minor September 17, 1985;

1988
CD: CD 80128
CD RE: CD 80338
Bach, J. S. Napoli-Canzone Napolitana September 11 & 12, 1989

Kunzel, Erich (arr.) Con Variazioni 1990
Severinsen, Doc (soloist) (Kunzel) CD: CD 80223
Bach, J. S. Toccata & Fugue in D Minor September 17, 1985;

1988
CD: CD 80128
CD RE: CD 80338
Bacharach, Burt & Beware of the Blob from The Blob October 23, 2000
Mack, David (Kunzel) 2002
CD: CD 80580
CD: SACD 60580
82
Album Information
Bacharach, Burt & Theme from The Man Who April 9, 1989
David, Hal Shot Liberty Valance 1989
Backer, Billy & I’d Like to Teach The World To Sing December 15 & 16, 1991
Davis, Billy & (Kunzel) 1992
Greenway, R. CD: CD 80245
Knight, Eric (arr.)
Badalamenti, Angelo Love Theme from Cousins December 15 & 16, 1990
(Kunzel) 1991
CD: CD 80243
Badalamenti, Angelo Waltz from Cousins December 15 & 16, 1990

(Kunzel) 1991
CD: CD 80243
Badami, Bob & End Title from The Rock June 7, 1999
Glennie-Smith, Nick & (Kunzel) 2000
Zimmer, Hans CD: CD 80535
Reineke, Steven (arr.)
Ball, Ernest R. & A Little Bit of Heaven March 12; September 9, 2001
Brennan, J. Kiern (Kunzel) 2002
CD: CD 80571
Barnet, Charlie Skyliner April 19 & 20, 2002

Reineke, Steven (arr.) (Kunzel) 2003
CD: CD 80592
Barroso, Ary Brazil June 4, 1990

Russell, Bob (arr.) (Kunzel) 1990
CD: CD 80235
Barry, John All Time High from Octopussy September 10, 1990
Raine, Nic (arr.) (Kunzel) 1990
CD: CD 80251
Barry, John End Title from The Black Hole September 11 & 12, 1989;
(Kunzel) October 16, 1989
1990
CD: CD 80231
83
Album Information
Barry, John From Russia With Love September 10, 1990

CD: CD 80251
Barry, John Theme from Midnight Cowboy December 13 & 14, 1992
Hayman, Richard (arr.) (Kunzel) 1993
CD: CD 80319
Barry, John Themes from Dances with Wolves December 13 & 14, 1992
(Kunzel) 1993
CD: CD 80319
Basie, Count Jumpin’ at the Woodside April 19 & 20, 2002

Price, Joseph (arr.) (Kunzel) 2003
CD: CD 80592
Beal, Joseph & Jingle Bell Rock December 11 & 12, 1999
Boothe, James Ross (Kunzel) 2006
Reineke, Steven (arr.) CD: CD 80538
Beck, Crafton (arr.) & Square Dance Hootenanny! June 3, 1991

Patterson, Paul (arr.) (Kunzel) 1991
CD: CD 80263
Beethoven, L. V. Turkish March from “Ruins of Athens” October/November 1977

(Kunzel) 1978
LP: TV 34715
LP: TVS 34715
Bellstedt, Herman Napoli-Canzone Napolitana September 11 & 12, 1989

Fazzi, Christopher (arr.) Con Variazioni 1990
Bergman, Alan & Nice ‘N’ Easy March 8, 1999

Bergman, Marilyn & (Kunzel) 2000
Spence, Lew CD: CD 80532
Berlin, Irving Blue Skies December 10 & 11, 1994

(Kunzel) 1995
CD: CD 80366
84
Album Information
Berlin, Irving Cheek to Cheek from Top Hat December 10 & 11, 1994
(Kunzel) 1995
CD: CD 80366
Berlin, Irving Let Yourself Go! March 8, 1999

Price, J. (orch.) (Kunzel) 2000
Sandke, Randy (soloist) CD: CD 80532
Berlin, Irving Let’s Face The Music And Dance March 8, 1999
Stephenson, J. III (arr.) (Kunzel) 2000
CD: CD 80532
Berlin, Irving Puttin’ on the Ritz from December 10 & 11, 1994
Puttin’ on the Ritz 1995
Berlioz, Hector March to the Scaffold from October 23 & 24, 1988
Symphonie Fantastique 1989
Berlioz, Hector Pandemonium from October 23 & 24, 1988

The Damnation of Faust 1989
Berlioz, Hector Rákóczy March October/November 1977

(Kunzel) 1978
LP: TV 34715
LP: TVS 34715
Berlioz, Hector Rákóczy March from September 9 & 17, 1985;

The Damnation of Faust May 11; September 15, 1986;
(Kunzel) November 24, 1986
1987
CD: CD 80122
Berlioz, Hector Roman Carnival Overture May 10 & 11, 2003

(Kunzel) 2004
CD: CD 80595
Bernie, Ben & String of Pearls April 19 & 20, 2002

Casey, Kenneth (Kunzel) 2003
Price, Joseph (arr.) CD: CD 80592
85
Album Information
Bernstein, Elmer End Title / “The Hero” September 9, 1996;

from The Babe February 8, 1997;
1998
CD: CD 80468
Bernstein, Elmer Prelude from December 13 & 14, 1992

The Ten Commandments 1993
Bernstein, Elmer The Magnificent Seven September 15 & 16, 1986

(Kunzel) 1986
LP: DG 10141
CD: CD 80141
CD: SACD 60141
Bernstein, Elmer Theme from The Sons April 9, 1989

of Katie Elder 1989
Bernstein, Steven (arr.) Walking in the Air April 9; September 12, 1989;
(Kunzel) December 17 & 18, 1989
1990
CD: CD 80226
Bizet, Georges A Carmen Fantasy for Trumpet September 11 & 12, 1989
Proto, Frank (arr.) and Orchestra 1990
Bizet, Georges Dance Bohemienne from September 3 & 13, 1980

La Jolie Fille de Perth 1983
(Kunzel) LP: D-VCL 9019
CD: MWCD 7127
Bizet, Georges Farandole from L’Arlesienne September 14 & 15, 1987

Suite No. 2 1988
Bizet, Georges Marche from La Jolie Fille de Perth September 3 & 13, 1980
(Kunzel) 1983
LP: D-VCL 9019
CD: MWCD 7127
86
Album Information
Borodin, Alexander Polovtsian Dances from Prince Igor April 11, 2005
(Kunzel) 2006
CD: CD 80657
Boublil, Alain & Suite from Les Misérables, musical September 14, 1998
Schönberg, Claude-Michel (Kunzel) 1999
CD: CD 80498
Boublil, Alain & Suite from Miss Saigon, musical September 14, 1998
Schönberg, Claude-Michel (Kunzel) 1999
CD: CD 80498
Bowman, Euday 12th Street Rag May 5, 1985; September 6, 1987;

(Kunzel) March 12; December 17, 1990
1993
CD: CD 80112
Bradtke, Hans & Summer Wind March 8, 1999

Mayer, Henry & (Kunzel) 2000
Meier, Heinz & CD: CD 80532
Mercer, Johnny
Broughton, Bruce End Title from The Boy September 11 & 12, 1989;
Who Could Fly October 16, 1989
(Kunzel) 1990
CD: CD 80231
Broughton, Bruce Suite from Moonwalker September 11 & 12, 1989;

1990
CD: CD 80231
Broughton, Bruce Themes from Silverado September 15 & 16, 1986

(Kunzel) 1986
LP: DG 10141
CD: CD 80141
CD: SACD 60141
Brown, Nacio Herb & Singin’ in the Rain from December 10 & 11, 1994
Freed, Arthur Hollywood Review of 1929 1995
87
Album Information
Brown, Nacio Herb & You Are My Lucky Star March 8, 1999
Freed, Arthur (Kunzel) 2000
Riddle, Nelson (arr.) & CD: CD 80532
Stephenson, J. III (arr.)
Sandke, Randy (soloist)
Brubeck, Christopher (arr.) Old Dan Tucker June 3, 1991

(Kunzel) 1991
CD: CD 80263
Brumley, Albert I’ll Fly Away February 28; March 1, 1993

Hall, O.D (arr.) & (Kunzel) 1993
Krogstad, Bob (arr.) CD: CD 80315
Bryant, Boudleaux & Rocky Top June 3, 1991

Bryant, Felice (Kunzel) 1991
McGurty, Mark (arr.) CD: CD 80263
Buffet, Jimmy Margaritaville April 12 & 13, 1992

Bambridge, Johnny (arr.) (Kunzel) 1992
CD: CD 80292
Burke, Johnny & What’s New March 8, 1999

Haggart, Bob (Kunzel) 2000
Riddle, Nelson (arr.) CD: CD 80532
Burwell, Carter Robert and Mary from Rob Roy June 2 & 3, 1996;
February 8, 1997;
May 20 & 21, 1997
1997
CD: CD 80440
Capizzi, Leonard & The Monster Mash October 23, 2000

Pickett, Bobby (Kunzel) 2002
CD: CD 80580
CD: SACD 60580
Carlos, Wendy & Opening from The Shining October 23, 2000
Elkind, Rachel (Kunzel) 2002
CD: CD 80580
CD: SACD 60580
88
Album Information
Carmichael, Hoagy Georgia On My Mind June 8, 1992

Newsom, Tommy (arr.) (Kunzel) 1992
Carmichael, Hoagy I’ll Get Along Without March 8, 1999

Price, J. (orch.) You Very Well 2000
Sandke, Randy (soloist) (Kunzel) CD: CD 80532
Carmichael, Hoagy Stardust June 8, 1992

Sebesky, Don (arr.) (Kunzel) 1992
Carr, Michael & South of the Border June 4, 1990

Kennedy, Jimmy (Kunzel) 1990
CD: CD 80235
Carr, Wynona “The Ball Game” from Cobb September 9, 1996;

Price, Joe (arr.) (Kunzel) February 8; September 8, 1997
1998
CD: CD 80468
Catalani, Alfredo Ebben?… Ne Andrò Lontano March 12, 1990

from Diva 1990
Chabrier, Emmanuel España September 1983

(Kunzel) 1984
CASS: D-VCS 9081
LP: D-VCL 9081
Chabrier, Emmanuel España September 14 & 15, 1987

(Kunzel) 1988
CD: CD 80170
Chaplin, Charlie Smile from Modern Times December 13 & 14, 1992
Beck, Crafton (arr.) (Kunzel) 1993
CD: CD 80319
Charlap, Mark & I Won’t Grow Up from Peter Pan December 15 & 16, 1991
Leigh, Carolyn (Kunzel) 1992
Beck, Craftom (arr.) CD: CD 80245
89
Album Information
Chopin, Frédéric Finale: Grand Valsae Brilliante, Op. 18 March 1, 2004

Dragon, Carmen (arr.) from Les Sylphides 2004
CD: SACD 60625
Churchill, Frank & Medley from Snow White and December 18, 1988
Morey, Larry the Seven Dwarfs 1989
Churchill, Frank & Who’s Afraid of the Big Bad Wolf? December 15 & 16, 1991
Ronell, Ann from Silly Symphonies 1992
Bishop, David (arr.) (Kunzel) CD: CD 80245
Churchill, Frank & Who’s Afraid of the Big Bad Wolf? December 18, 1988
Ronell, Ann from Tree Little Pigs 1989
Clarke, Jeremiah Trumpet Voluntary in D Major September 11 & 12, 1989

Coates, Eric & (By the) Sleepy Lagoon April 12 & 13, 1992
Lawrence, Jack (Kunzel) 1992
Sebesky, Don (arr.) CD: CD 80292
Collins, Philip (soloist)
Cobert, Robert Love Theme from The Winds September 6, 1987;

of War/War and Remembrance September 13, 1988
(Kunzel) 1989
CD: CD 80175
Cohan, George Over There September 6, 1987;

Bennett, Robert R. (arr.) (Kunzel) September 13, 1988
1989
CD: CD 80175
Colahan, Arthur & Too-Ra-Loo-Ra-Loo-Ra March 12, 2001;

Shannon, James R. (That’s an Irish Lullaby) September 9, 2001
Reineke, Stephen (arr.) (Kunzel) 2002
CD: CD 80571
CD: SACD 60571
90
Album Information
Cole, Nat King & Straighten Up and Fly Right April 19 & 20, 2002
Mills, Irving (Kunzel) 2003
Lieb, Dick (arr.) CD: CD 80592
Coleman, Cy & Give a Man Enough Rope from September 14, 1998
Comden, Betty& The Will Rogers Follies, musical 1999
Green, Adolph (Kunzel) CD: CD 80498
Coleman, Cy & Hookers’ Ball from September 14, 1998

Gasman, Ira The Life, musical 1999
Coleman, Cy & You’re Nothing Without Me from September 14, 1998

Zippel, David City of Angels, musical 1999
Conrad, Con & The Continental from December 10 & 11, 1994
Magidson, Herbert The Gay Divorcee 1995
Conti, Bill End Credits from September 9, 1996;

Rookie of the Year February 8, 1997;
1998
CD: CD 80468
Conti, Bill For Your Eyes Only September 10, 1990

(Kunzel) 1990
CD: CD 80251
Conti, Bill Music from The Right Stuff September 15 & 26, 1986;
(Kunzel) November 24, 1986;
May 10, 1987
1990
CD: CD 80146
Conti, Bill Theme from Rocky May 10, 1987;

1987
CD: CD 80168
91
Album Information
Copland, Aaron An Outdoor Overture September 22, 1985;

(Kunzel) September 15 & 16, 1986;
November 24, 1986
1987
CD: CD 80117
Copland, Aaron Appalachian Spring September 11, 1989;

November 1, 1993;
June 6, 1994; October 29, 1995
1997
CD: CD 80339
Copland, Aaron Billy the Kid September 11, 1989;

November 1, 1993;
June 6, 1994; October 29, 1995
1997
CD: CD 80339
Copland, Aaron Ceremonial Fanfare September 22, 1985;

November 24, 1986
1987
CD: CD 80117
Copland, Aaron Fanfare for the Common Man September 11, 1989;
November 1, 1993;
June 6, 1994; October 29, 1995
1997
CD: CD 80339
Copland, Aaron Fanfare for the Common Man May 10 & 11, 2003
(Kunzel) 2004
CD: CD 80595
Copland, Aaron John Henry: A Railroad Ballad September 22, 1985;

for Orchestra September 15 &16, 1986;
1987
CD: CD 80117
92
Album Information
Copland, Aaron Jubilee Variations September 22, 1985;

November 24, 1986
1987
CD: CD 80117
Copland, Aaron Lincoln Portrait September 22, 1985;

November 24, 1986
1987
CD: CD 80117
Copland, Aaron Old American Songs, Set 1 September 22, 1985;

(Kunzel) September 15 &16, 1986;
November 24, 1986
1987
CD: CD 80117
Copland, Aaron Quiet City September 11, 1989;

Collins, Philip (soloist) (Kunzel) September 9, 1991; November 1, 1993;
June 6, 1994; October 29, 1995
1997
CD: CD 80339
Copland, Aaron Rodeo September 11, 1989;

(Kunzel) September 9, 1991; November 1, 1993;
June 6, 1994; October 29, 1995
1997
CD: CD 80339
Copland, Aaron The Promise of Living September 22, 1985;

from The Tender Land September 15 & 16, 1986;
1987
CD: CD 80117
Courage, Alexander Star Trek: Main Theme November 21, 1983

(Kunzel) 1984
LP: DG 10094
CD: CD 80094
CD: CD 80383
93
Album Information
Courage, Alexander The Menagerie: Suite September 17, 1984

(original plot for the TV show Star Trek) 1984
(Kunzel) LP: DG 10106
CD: CD 80106
CD: CD 80383
Cropper, Steve & (Sittin’on the) Dock of the Bay April 12 & 13, 1992
Redding, Otis (Kunzel) 1992
Sebesky, Don (arr.) CD: CD 80292
Cross, Christopher Sailing April 12 & 13, 1992

CD: CD 80292
Darling, Denver & Choo Choo Ch’boogie April 19 & 20, 2002
Gabler, Milt & (Kunzel) 2003
Horton, Vaughn CD: CD 80592
Davis, Katherine & Little Drummer Boy December 11 & 12, 1999
Onorati, Henry & (Kunzel) 2006
Simeone, Harry CD: CD 80538
Wendel, Robert (arr.)
Davis, Mac & Sing (Sing a Song) / I Believe in Music December 15 & 16, 1991
Raposo, Joe (Kunzel) 1992
Hayman, Richard (arr.) CD: CD 80245
Debaney, John End Credits June 2 & 3, 1996;

Dechter, Brad (arr.) from Cutthroat Island Sepember 3, 1996
(Kunzel) 1997
CD: CD 80437
CD: CD 80437-DTS
DeBello, John Theme from Attack of October 23, 2000

the Killer Tomatoes 2002
CD: SACD 60580
94
Album Information
Debussy, Claude Clair de Lune September 17, 1985;

1988
CD: CD 80128
CD RE: CD 80338
Debussy, Claude Fêtes from Nocturnes May 10 & 11, 2003

(Kunzel) 2004
CD: CD 80595
Debussy, Claude La Cathédrale Engloutie September 17, 1985;

1988
CD: CD 80128
CD RE: CD 80338
DeLange, Eddie & String of Pearls April 19 & 20, 2002

Gray, Jerry (Kunzel) 2003
Delibes, Léo Airs De Danse from “Lakmé” September 3 & 13, 1980
from “Faust” 1983
CD: MWCD 7127
Delibes, Léo Cortège de Bacchus from Act III, Sylvia March 1, 2004
from Les Sylphides 2004
CD: SACD 60625
Delibes, Léo Dance of the Nubian Slave Girls September 3 & 13, 1980
from “Faust” 1983
CD: MWCD 7127
Delibes, Léo Procession of Bacchus October/November 1977

from “Sylvia” 1978
(Kunzel) LP: TV 34715
LP: TVS 34715
95
Album Information
Delibes, Leó Waltz from Act I from Coppélia March 1, 2004

(Kunzel) 2004
CD: CD 80625
Denver, John Calypso April 12 & 13, 1992

Beck, Crafton (arr.) & (Kunzel) 1992
Denver, John Take Me Home Country Roads June 3, 1991

Knight, Eric (arr.) (Kunzel) 1991
CD: CD 80263
DeSylva, B. G. & Avalon April 19 & 20, 2002

Jolson, Al & (Kunzel) 2003
Rose, Vincent CD: CD 80592
Sebesky, Don (arr.)
Diamond, Neil Selections from April 12 & 13, 1992

Holdridge, Lee (arr.) Jonathan Livingston Seagull 1992
Dietz, Howard & That’s Entertainment! from December 10 & 11, 1994
Schwartz, Arthur The Bandwagon 1995
Dietz, Howard & You and The Night and The Music March 8, 1999
Schwartz, Arthur (Kunzel) 2000
Stephenson, J. III (arr.) CD: CD 80532
Dodd, Jimmie Mickey Mouse March December 18, 1988

(Kunzel) 1989
CD: CD 80196
Doyle, Patrick Opening and Closing November 1; December 12, 1993;

Titles from Henry V January 16, 1994
(Kunzel) 1994
CD: CD 80342
Dragon, Carmen (arr.) Christmas Waltz April 9; September 12, 1989;

1990
CD: CD 80226
96
Album Information
Dragon, Carmen (arr.) Deck The Halls April 9; September 12, 1989;
1990
CD: CD 80226
Dragon, Carmen (arr.) God Rest Ye Merry, Gentlemen April 9; September 12, 1989;
1990
CD: CD 80226
Dragon, Carmen (arr.) O Tannenbaum April 9; September 12, 1989;

1990
CD: CD 80226
Dragon, Carmen (arr.) The First Noel April 9; September 12, 1989;
1990
CD: CD 80226
Dragon, Cameron (arr.) Turkey in The Straw June 3, 1991

(Kunzel) 1991
CD: CD 80263
Dubin, Al & 42nd Street from 42nd Street December 10 & 11, 1994
Warren, Harry (Kunzel) 1995
CD: CD 80366
Dubin, Al & Lullaby of Broadway from December 10 & 11, 1994

Warren, Harry Gold Diggers of 1935 1995
Dubin, Al & September in The Rain March 8, 1999

Warren, Harry (Kunzel) 2000
Dukas, Paul Fanfare to La Péri March 1, 2004

(Kunzel) 2004
CD: CD 80625
CD: SACD 60625
97
Album Information
Dukas, Paul The Sorcerer’s Apprentice May 4; June 1 & 2, 1985

(Kunzel) 1985
CD: CD 80115
Duncan, Robert Celtic Angels March 12, 2001;

2002
CD: CD 80571
CD: SACD 60571
Dvořák, Antonín “Song to the Moon” from Rusalka March 12, 1990
(Driving Miss Daisy) 1990
Ebb, Fred & Gimme Love from September 14, 1998

Kander, John Kiss of the Spider Woman, musical 1999
Edelman, Randy Finale from Dragonheart June 2 & 3, 1996;

Price, Joe (arr.) (Kunzel) September 3, 1996
1997
CD: CD 80437
CD: CD 80437-DTS
Edelman, Randy Main Theme from Gettysbug June 2 & 3, 1996;

1997
CD: CD 80437
CD: CD 80437-DTS
Edelman, Randy Main Title from Angels in the Outfield September 9, 1996;
Reineke, Steven (arr.) (Kunzel) February 8, 1997;
September 8, 1997
1998
CD: CD 80468
Edelman, Randy Reunion and Finale June 2 & 3, 1996;

from Gettysburg September 9, 1996;
(Kunzel) February 8, 1997;
May 20 & 21, 1997
1997
CD: CD 80440
98
Album Information
Edelman, Randy & Theme from Mission Impossible June 2 & 3, 1996;
Jones, Trevor (Kunzel) September 3, 1996
1997
CD: CD 80437
CD: CD 80437-DTS
Eidelman, Cliff End Title from Star Trek VI: October 29, 1995
The Undiscovered Country 1996
Elfman, Danny Crime Spree from Dick Tracy September 10, 1990
(Kunzel) 1990
CD: CD 80251
Elfman, Danny Main Theme from Dick Tracy September 10, 1990
(Kunzel) 1990
CD: CD 80251
Efman, Danny Main Titles from November 1; December 12, 1993;

Beetlejuice January 16, 1994
(Kunzel) 1994
CD: CD 80342
Elfman, Danny Suite from Batman September 11 & 12, 1989;

1990
CD: CD 80231
Elfman, Danny The Legend Lives / End Theme October 23, 2000
from Sleepy Hollow 2002
CD: SACD 60580
Elfman, Danny Theme from Tales from the Crypt October 23, 2000
(Kunzel) 2002
CD: CD 80580
CD: SACD 60580
Elfman, Danny Themes from Beetlejuice October 23, 2000

(Kunzel) 2002
CD: CD 80580
CD: SACD 60580
99
Album Information
Elfman, Danny This is Halloween from October 23, 2000

Tim Burton’s The Nightmare Before Christmas 2002
Elfman, Danny Woe, The Darkman, Woe! September 10, 1990

from Darkman 1990
Elgar, Edward Sir Nimrod from Enigma Variations May 10 & 11, 2003
(Kunzel) 2004
CD: CD 80595
Elgar, Edward Sir Pomp and Circumstance October/November 1977

March No. 1 in D Major 1978
LP: TVS 34715
Elgar, Edward Sir Pomp & Circumstance September 9 & 17, 1985;
March No. 1 May 11; September 15, 1986;
1987
CD: CD 80122
Eliscu, Edward Carioca June 4, 1990

(Kunzel) 1990
CD: CD 80235
Ellington, Duke & It Don’t Mean a Thing April 19 & 20, 2002
Mills, Irvnig (If It Ain’t Got That Swing) 2003
Tyzik, Jeff (arr.) (Kunzel) CD: CD 80592
Enesco, George Roumanian Rhapsody No. 1 September 14 & 15, 1987

in A Major, Op. 11 1988
Evans, Dale Prelude from Duel in the Sun April 9, 1989

Newsom, Tommu (arr.) (Kunzel) 1989
CD: CD 80191
Evans, Ray & Silver Bells December 11 & 12, 1999

Livingston, Jay (Kunzel) 2006
Reineke Steven (arr.) CD: CD 80538
100
Album Information
Everly, Jack (arr.) & A Piper Celebration March 12, 2001;

Reineke, Steven (arr.) (Kunzel) September 9, 2001
2002
CD: CD 80571
CD: SACD 60571
Everly, Jack (arr.) & Steps from the Highlands March 12, 2001;
2002
CD: CD 80571
CD: SACD 60571
Fain, Sammy March of the Cards from December 18, 1988

Alice in Wonderland 1989
de Falla, Manuel Ritual Fire Dance September 14 & 15, 1987

(Kunzel) 1988
CD: CD 80170
de Falla, Manuel Spanish Dance from March 1, 2004

La Vida Breve, Act II Tableau I 2004
CD: SACD 60625
Faltermeyer, Harold Theme from Goldfinger September 10, 1990

Cunliffe, Bill (arr.) (Kunzel) 1990
CD: CD 80251
Fiedel, Brad Theme from Terminator November 1, 1993;

(Kunzel) December 12, 1993;
January 16, 1994
1994
CD: CD 80342
Fielding, Jerry Theme from The Wild Bunch April 9, 1989

(Kunzel) 1989
CD: CD 80191
Fields, Dorothy & A Fine Romance from Swing Time December 10 & 11, 1994
Kern, Jerome The Gay Divorcee 1995
101
Album Information
Flaherty, Stephen Ragtime from Ragtime, musical September 14, 1998

(Kunzel) 1999
CD: CD 80498
Fogerty, John Centerfield September 9, 1996;

September 8, 1997
1998
CD: CD 80468
Forrest, George & The Grand Waltz from September 14, 1998
Wright, Robert Grand Hotel, musical 1999
Fučík, Julius Entry of the Gladiators October/November 1977

(Thunder and Blazes March) 1978
LP: TVS 34715
Fučík, Julius Entry of the Gladiators September 9 & 17, 1985;

(Kunzel) May 11; September 15, 1986;
November 24, 1986
1987
CD: CD 80122
Gabler, Milt & Love June 8, 1992

Kaempfert, Bert (Kunzel) 1992
Newsom, Tommy (arr.) CD: CD 80304
Severinsen, Doc (soloist)
Gannon, Kim & I’ll Be Home for Christmas December 11 & 12, 1999
Kent, Walter & (Kunzel) 2006
Ram, Burce CD: CD 80538
Wendel, Robert (arr.)
Garner, Erroll Misty June 8, 1992

Bambridge, John (arr.) (Kunzel) 1992
Geld, Gary & Walk Him Up from Purlie February 28; March 1, 1993
Joell, Peter (Kunzel) 1993
Beck, Crafton (arr.) CD: CD 80315
102
Album Information
Gershwin, George Blue Monday May 18, 20 & 21, 1997

(World Premiere Recording) 1998
Gershwin, George Catfish Row: Symphonic Suite September 17, 1985

from “Porgy & Bess” 1987
CD: CD 80445
Gershwin, George Concerto in F September 17, 1984;

(Kunzel) May 5, 1985;
November 22-24, 1987
1988
CD: CD 80166
CD: CD 80445
Gershwin, George Cuban Overture September 14, 1992

(Kunzel) 1998
CD: CD 80445
Gershwin, George Foggy Day/Strike Up the Band unknown

(Kunzel) 1979
LP: TV 34749
Gershwin, George “I Got Rhythm” Variations September 17, 1984;

1988
CD: CD 80166
CD: CD 80445
Gershwin, George Mexican Dance November 1, 1993

(Kunzel) 1998
CD: CD 80445
Gershwin, George Nice Work if You Can Get It unknown

(Kunzel) 1979
LP: TV 34749
Gershwin, George O Land of Mine May 20, 1997

(world premiere) 1998
103
Album Information
Gershwin, George Our Love is Here to Stay/ unknown

Love Walked In 1979
Gershwin, George Overture to: Girl Crazy unknown

(Kunzel) 1979
LP: TV 34749
Gershwin, George Overture to: Of Thee I Sing unknown

(Kunzel) 1979
LP: TV 34749
Gershwin, George Overture to: Oh, Kay! unknown

(Kunzel) 1979
LP: TV 34749
Gershwin, George Overture to: Tiptoes unknown

(Kunzel) 1979
LP: TV 34749
Gershwin, George Porgy and Bess February 28, 1993

(selections from Acts I, II & III) 1998
Gershwin, George Rhapsody in Blue September 17, 1984;

(Original 1924 Version) May 5, 1985;
(Kunzel; Cincinnati Jazz Orchestra) November 22-24, 1987
1988
CD: CD 80166
CD: CD 80445
Gershwin, George “Rialto Ripples” Rag September 17, 1984;

1988
CD: CD 80166
CD: CD 80445
Gershwin, George Second Rhapsody for Piano September 14, 1992

and Orchestra 1993
104
Album Information
Gershwin, George Someone to Watch Over Me June 8, 1992

Gershwin, George & They Can’t Take That Away December 10 & 11, 1994
Gershwin, Ira from Me from Shall We Dance 1995
Gershwin, George Walking the Dog October 29, 1995

(Kunzel) 1998
CD: CD 80445
Glickman, Fred & Mule Train from Mule Train April 9, 1989
Heath, Hy & (Kunzel) 1989
Lange, Johnny CD: CD 80191
Newsom, Tommy (arr.)
Gliére, Reinhold Russian Sailor’s Dance from March 1, 2004

Act I, The Red Poppy 2004
CD: SACD 60625
Glinka, Mikhail Overture to Russlan and Ludmilla April 11, 2005

(Kunzel) 2006
CD: CD 80657
Gold, Ernest Theme from Exodus May 10, 1987;

1987
CD: CD 80168
Gold, Julie From a Distance February 28, 1993;

Beck, Crafton (arr.) (Kunzel) March 1, 1993
1993
CD: CD 80315
Goldenthal, Elliot Suite from Batman Forever June 2 & 3, 1996;

Snyder, David (arr.) (Kunzel) September 3, 1996
1997
CD: CD 80437
CD: CD 80437-DTS
105
Album Information
Goldsmith, Jerry A Busy Man from Star Trek V: September 11 & 12, 1989;
The Final Frontier October 16, 1989
(Kunzel) 1990
CD: CD 80231
CD: CD 80383
Goldsmith, Jerry Alien: Closing Title September 17, 1984

(Kunzel) 1984
LP: DG 10106
CD: CD 80106
Goldsmith, Jerry Badge of Honor / L.A. Confidential June 7, 1999

Price, Joe (arr.) from L.A. Confidential 2000
Goldsmith, Jerry End Title from Explorers September 11 & 12, 1989;
1990
CD: CD 80231
Goldsmith, Jerry End Title from Twilight Zone: The Movie October 16, 1989
(Kunzel) 1990
CD: CD 80231
CD: CD 80495
Goldsmith, Jerry It’s A Long Road from Rambo September 10, 1990
(First Blood Part Two) 1990
Goldsmith, Jerry Love Theme from Forever Young June 2 & 3, 1996;
Courage, Alexander (arr.) (Kunzel) September 9, 1996;
February 8, 1997;
May 20 & 21, 1997
1997
CD: CD 80440
Goldsmith, Jerry Main Theme from Rudy June 2 & 3, 1996;

Courage, Alexander (arr.) (Kunzel) September 9, 1996;
February 8, 1997;
May 20 & 21, 1997
1997
CD: CD 80440
106
Album Information
Goldsmith, Jerry Main Theme from October 29, 1995

Star Trek: The Next Generation 1996
Goldsmith, Jerry Main Theme from Star Trek: Voyager October 29, 1995
(Kunzel) 1996
CD: CD 80383
Goldsmith, Jerry Mail Title / The Parachutes June 7, 1999

Price, Joe (arr.) from Air Force 1 2000
Goldsmith, Jerry Main Titles from Total Recall November 1, 1993;

January 16, 1994
1994
CD: CD 80342
Goldsmith, Jerry Star Trek: Main Theme September 17, 1984

(The Movie) 1984
CD: CD 80106
CD: CD 80383
Goldsmith, Jerry The Carousel from The Haunting October 23, 2000
(Kunzel) 2002
CD: CD 80580
CD: SACD 60580
Goldsmith, Jerry The Generals’ March September 6, 1987;

1989
CD: CD 80175
Goldsmith, Jerry The Klingon Battle from September 15 & 26, 1986;
Star Trek I: The Motion Picture November 24, 1986;
(Kunzel) May 10, 1987
1990
CD: CD 80146
CD: CD 80383
107
Album Information
Goldsmith, Jerry The Remora from Executive Decision June 2 & 3, 1996;
1997
CD: CD 80437
CD: CD 80437-DTS
Goldsmith, Jerry The Sand Volcano from June 7, 1999

Reineke, Steven (arr.) The Mummy 2000
Goodwin, Benny & Flying Home April 19 & 20, 2002

Hampton, Lionel (Kunzel) 2003
Goodwin, Benny & Stompin’ at the Savoy April 19 & 20, 2002
Sampson, Edgar & (Kunzel) 2003
Webb, Chick CD: CD 80592
Price, Joseph (arr.)
Goodwin, Ronald Main Theme from The Battle September 6, 1987;

of Britain September 13, 1988
(Kunzel) 1989
CD: CD 80175
Gordan, Irving Unforgettable June 8, 1992

Gottschalk, Louis & Grand Tarantelle May 5, 1985; September 6, 1987;

Kay, Hershy (Kunzel) March 12; December 17, 1990
1993
CD: CD 80112
Gould, Morton American Salute September 1983

(Kunzel) 1984
LP: D-VCL 9081
Gould, Morton Interplay May 5, 1985; September 6, 1987;

(American Concertette March 12; December 17, 1990
for Piano & Orchestra) 1993
108
Album Information
Gounod, Charles-François Funeral March of a Marionette October 23 & 24, 1988

(Theme from Alfred Hitchcock Presents) 1989
Grieg, Edvard In The Hall of The Mountain King October 23 & 24, 1988
from Peer Gynt 1989
Grofe, Ferdé Grand Canyon Suite June 4, 1983;

September 17, 1985
1987
CD: CD 80086
Grusin, Dave New Hampshire Hornpipe April 12 & 13, 1992

Beck, Crafton (arr.) & from On Golden Pond 1992
Comeione, Matthew (arr.) (Kunzel) CD: CD 80292
Guaraldi, Vince & Christmastime Is Here from December 11 & 12, 1999
Mendelson, Lee A Charlie Brown Christmas 2006
Healey, Bruce (arr.) (Kunzel) CD: CD 80538
Halvorsen, Johan Entry March of the Boyers September 14 & 15, 1987
(Kunzel) 1988
CD: CD 80170
Hamlisch, Melvin Love Theme from Cousins December 15 & 16, 1990
(Kunzel) 1991
CD: CD 80243
Hamlisch, Melvin The Way We Were December 15 & 16, 1990

(Kunzel) 1991
CD: CD 80243
Hamlisch, Melvin Through The Eyes of Love December 15 & 16, 1990
from Ice Castles 1991
Hanley, James F. Zing Went The Strings (Of My Heart) March 8, 1999
CD: CD 80532
109
Album Information
Hansen, Howard Bold Island Suite September 8, 2004

(world premiere recording) 2005
Hansen, Howard Fanfare for the Signal Corp September 8, 2004

(Kunzel) 2005
CD: CD 80649
Hansen, Howard Suite from Merry Mount September 8, 2004

(Kunzel) 2005
CD: CD 80649
Hansen, Howard Symphony No. 2, Op. 30, September 8, 2004

“Romantic” 2005
Hardiman, Ronan Celtic dream from March 12; September 9, 2001

Price, Joseph D. (arr.) Lord of the Dance 2002
CD: SACD 60571
Hardiman, Ronan Cry of the Celts from March 12; September 9, 2001
Price, Joseph D. (arr.) Lord of the Dance 2002
CD: SACD 60571
Harline, Leigh When you Wish Upon a Star December 18, 1988
(Kunzel) 1989
CD: CD 80196
Hart, Lorenz & Lover, from Love Me Tonight December 10 & 11, 1994
Rodgers, Richard (Kunzel) 1995
CD: CD 80366
Hayes, Isaac Theme from Shaft September 10, 1990

Kunzel, Erich (arr.) (Kunzel) 1990
CD: CD 80251
Hayman, Richard (arr.) American Folk Sing Along June 3, 1991

(Kunzel) 1991
CD: CD 80263
110
Album Information
Hayman, Richard (arr.) Armed Forces Medley September 6, 1987;

1989
CD: CD 80175
Hayman, Richard (arr.) Carol of the Bells April 9, 1989;

December 17 & 18, 1989
1990
CD: CD 80226
Hayman, Richard March Medley September 9 & 17, 1985;

September 15, 1986;
November 24, 1986
1987
CD: CD 80122
Hayman, Richard Pops Hoe-Down October/November 1977

(Kunzel) 1978
LP: TV 34714
Hayman, Richard Pops Hoedown September 15 & 16, 1986

(Kunzel) 1986
LP: DG 10141
CD: CD 80141
CD: SACD 60141
Hayman, Richard Theme from Goldfinger May 10; September 14, 1987
(Kunzel) 1987
CD: CD 80168
Hayman, Richard Theme from Goldfinger September 10, 1990

(Kunzel) 1990
CD: CD 80251
Hayman, Richard Western Medley September 15 & 16, 1986

(Kunzel) 1986
LP: DG 10141
CD: CD 80141
CD: SACD 60141
111
Album Information
Hayman, Richard (arr.) When The Saints Go Marching In September 9 & 17, 1985;
September 15, 1986;
November 24, 1986
1987
CD: CD 80122
Healey, Bruce (arr.) A-B-C Song December 15 & 16, 1991

(Kunzel) 1992
CD: CD 80245
Healey, Bruce (arr.) Chicken Reel June 3, 1991

(Kunzel) 1991
CD: CD 80263
Healey, Bruce (arr.) Holiday Favorites April 9, 1989;

December 17 & 18, 1989
1990
CD: CD 80226
Healey, Bruce (arr.) Mother Goose Medley December 15 & 16, 1991
(Kunzel) 1992
CD: CD 80245
Healey, Bruce (arr.) Oh, Susanna June 3, 1991

(Kunzel) 1991
CD: CD 80263
Healey, Bruce (arr.) Old MacDonald Had A Farm June 3, 1991

(Kunzel) 1991
CD: CD 80263
Henley, Larry & Wind Beneath My Wings June 8, 1992

Silber, Jeff (Kunzel) 1992
Severinsen, Doc (soloist)
Henson, Jim & The Muppet Show Theme December 15 & 16, 1991
Pottle, Sam (Kunzel) 1992
Healey, Bruce (arr.) CD: CD 80245
112
Album Information
Herbert, Victor American Fantasia October/November 1977

(Kunzel) 1978
LP: TV 34714
Herbert, Victor Festival March October/November 1977

(Kunzel) 1978
LP: TV 34715
Herman, Jerry We Need a Little Christmas December 11 & 12, 1999

Wendel, Robert (arr.) from Mame 2006
Hermann, Ralph (arr.) Winter Wonderland April 9; September 12, 1989;

1990
CD: CD 80226
Hernández, Rafael El Cumbanchero June 4, 1990

(Kunzel) 1990
CD: CD 80235
Hérold, Louis Joseph Zampa September 17 & 22, 1985

(Kunzel) 1986
CD: CD 80116
Herrmann, Bernard Outer Space from September 11, 12 & 16, 1989
The Day the Earth Stood Still 1990
Herrmann, Bernard Overture from November 1, 1993;

The Seventh Voyage December 12, 1993;
of Sinbad January 16, 1994
(Kunzel) 1994
CD: CD 80342
Herrmann, Bernard Sleigh Ride from The Devil October 23 & 24, 1988
and Daniel Webster 1989
Hilliard, Bob & It’s A Small World December 18, 1988

Fain, Sammy (Kunzel) 1989
CD: CD 80196
113
Album Information
Hirschfelder, David Main Title from Elizabeth June 7, 1999

CD: CD 80535
Holdridge, Lee Love Came for Me from Splash April 12 & 13, 1992
(Kunzel) 1992
CD: CD 80292
Holdridge, Lee Main Theme from The Beastmaster September 11 & 12, 1989;
1990
CD: CD 80231
Holdridge, Lee Main Titles from November 1, 1993;

Wizards and Warriors December 12, 1993;
(Kunzel) January 16, 1994
1994
CD: CD 80342
Holdridge, Lee Theme from The Great Whales April 12 & 13, 1992
(Kunzel) 1992
CD: CD 80292
Horner, James Back to Titanic from Titanic June 7, 1999

CD: CD 80535
Horner, James Dedicatino and Windsong from June 7, 1999

Price, Joe (arr.) Mighty Joe Young 2000
Horner, James End Credits June 2 & 3; September 3, 1996

from Braveheart 1997
CD: CD 80437-DTS
Horner, James Epilogue & End Credits from September 15 & 26, 1986;
Star Trek II, The Wrath of Khan November 24, 1986;
1990
CD: CD 80146
CD: CD 80383
114
Album Information
Horner, James & If We Hold On Together December 15 & 16, 1991

Jennings, Will from The Land Before Time 1992
Horner, James Main Theme from Star Trek III October 29, 1995
The Search for Spock 1996
Horner, James Main Themes from Willow November 1, 1993;

January 16, 1994
1994
CD: CD 80342
Horner, James Main Title from Star Trek II, September 15 & 26, 1986;
The Wrath of Khan November 24, 1986;
1990
CD: CD 80146
CD: CD 80383
Horner, James Main Title from The Mask of Zorro June 7, 1999
CD: CD 80535
Horner, James Music from Cocoon September 15 & 26, 1986;

May 10, 1987
1990
CD: CD 80146
Horner, James Selections from Field of Dreams September 9, 1996;

(Kunzel) February 8, 1997;
September 8, 1997
1998
CD: CD 80468
Horner, James Suite from Jumanji June 2 & 3, 1996;

1997
CD: CD 80437
CD: CD 80437-DTS
115
Album Information
Horner, James Themes from Apollo 13 June 2 & 3, 1996;

Price, Joe (arr.) (Kunzel) September 3, 1996
1997
CD: CD 80437
CD: CD 80437-DTS
Horner, James To The Rescue and November 1, 1993;

End Titles from The Rocketeer December 12, 1993;
1994
CD: CD 80342
Howard, James Newton Theme from Grand Canyon December 13 & 14, 1992
(Kunzel) 1993
CD: CD 80319
Hubbard, Jerry & Westbound and Down from June 3, 1991

Feller, Dick Smokey and the Bandit 1991
Beck, Crafton (arr.) (Kunzel) CD: CD 80263
Ibert, Jacques Divertissement November 4, 1991

(Kunzel) 1992
CD: CD 80294
Ippolitov-Ivanov, Mikhail Procession of the Sadar from April 11, 2005

Caucasian Sketches 2006
Ireland, John Epic March September 9 & 17, 1985;

September 15, 1986;
November 24, 1986
1987
CD: CD 80122
Järnefelt, Armas Praeludium September 14 & 15, 1987

(Kunzel) 1988
CD: CD 80170
Jarre, Maurice End Title from Ghost December 15 & 16, 1990
(Kunzel) 1991
CD: CD 80243
116
Album Information
Jarre, Maurice Tara’s Theme from May 10, 1987;

Gone With the Wind September 14, 1987
(Kunzel) 1987
CD: CD 80168
Jarre, Maurice Theme from Lawrence of Arabia May 10, 1987;

1987
CD: CD 80168
Jobim, Antônio Carlos Desafinado June 4, 1990

(Kunzel) 1990
CD: CD 80235
Jobim, Antônio Carlos Sailing April 12 & 13, 1992

Spanler, Julie (arr.) CD: CD 80292
Jobim, Antônio Carlos The Girl from Ipanema June 4, 1990

(Kunzel) 1990
CD: CD 80235
John, Elton & Suite from The Lion King October 15, 1994;
Rice, Tim & (Kunzel) February 1, 1995
Zimmer Hans 1995
CD: CD 80381
Jones, Stan Ghost Riders in the Sky from April 9, 1989

Newsom, Tommy (arr.) Ghost Riders in the Sky 1989
Joplin, Scott Maple Leaf Rag May 5, 1985; September 6, 1987;

1993
CD: CD 80112
Joplin, Scott The Entertainer May 5, 1985; September 6, 1987;

1993
CD: CD 80112
117
Album Information
Kabalevsky, Dmitri Galop from The Comedians, Op. 26 March 1, 2004

(Kunzel) 2004
CD: CD 80625
CD: SACD 60625
Kálmán, Emmerich Overture fo Countless Mariza February 19 & 20, 2000

(Kunzel) 2000
CD: CD 80547
Kamen, Michael Main Titles from November 1, 1993;

Robin Hood: Prince of Thieves December 12, 1993;
1994
CD: CD 80342
Kamen, Michael Theme from Lethal Weapon September 10, 1990

Cunliffe, Bill (arr.) (Kunzel) 1990
CD: CD 80251
Kaper, Bronislaw Main Title from Mutiny on December 13 & 14, 1992
McGurty, Mark (arr.) The Bounty 1993
Kern, Jerome Mark Twain: Portrait for Orchestra October/November 1977

(Kunzel) 1978
LP: TV 34714
Key, Francis Scott & The Star-Spangled Banner September 9, 1996;

Smith, John Stafford (Kunzel) February 8, 1997;
September 8, 1997
1998
CD: CD 80468
Khachaturian, Aram Love Theme from Spartacus April 11, 2005

(Kunzel) 2006
CD: CD 80657
Khachaturian, Aram Sabre Dance September 14 & 15, 1987

(Kunzel) 1988
CD: CD 80170
118
Album Information
Khachaturian, Aram Sabre Dance from Gayane March 1, 2004

(Kunzel) 2004
CD: CD 80625
CD: SACD 60625
Kingsley, Gershan & Baroque Hoedown (Theme from December 18, 1988
Perrey, Jean Jacques Disney’s Main Street Electrical Parade) 1989
Kleinsinger, George Tubby the Tuba 1978

(Kunzel) 1979
LP: TC 1623
Korngold, Erich W. Overture from Captain Blood May 10, 1987;

1987
CD: CD 80168
Kunzel, Erich & Horray for the Cincinnati Reds September 9, 1996;
Reineke, Steven (Kunzel) February 8; September 8, 1997
1998
CD: CD 80468
Lanner, Josef Hofball-Tänze Walzer February 19 & 20, 2000

(Court Ball Waltzes), Op. 161 2000
Lara, Agustín Granada June 4, 1990

(Kunzel) 1990
CD: CD 80235
Larson, Jonathan Seasons of Love from Rent, musical September 14, 1998
(Kunzel) 1999
CD: CD 80498
Lecuona, Ernesto Siboney June 4, 1990

(Kunzel) 1990
CD: CD 80235
Legrand, Michael “I Will Wait for You” from December 13 & 14, 1992
The Umbrellas of Cherbourg 1993
119
Album Information
Legrand, Michael Theme from May 10, 1987;

The Summer of 42’ September 14, 1987
(Kunzel) 1987
CD: CD 80168
Lehár, Franz Ballsirenen Waltzer February 19 & 20, 2000

(Siren of the Dance Waltzes) 2000
from The Merry Widow CD: CD 80547
(Kunzel)
Lehár, Franz Gold and Silver Waltzes February 19 & 20, 2000
(Kunzel) 2000
CD: CD 80547
Leigh, Caroline & Young At Heart December 15 & 16, 1991

Richards, Johnny (Kunzel) 1992
Lennon, John & All You Need is Love September 10, 2000;
McCartney, Paul (Kunzel) December 7 & 9, 2000
Martin, George (arr.) 2001
CD: CD 80540
CD: SACD 60540
Lennon, John & Eleanor Rigby (orchestral version) September 10, 2000;
Reineke, Steven (arr.) 2001
CD: CD 80540
CD: SACD 60540
Lennon, John & Hey Jude September 10, 2000;

Jackman, Andrew Pryce (arr.) 2001
CD: CD 80540
CD: SACD 60540
Lennon, John & Let it Be September 10, 2000;

Jackman, Andrew Pryce (arr.) 2001
CD: CD 80540
CD: SACD 60540
120
Album Information
Lennon, John & Michelle September 10, 2000;

Hart, Paul (arr.) 2001
CD: CD 80540
CD: SACD 60540
Lennon, John & Ob-la-di, Ob-la-da September 10, 2000;

CD: CD 80540
CD: SACD 60540
Lennon, John & Penny Lane September 10, 2000;

Collins, Philip (soloist) CD: CD 80540
CD: SACD 60540
Lennon, John & Sgt. Pepper’s Lonely Hearts Club Band September 10, 2000;
CD: CD 80540
CD: SACD 60540
Lennon, John & The Long and Winding Road September 10, 2000;
Hart, Paul (arr.) 2001
CD: CD 80540
CD: SACD 60540
Lennon, John & Yesterday September 10, 2000;

CD: CD 80540
CD: SACD 60540
Lerner, Alan Jay & Selections from Brigadoon September/November 1993

Loewe, Frederick (Kunzel) 1994
CD: CD 80375
121
Album Information
Lerner, Alan Jay & Selections from Camelot September/November 1993

CD: CD 80375
Lerner, Alan Jay & Selections from Gigi September/November 1993

CD: CD 80375
Lerner, Alan Jay & Selections from My Fair Lady September/November 1993
CD: CD 80375
Lerner, Alan Jay & Selections from September/November 1993

Loewe, Frederick Paint Your Wagon 1994
Liszt, Franz Friska from Hungarian Rhapsody No. 2 March 12, 1990
(Who Framed Rodger Rabbit?) 1990
Liszt, Franz Hungarian Rhapsody No. 2 September 1983

(Kunzel) 1984
LP: D-VCL 9081
Liszt, Franz Symphonic Poem No. 3: Les Preludes May 4, 1985;

(Kunzel) June 1 & 2, 1985
1985
CD: CD 80115
MacKenzie, Leonard & Chiquita Banana Song June 4, 1990

Wirges, William (Kunzel) 1990
CD: CD 80235
MacLellan, Gene & Put Your Hand in the Hand / February 28, 1993;
Traditional He’s Got the Whole World in His Hands March 1, 1993
Krogstad, Bob (arr.) (Kunzel) 1993
CD: CD 80315
Maltby, Richard Jr. & Cross the Line from Big, musical September 14, 1998
Shire, David (Kunzel) 1999
CD: CD 80498
122
Album Information
Mancina, Mark He Lives in You from September 14, 1998

The Lion King, musical 1999
Mancina, Mark Main Title from Speed June 2 & 3, 1996;

Snyder, David (arr.) (Kunzel) September 3, 1996
1997
CD: CD 80437
Mancina, Mark The House Visit from Twister June 2 & 3, 1996;
Fowler, Bruce (orch.) & (Kunzel) September 3, 1996
Moriarty, Y. S. (orch.) 1997
CD: CD 80437
Mancini, Henry Arctic Whale Hunt from September 13 & 16, 1988
The White Dawn 1989
Mancini, Henry Baby Elephant Walk from Hatari September 13 & 16, 1988
(Kunzel) 1989
CD: CD 80183
Mancini, Henry Drummers Delight September 13 & 16, 1988

(Kunzel) 1989
CD: CD 80183
Mancini, Henry Finale from Victor/Victoria September 13 & 16, 1988

(Kunzel) 1989
CD: CD 80183
Mancini, Henry It Had Better Be Tonight from September 13 & 16, 1988
The Pink Panther 1989
Mancini, Henry March from The Great Waldo Pepper September 13 & 16, 1988
(Kunzel) 1989
CD: CD 80183
Mancini, Henry March with Mancini September 13 & 16, 1988

(Kunzel) 1989
CD: CD 80183
123
Album Information
Mancini, Henry Punch and Judy from Charade September 13 & 16, 1988
(Kunzel) 1989
CD: CD 80183
Mancini, Henry Strings on Fire! September 13 & 16, 1988

(Kunzel) 1989
CD: CD 80183
Mancini, Henry Symphonic Soul September 13 & 16, 1988

(Kunzel) 1989
CD: CD 80183
Mancini, Henry The Cowboy from Sunset April 9, 1989

(Kunzel) 1989
CD: CD 80191
Mancini, Henry Theme from Breakfast at Tiffany’s September 13 & 16, 1988
(Kunzel) 1989
CD: CD 80183
Mancini, Henry Theme from Hatari September 13 & 16, 1988

(Kunzel) 1989
CD: CD 80183
Mancini, Henry Theme from Lifeforce September 15 & 26, 1986;

May 10, 1987
1990
CD: CD 80146
Mancini, Henry Theme from Mr. Lucky September 13 & 16, 1988
(Kunzel) 1989
CD: CD 80183
Mancini, Henry Theme from Oklahoma Crude April 9, 1989

(Kunzel) 1989
CD: CD 80191
Mancini, Henry Theme from Peter Gunn September 13 & 16, 1988
(Kunzel) 1989
CD: CD 80183
124
Album Information
Mancini, Henry Theme from The Pink Panther September 13 & 16, 1988
(Kunzel) 1989
CD: CD 80183
Mancini, Henry Theme from The Thorn Birds September 13 & 16, 1988
(Kunzel) 1989
CD: CD 80183
Manilow, Barry Copacabana June 4, 1990

(Kunzel) 1990
CD: CD 80235
Mann, Barry On Broadway from September 14, 1998

Smoky Joes Café, musical 1999
Marquina, Pascual España Cañi June 4, 1990

(Kunzel) 1990
CD: CD 80235
Marshal, Jack Theme from The Munsters October 23, 2000

(Kunzel) 2002
CD: CD 80580
CD: SACD 60580
Massenet, Jules Aragonaise from “Le Cid” September 3 & 13, 1980
(Kunzel) 1983
LP: D-VCL 9019
CD: MWCD 7127
Massenet, Jules Casilliane from “Le Cid” September 3 & 13, 1980
(Kunzel) 1983
LP: D-VCL 9019
CD: MWCD 7127
McCarthy, Dennis End Title from October 29, 1995

Star Trek: Generations 1996
McCarthy, Dennis Main Theme from October 29, 1995

Star Trek: Deep Space Nine 1996
125
Album Information
McCartney, Paul Live and Let Die September 10, 1990

Newsome, Tommy (arr.) (Kunzel) 1990
CD: CD 80251
McKennit, Loreena The Mummers’ Dance March 12, 2001;

Price, Joseph D. (arr.) (Kunzel) September 9, 2001
2002
CD: CD 80571
CD: SACD 60571
Menken, Alan Colors of the Wind June 2 & 3, 1996;

Reineke, Steven (arr.) from Pocahontas September 9, 1996;
(Kunzel) February 8; May 20 & 21, 1997
1997
CD: CD 80440
Menken, Alan Under the Sea from The Little Mermaid April 12 & 13, 1992
(Kunzel) 1992
CD: CD 80292
Mercer, Johnny & On The Atchison, Topeka and December 10 & 11, 1994
Warren, Harry the Santa Fe from The Harvey Girls 1995
Meyerbeer, Giacomo Cornonation March from October/November 1977

Act IV of “Le Prophète” 1977
Minkus, Léon Grand Pas de Deux from March 1, 2004

McDermott, William (orch.) Act III, Don Quixote 2004
CD: SACD 60625
Mitchell, Sidney & Sugar (That Sugar Baby O’Mine) April 19 & 20, 2002
Pinkard, Edna & (Kunzel) 2003
Pinkhard, Maceo CD: CD 80592
Mizzy, Vic Theme from The Adams Family October 23, 2000
(Kunzel) 2002
CD: CD 80580
CD: SACD 60580
126
Album Information
Monterde, Bernardo B. La Virgin de la Macarena June 4, 1990

Severinsen, Doc (soloist) (Kunzel) 1990
CD: CD 80235
Moroder, Giorgio Flashdance… What A Feeling December 15 & 16, 1990

Sebesky, Don (arr.) from Flashdance 1991
Moroder, Giorgio Love Theme from Flashdance December 15 & 16, 1990
Bernstein, Stephen (arr.) (Kunzel) 1991
CD: CD 80243
Moross, Jerome Big Country September 15 & 16, 1986

(Kunzel) 1986
LP: DG 10141
CD: CD 80141
CD: SACD 60141
Morricone, Ennio Act of Faith from Bugsy June 2 & 3, 1996;

Reineke, Steven (arr.) (Kunzel) September 9, 1996;
February 8, 1997;
May 20 & 21, 1997
1997
CD: CD 80440
Morricone, Ennio Al Capone from The Untouchables September 10, 1990

(Kunzel) 1990
CD: CD 80251
Morricone, Ennio Main Theme from The Untouchables September 10, 1990
(Kunzel) 1990
CD: CD 80251
Morricone, Ennio Theme from The Good, The Bad April 9, 1989
and The Ugly 1989
Moss, Jeffrey People in Your Neighborhood December 15 & 16, 1991

Norris, Lee (arr.) (Kunzel) 1992
CD: CD 80245
127
Album Information
Mouret, Jean-Joseph Rondeau from Premiere Suite March 12, 1990

de Symphonies (How to Trot & 1990
Masterpiece Theatre) CD: CD 80221
(Kunzel)
Mussorgsky, Modest Night on Bald Mountain September 17, 1985;

1988
CD: CD 80128
CD RE: CD 80338
Mussorgsky, Modest Night on Bald Mountain October 23 & 24, 1988

(Kunzel) 1989
CD: CD 80189
Mussorgsky, Modest Polonaise from Boris Godunov September 3 & 13, 1980
(Kunzel) 1983
LP: D-VCL 9019
CD: MWCD 7127
Mussorgsky, Modest Polonaise from Boris Godunov April 11, 2005

(Kunzel) 2006
CD: CD 80657
Newman, Alfred 20th Century Fox Fanfare May 10; September 14, 1987
(Kunzel) 1987
CD: CD 80168
Newman, Alfred How The West Was Won September 15 & 16, 1986
(Kunzel) 1986
LP: DG 10141
CD: CD 80141
CD: SACD 60141
Newman, Randy Suite from The Natural September 9, 1996;

(Kunzel) February 8; September 8, 1997
1998
CD: CD 80468
Newman, Randy The Time of Your Life from June 7, 1999

Beck, Crafton (arr.) A Bug’s Life 2000
128
Album Information
Newsom, Tommy (arr.) Hark! The Herald Angels Sing April 9; September 12, 1989;
1990
CD: CD 80226
Newsome, Tommy (arr.) Oh Come, All Ye Faithful April 9; September 12, 1989;
1990
CD: CD 80226
Newsom, Tommy (arr.) The Christmas Song April 9; September 12, 1989;
Severinsen, Doc (soloist) (Kunzel) December 17 & 18, 1989
1990
CD: CD 80226
Norman, Marsha & Lily’s Eyes from September 14, 1998

Simon, Lucy The Secret Garden, musical 1999
Norman, Monty James Bond Theme September 10, 1990

CD: CD 80251
North, Alex End Title (The White Horse: into September 11 & 12, 1989;
the Sunset) from Dragonslayer October 16, 1989
(Kunzel) 1990
CD: CD 80231
North, Alex Fanfare for 2001: A Space Odyssey December 13 & 14, 1992
CD: CD 80319
Norworth, Jack & Selections from Field of Dreams September 9, 1996;

Tilzer, Albert von (Kunzel) February 8, 1997;
Reineke, Steven (arr.) September 8, 1997
1998
CD: CD 80468
Oddo, John (arr.) White Christmas April 9; September 12, 1989;

1990
CD: CD 80226
129
Album Information
Offenbach, Jacques American Eagle Waltz September 3 & 9, 1983

Collins, Philip (soloist) (Kunzel) 1984
LP: D-VCL 9058
CD: MCD 10022
Offenbach, Jacques Barbe-Bleue June 1978

(Kunzel) 1979
LP: TV 34744
Offenbach, Jacques Can-Can from Orpheus in the Underworld March 1, 2004

(Kunzel) 2004
CD: CD 80625
Offenbach, Jacques Concert Rondo in G Major September 3 & 9, 1983

for Cello and Orchestra 1984
CD: MCD 10022
Offenbach, Jacques D’Ail-Les-Bains Valse September 3 & 9, 1983

(Kunzel) 1984
LP: D-VCL 9058
CD: MCD 10022
Offenbach, Jacques Gaîté Parisienne November 4, 1991

(Kunzel) 1992
CD: CD 80294
Offenbach, Jacques Galop from Geneviève de Brabant November 4, 1991

(Kunzel) 1992
CD: CD 80294
Offenbach, Jacques Galop from La Parisienne March 1, 2004

(Kunzel) 2004
CD: CD 80625
Offenbach, Jacques Kakadu June 1978

(Kunzel) 1979
LP: TV 34744
Offenbach, Jacques L’Ile De Tulipatan June 1978

(Kunzel) 1979
LP: TV 34744
130
Album Information
Offenbach, Jacques La Belle Hélène June 1978

(Kunzel) 1979
LP: TV 34744
Offenbach, Jacques La Grande Duchess de Gérolstein June 1978

(Kunzel) 1979
LP: TV 34744
Offenbach, Jacques La Vie Parisienne June 1978

(Kunzel) 1979
LP: TV 34744
Offenbach, Jacques Les Belles Américaines November 4, 1991

(Kunzel) 1992
CD: CD 80294
Offenbach, Jacques Orpheus in the Underworld June 1978

(Kunzel) 1979
LP: TV 34744
Offenbach, Jacques Orpheus in the Underworld September 17 & 22, 1985

(Kunzel) 1986
CD: CD 80116
Offenbach, Jacques Overture to a Grand Orchestra September 3 & 9, 1983

(Kunzel) 1984
LP: D-VCL 9058
CD: MCD 10022
Offenbach, Jacques Schüler Polka September 3 & 9, 1983

(Kunzel) 1984
LP: D-VCL 9058
CD: MCD 10022
Oldfield, Mike Tubular Bells from The Exorcist October 23, 2000
(Kunzel) 2002
CD: CD 80580
CD: SACD 60580
de Oliveira, Chico Lambada June 4, 1990

(Kunzel) 1990
CD: CD 80235
131
Album Information
Palmer, Christopher (arr.) Round-Up: Anthology of September 15 & 16, 1986

TV Western Themes 1986
CD: CD 80141
CD: SACD 60141
Parker, Ray Jr. Theme from Ghostbusters October 23, 2000

(Kunzel) 2002
CD: CD 80580
CD: SACD 60580
Pearson, Johnny Sleepy Shores April 12 & 13, 1992

Philips, Stu Battlestar Galactica: Main Theme September 17, 1984

(Kunzel) 1984
LP: DG 10106
CD: CD 80106
Pola, Edward & It’s The Most Wonderful Time December 11 & 12, 1999
Wyle, George of the Year 2006
Reineke, Steven (arr.) (Kunzel) CD: CD 80538
Poledouris, Basil Anvil of Crom from November 1; December 12, 1993;

Conan the Barbarian January 16, 1994
(Kunzel) 1994
CD: CD 80342
Poledouris, Basil Hymn to Red October November 1; December 12, 1993;

from The Hunt for January 16, 1994
Red October 1994
Poledouris, Basil Suite from Free Willy June 2 & 3; September 9, 1996;
1997
CD: CD 80440
Poledouris, Basil Theme from Lonesome Dove April 9, 1989

(Kunzel) 1989
CD: CD 80191
132
Album Information
Ponchielli, Amilcare Dance of the Hours from September 3 & 13, 1980
“La Gioconda” 1983
CD: MWCD 7127
Portal, Otilio del & Sweet and Gentle June 4, 1990

Thorn, George (Kunzel) 1990
CD: CD 80235
Porter, Cole I’ve Got You Under My Skin March 8, 1999

Price, J. (arr.) (Kunzel) 2000
CD: CD 80532
Porter, Cole I’ve Got You Under My Skin December 10 & 11, 1994
Reineke, Steven (arr.) from Born to Dance 1995
Porter, Cole Night and Day March 8, 1999

CD: CD 80532
Porter, Cole What is This Thing Called Love? June 8, 1992

Previn, Andre Theme from Valley of the Dolls December 13 & 14, 1992
McGurty, Mark (arr.) (Kunzel) 1993
CD: CD 80319
Prince, Hughie & Boogie Woogie Bugle Boy December 10 & 11, 1994
Raye, Don from Buck Privates 1995
Price, Joseph D. (arr.) Irish Party in March 12; September 9, 2001

The Third Class from Titanic 2002
CD: SACD 60571
Price, Joseph D. (arr.) Simple Gifts March 12; September 9, 2001

(Kunzel) 2002
CD: CD 80571
CD: SACD 60571
133
Album Information
Prokofiev, Sergei March from The Love April 11, 2005

for Three Orange, Op. 33A 2006
Prokofiev, Sergei Peter and the Wolf 1978

(Kunzel) 1979
LP: TC 1623
Proto, Frank (arr.) Go Tell it on the Mountain April 9, 1989;

December 17 & 18, 1989
1990
CD: CD 80226
Puccini, Giacomo In Quelle Trine Morbide from October 15, 1990

Manon Lescaut, Act II 1991
Puccini, Giacomo Medley of Famous Tenor Arias September 11 & 12, 1989
Puccini, Giacomo Nessun Dorma! from Turandot March 12, 1990

(The Witches of Eastwick) 1990
Puccini, Giacomo Nessun Dorma! from Turandot October 15, 1990

(Kunzel) 1991
CD: CD 80260
Puccini, Giacomo O Mio Babbino Caro from Gianni Schicchi March 12, 1990
(A Room With a View) 1990
Puccini, Giacomo O Mio Babbino Carofrom Gianni Schicchi October 15, 1990
(Kunzel) 1991
CD: CD 80260
Puccini, Giacomo Selections from La Bohème October 15, 1990

(Kunzel) 1991
CD: CD 80260
134
Album Information
Puccini, Giacomo Selections from Madama Butterfly October 15, 1990

(Kunzel) 1991
CD: CD 80260
Puccini, Giacomo Selections from Tosca October 15, 1990

(Kunzel) 1991
CD: CD 80260
Puccini, Giacomo Un Bel Dì from Madama Butterfly March 12, 1990

from Gianni Schicchi 1990
(My Geisha) CD: CD 80221
(Kunzel)
Pugni, Cesare Finale No. 8 from Pas de Quatre March 1, 2004

McDermott, William (orch.) (Kunzel) 2004
CD: CD 80625
CD: SACD 60625
Rabin, Trevor Main Title from Armageddon June 7, 1999

CD: CD 80535
Rachmaninoff, Sergei Excerpts from Piano Concerto No. 2 March 12, 1990
(Brief Encounter & more) 1990
Rachmaninoff, Sergei Prelude Op. 3 No. 2 in C-sharp Minor September 17, 1985;
1988
CD: CD 80128
CD RE: CD 80338
Rainger, Ralph & Thanks for the Memory from December 10 & 11, 1994
Robin, Leo The Big Broadcast of 1938 1995
Raskin, David The Bad and the Beautiful June 8, 1992

135
Album Information
Reineke, Steven Casey at the Bat September 9, 1996;

(An American Narrative Tale) February 8, 1997;
1998
CD: CD 80468
Reineke, Steven (arr.) Danny Boy March 12, 2001;

2002
CD: CD 80571
CD: SACD 60571
Respighi, Ottorino Pines of the Appiano Way May 10 & 11, 2003
from The Pines of Rome 2004
Reznicek, Emil von Donna Diana September 17 & 22, 1985

(Kunzel) 1986
CD: CD 80116
Riddle, Nelson (arr.) Brother John March 8, 1999

Sandke, Randy (soloist) CD: CD 80532
Riddle, Nelson Route 66 March 8, 1999

CD: CD 80532
Rimsky-Korsakov, N. Capriccio Espagnol, Op. 34 April 11, 2005

(Kunzel) 2006
CD: CD 80657
Rimsky-Korsakov, N. Dance of the Tumblers from September 3 & 13, 1980

The Snow Maiden 1983
CD: MWCD 7127
Rimsky-Korsakov, N. Dance of the Tumblers from May 4, 1985;

The Snow Maiden June 1 & 2, 1985
(Kunzel) 1985
CD: CD 80115
136
Album Information
Rimsky-Korsakov, N. Mlada: Procession of the Nobles May 4, 1985;

(Kunzel) June 1 & 2, 1985
1985
CD: CD 80115
Rimsky-Korsakov, N. The Flight of The Bumblebee September 11 & 12, 1989

Rio, Chuck Tequila June 4, 1990

(Kunzel) 1990
CD: CD 80235
Rodgers, Richard & Carousel (Orchestral Suite) September 8 & 9, 1991

Hammerstein, Oscar II (Kunzel) 1992
Walter, Paul (arr.) CD: CD 80278
Rodgers, Richard & Cinderella Waltz from Cinderella September 8 & 9, 1991
Bennett, Robert R. (arr.) CD: CD 80278
Rodgers, Richard Five Selections from Victory at the Sea September 6, 1987;
Bennett, Robert R. (arr.) (Kunzel) September 13, 1988
1989
CD: CD 80175
Rodgers, Richard & Flower Drum Song September 8 & 9, 1991

Hammerstein, Oscar II (Orchestral Suite) 1992
Bennett, Robert R. (arr.) (Kunzel) CD: CD 80278
Rodgers, Richard & Oklahoma! (Orchestral Suite) September 8 & 9, 1991

Rodgers, Richard Slaughter on Tenth Avenue October/November 1977

from On Your Toes 1978
Rodgers, Richard & South Pacific (Orchestral Suite) September 8 & 9, 1991
137
Album Information
Rodgers, Richard & State Fair (Orchestral Suite) September 8 & 9, 1991
Bourdon, Rosario (arr.) CD: CD 80278
Rodgers, Richard Suite from The Valiant Years September 6, 1987;

1989
CD: CD 80175
Rodgers, Richard The Carousel Waltz October/November 1977

(Kunzel) 1978
LP: TV 34714
Rodgers, Richard & The King and I (Orchestral Suite) September 8 & 9, 1991
Rodgers, Richard & The Lady is A Tramp March 8, 1999

Hart, Lorenz (Kunzel) 2000
Reineke, Steven (arr.) CD: CD 80532
Rodgers, Richard & The Sound of Music December 13 & 14, 1987
LP: DG 10162
CD: CD 80162
Rodgers, Richard & The Sound of Music (Orchestral Suite) September 8 & 9, 1991
Rome, Harold Be Kind To Your Parents from Fanny December 15 & 16, 1991
(Kunzel) 1992
CD: CD 80245
Roseman, Leonard Main Title from Star Trek IV, September 15 & 26, 1986;
The Voyage Home November 24, 1986;
1990
CD: CD 80146
CD: CD 80383
138
Album Information
Rosenthal, Laurence Main Titles, Love Theme November 1, 1993;

and End Titles December 12, 1993;
from Clash of the Titans January 16, 1994
(Kunzel) 1994
CD: CD 80342
Rossini, Gioachino La Danza September 11 & 12, 1989

Rossini, Gioachino William Tell September 17 & 22, 1985

(Kunzel) 1986
CD: CD 80116
Rossini, Gioachino William Tell Overture (Finale) September 15 & 16, 1986
(Lone Ranger Theme) 1986
CD: CD 80141
CD: SACD 60141
Rota, Nino Theme from The Godfather December 13 & 14, 1992
McGurty, Mark (arr.) (Kunzel) 1993
CD: CD 80319
Rouse, Ervin T. Orange Blossom Special April 9, 1989

(Kunzel) 1989
CD: CD 80191
Rózsa, Miklós Fanfare and Entry November 1, 1993;

of the Nobles from El Cid December 12, 1993;
1994
CD: CD 80342
Rózsa, Miklós Parade of the Charioteers from Ben-Hur May 10, 1987;
1987
CD: CD 80168
Rózsa, Miklós Prelude from Ben-Hur December 13 & 14, 1992

(Kunzel) 1993
CD: CD 80319
139
Album Information
Rózsa, Miklós Suite from Ben-Hur May 15 & 16, 2004 (Orchestra);
Robbin, Daniel (arr.) (Kunzel) October 22, 2004 (Choir)
2005
CD: CD 80631
Rózsa, Miklós Suite from King of Kings May 15 & 16, 2004 (Orchestra);
Robbin, Daniel (arr.) (Kunzel) October 22, 2004 (Choir)
2005
CD: CD 80631
Rózsa, Miklós Suite from Quo Vadis May 15 & 16, 2004 (Orchestra);
Palmer, Chris (compiled) (Kunzel) October 22, 2004 (Choir)
2005
CD: CD 80631
Russell, Willy End Title from Shirley Valentine December 15 & 16, 1990
Palmer, Christopher (arr.) (Kunzel) 1991
CD: CD 80243
Safan, Craig Main Title from The Last Starfighter September 11 & 12, 1989;
1990
CD: CD 80231
Saint-Saëns, Camille Bacchanale from May 4; June 1 & 2, 1985

Samson and Delilah 1985
Saint-Saëns, Camille Bacchanale from May 10 & 11, 2003

Samson and Delilah 2004
Saint-Saëns, Camille Danse Macabre October 23 & 24, 1988

(Kunzel) 1989
CD: CD 80189
Schifrin, Lao Theme from June 2 & 3, 1996;

Silvestri, Alan (arr.) Mission Impossible September 3, 1996
(Kunzel) 1997
CD: CD 80437
CD: CD 80437-DTS
140
Album Information
Schwartz, Stephen O Bless the Lord My Soul February 28; March 1, 1993
Beck, Crafton (arr.) from Godspell 1993
Schwartz, Stephen & When you Believe from June 7, 1999

Zimmer, Hans The Prince of Egypt 2000
Stephenson, J. III (arr.) (Kunzel) CD: CD 80535
Sherman, Richard & It’s A Small World December 18, 1988

Sherman, Robert (Kunzel) 1989
Whitcomb, Ken (arr.) CD: CD 80196
Sherman, Richard & Medley from Marry Poppins December 18, 1988
Sherman, Robert (Kunzel) 1989
CD: CD 80196
Sherman, Richard & Medley from The Jungle Book December 18, 1988
Sherman, Robert & (Kunzel) 1989
Terry Gilkyson CD: CD 80196
Shore, Howard May It Be & Themes from September 9 & 13, 2005
The Lord of the Rings: 2006
The Fellowship of the Ring CD: CD 80664
(Kunzel) CD: SACD 60664
Shore, Howard The Hornburg from September 9 & 13, 2005

The Lord of the Rings: The Two Towers 2006
CD: SACD 60664
Shore, Howard The Ride of the Rohirrim from September 9 & 13, 2005
The Lord of the Rings: 2006
The Return of the King CD: CD 80664
Shostakovich, Dmitri Festive Overture, Op. 96 September 14 & 15, 1987

(Kunzel) 1988
CD: CD 80170
Shostakovich, Dmitri Festive Overture, Op. 96 May 10 & 11, 2003

(Kunzel) 2004
CD: CD 80595
141
Album Information
Shostakovich, Dmitri Polka from The Golden Age, Op. 22 March 1, 2004
(Kunzel) 2004
CD: CD 80625
CD: SACD 60625
Sibelius, Jean Finlandia September 1983

(Kunzel) 1984
CASS: D-VCS 9081
LP: D-VCL 9081
Sieczynski, Rudolf Wien, Wien, run du Allein February 19 & 20, 2000
Reineke, Steven (arr.) (Vienna, City of My Dreams) 2000
Silvestri, Alan Back to the Future September 15 & 26, 1986;

May 10, 1987
1990
CD: CD 80146
Silvestri, Alan End Credits from Contact June 7, 1999

CD: CD 80535
Silvestri, Alan End Credits from June 2 & 3, 1996;

Grumpier Old Men September 9, 1996;
1997
CD: CD 80440
Silvestri, Alan End Titles from The Abyss November 1, 1993;

January 16, 1994
1994
CD: CD 80342
Simon, Paul Bridge Over Troubled Water February 28, 1993;

Neufeld, Don (arr.) (Kunzel) March 1, 1993
1993
CD: CD 80315
142
Album Information
Skylar, Sunny & Bésame Mucho June 4, 1990

Velázquez, Consuelo (Kunzel) 1990
CD: CD 80235
Snow, Mark Threnody in X from The X-Files June 7, 1999

CD: CD 80535
Sondheim, Stephen Children Will Listen from September 14, 1998

Into the Woods, musical 1999
Sondheim, Stephen Sooner or Later (I Always Get December 15 & 16, 1990
Newsom, Tommy (arr.) My Man) from Dick Tracy 1991
Sousa, John Philip La Reine de la Mer March 29, 1982

(Kunzel) 1984
LP: D-VCL 9063
CD: MCD 10005
Sousa, John Philip Myrrha Gavotte March 29, 1982

(Kunzel) 1984
LP: D-VCL 9063
CD: MCD 10005
Sousa, John Philip Peaches and Cream Foxtrot March 29, 1982
(Kunzel) 1984
LP: D-VCL 9063
CD: MCD 10005
Sousa, John Philip Prelude to El Capitán March 29, 1982

(Kunzel) 1984
LP: D-VCL 9063
CD: MCD 10005
Sousa, John Philip Presidential Polonaise March 29, 1982

(Kunzel) 1984
LP: D-VCL 9063
CD: MCD 10005
143
Album Information
Sousa, John Philip Semper Fidelis March 29, 1982

(Kunzel) 1984
LP: D-VCL 9063
CD: MCD 10005
Sousa, John Philip The Gliding Girl Tango March 29, 1982
(Kunzel) 1984
LP: D-VCL 9063
CD: MCD 10005
Sousa, John Philip The High School Cadets March 29, 1982
(Kunzel) 1984
LP: D-VCL 9063
CD: MCD 10005
Sousa, John Philip The National Game September 9, 1996;

Kunzel, Erich (orch.) (Kunzel) February 8, 1996;
September 8, 1997
1998
CD: CD 80468
Sousa, John Philip The Stars and Stripes Forever October/November 1977
(Kunzel) 1978
LP: TV 34714
Sousa, John Philip The Stars and Stripes Forever March 29, 1982
(Kunzel) 1984
LP: D-VCL 9063
CD: MCD 10005
Sousa, John Philip The Stars and Stripes Forever September 9 & 17, 1985;
September 15, 1986;
November 24, 1986
1987
CD: CD 80122
Sousa, John Philip The Thunderer March 29, 1982

(Kunzel) 1984
LP: D-VCL 9063
CD: MCD 10005
144
Album Information
Sousa, John Philip The Washington Post March 29, 1982

(Kunzel) 1984
LP: D-VCL 9063
CD: MCD 10005
Sousa, John Philip Waltz from “Désirée” March 29, 1982

(Kunzel) 1984
LP: D-VCL 9063
CD: MCD 10005
Spivery, William Operator February 28; March 1, 1993

Shaw, Kirby (arr.) (Kunzel) 1993
CD: CD 80315
Staigers, Del (arr.) Carnival of Venice, September 11 & 12, 1989

Fazzi, Christopher (orch.) Fantasia Brillante 1990
Steiner, Max Casablanca Suite September 6, 1987;

1989
CD: CD 80175
Steiner, Max Tara’s Theme from Gone With the Wind May 10, 1987;
1987
CD: CD 80168
Stevens, Leith Prelude from War of the Worlds September 11 & 12, 1989;
1990
CD: CD 80231
Stolz, Robert Zwei Herzen im Dreivierteltakt February 19 & 20, 2000

Reinke, Steven (arr.) (Two Hears in Three-Quarter Time) 2000
Sraus, Oscar Walzerträume (Waltz Dreams) February 19 & 20, 2000

CD: CD 80547
145
Album Information
Strauss, Eduard Bahn Frei Polka, Op. 45 June 2 & 3, 1984

(Kunzel) 1985
LP: DG 10098
CD: CD 80098
Strauss, Eduard Mit Dampf, Polka Schnell February 19 & 20, 2000
(At Full Steam, Fast Polka), Op. 70 2000
Strauss, Eduard Non-Stop Fast Polka, Op. 112 November 4, 1991;

1993
CD: CD 80314
Strauss, Johann Jr. Artists Quadrille, Op. 201 November 4, 1991;

1993
CD: CD 80314
Strauss, Johann Jr. Auf de Jagd Polka, Op. 373 June 2 & 3, 1984
(Kunzel) 1985
LP: DG 10098
CD: CD 80098
Strauss, Johann Jr. Banditen Galop, Op. 378 June 2 & 3, 1984
(Kunzel) 1985
LP: DG 10098
CD: CD 80098
Strauss, Johann Jr. Champagne Polka, Op. 211 June 2 & 3, 1984
(Kunzel) 1985
LP: DG 10098
CD: CD 80098
Strauss, Johann Jr. Chit-Chat Fast Polka, Op. 214 November 4, 1991;
1993
CD: CD 80314
146
Album Information
Strauss, Johann Jr. Click-Clack Galop, Op. 466 November 4, 1991;

1993
CD: CD 80314
Strauss, Johann Jr. Egyptian March, Op. 335 November 4, 1991;

1993
CD: CD 80314
Strauss, Johann Jr. Emperor’s Waltzes, Op. 437 November 4, 1991;

1993
CD: CD 80314
Strauss, Johann Jr. Explosions Polka, Op. 43 June 2 & 3, 1984

(Kunzel) 1985
LP: DG 10098
CD: CD 80098
Strauss, Johann Jr. Frühlingsstimmen Waltzer February 19 & 20, 2000

(Voices of Spring Waltzes) 2000
Strauss, Johann Jr. Im Krapfenwad’l Polka, Op. 336 June 2 & 3, 1984
LP: DG 10098
CD: CD 80098
Strauss, Johann Jr. Im Sturmschritt, Polka Schnell February 19 & 20, 2000
(At the Double, Fast Polka), Op. 348 2000
Strauss, Johann Jr. Jäger Polka (Huntsman Polka), Op. 229 February 19 & 20, 2000
CD: CD 80547
Strauss, Johann Jr. Jubelfest March October/November 1977

(Kunzel) 1978
LP: TV 34715
LP: TVS 34715
147
Album Information
Strauss, Johann Jr. Jubilee Festival March, Op. 396 November 4, 1991;
1993
CD: CD 80314
Strauss, Johann Jr. Magic Bullets Fast Polka, Op. 326 November 4, 1991;
1993
CD: CD 80314
Strauss, Johann Jr. Nachtigall Polka February 19 & 20, 2000

(Nightingale Polka), Op. 222 2000
Strauss, Johann Jr. On The Beautiful Blue Danube June 2 & 3, 1984
(from 2001: A Space Odyssey) 1984
LP: DG 10106
CD: CD 80098
CD: CD 80106
Strauss, Johann Jr. Overture to Die Fledermaus February 19 & 20, 2000
(Kunzel) 2000
CD: CD 80547
Strauss, Johann Jr. Overture to The Gypsy Baron February 19 & 20, 2000
(Kunzel) 2000
CD: CD 80547
Strauss, Johann Jr. Perpetual Motion, 257 November 4, 1991;

1993
CD: CD 80314
Strauss, Johann Jr. & Pizzicato Polka June 2 & 3, 1984

Strauss, Josef (Kunzel) 1985
LP: DG 10098
CD: CD 80098
Strauss, Johann Jr. Rákóczy March October/November 1977

(Kunzel) 1978
LP: TV 34715
148
Album Information
Strauss, Johann Jr. Studenten Polka February 19 & 20, 2000

Kunzel, Erich (arr.) (Student’s Polka), Op. 263 2000
Strauss, Johann Jr. Tales from the Vienna Woods June 2 & 3, 1984
Waltz, Op. 325 1985
CD: CD 80098
Strauss, Johann Jr. Unter Donner und Blitz Polka June 2 & 3, 1984
(Kunzel) 1985
LP: DG 10098
CD: CD 80098
Strauss, Johann Jr. Wiener Blut September 1983

(Kunzel) 1984
CASS: D-VCS 9081
LP: D-VCL 9081
Strauss, Johann Jr. Wine, Women and Song Waltzes, Op. 333 November 4, 1991;
1993
CD: CD 80314
Strauss, Johann Jr. Wiplash Polka, Op. 60 November 4, 1991;

1993
CD: CD 80314
Strauss, Johann Sr. Chinese Galop, Op. 20 November 4, 1991;

1993
CD: CD 80314
Strauss, Johann Sr. Radetzky March, Op. 228 June 2 & 3, 1984
(Kunzel) 1985
LP: DG 10098
CD: CD 80098
Strauss, Johann Sr. Radetzky March, Op. 228 February 19 & 20, 2000
(Kunzel) 2000
CD: CD 80547
149
Album Information
Strauss, Josef Chatterbox Fast Polka, Op. 245 November 4, 1991;

1993
CD: CD 80314
Strauss, Josef Feuerfest Polka, Op. 69 June 2 & 3, 1984

(Kunzel) 1985
LP: DG 10098
CD: CD 80098
Strauss, Josef Jockey Fast Polka, Op. 278 November 4, 1991;

1993
CD: CD 80314
Strauss, Josef Music of the Spheres Waltzes, Op. 235 November 4, 1991;
1993
CD: CD 80314
Strauss, Richard Introduction to Also Spracht Zarathustra September 17, 1984

(Kunzel) 1984
LP: DG 10106
CD: CD 80106
Stravinsky, Igor Finale from The Firebird March 1, 2004

(Kunzel) 2004
CD: CD 80625
Strayhorn, Billy Lush Life June 8, 1992

Suk, Josef Towards A New Life, Op. 35c September 9 & 17, 1985;
November 24, 1986
1987
CD: CD 80122
Suppé, Franz von Light Cavalry September 17 & 22, 1985

(Kunzel) 1986
CD: CD 80116
150
Album Information
Suppé, Franz von Poet and Peasant September 17 & 22, 1985
(Kunzel) 1986
CD: CD 80116
Tatsuo, Takai Astro Boy March December 15 & 16, 1991

(Kunzel) 1992
CD: CD 80245
Tchaikovsky, P.E. 1812 Overture, Op. 49 September 22, 1998;

2001
CD: CD 80541
DVD-Audio: DVD-A 70541
Tchaikovsky, P.E. Capriccio Italien, Op. 45 September 22, 1998;

2001
CD: CD 80541
CD: SACD 60541
Tchaikovsky, P.E. Coronation March for October/November 1977

Alexander III 1978
Tchaikovsky, P.E. Coronation March for September 9 & 17, 1985;

Czar Alexander III May 11, 1986;
November 24, 1986
1987
CD: CD 80122
Tchaikovsky, P.E. Cossack Dance from Mazeppa September 22, 1998;

2001
CD: CD 80541
Tchaikovsky, P.E. Hungarian Dance (Czardas) April 11, 2005

from Swan Lake 2006
151
Album Information
Tchaikovsky, P.E. Festival Coronation March September 22, 1998;

2001
CD: CD 80541
Tchaikovsky, P.E. Garland Waltz from March 1, 2004

Act I, Sleeping Beauty, Op. 66 2004
CD: SACD 60625
Tchaikovsky, P.E. Marche Slave September 1983

(Kunzel) 1984
LP: D-VCL 9081
Tchaikovsky, P.E. Marche Slave September 14 & 15, 1987

(Kunzel) 1988
CD: CD 80170
Tchaikovsky, P.E. Marche Slave September 22, 1998;

2001
CD: CD 80541
Tchaikovsky, P.E. Nutcracker (favorite selections) September 11, 2006

(Kunzel) 2007
CD: CD 80674
Tchaikovsky, P.E. Polonaise from Eugene Onegin, Op. 24 September 22, 1998;
2001
CD: CD 80541
Tchaikovsky, P.E. Russian Dance (Trepak) from April 11, 2005

The Nutcracker, Op. 71 2006
Tchaikovsky, P.E Waltz from Act I, Swan Lake, Op. 20 March 1, 2004
(Kunzel) 2004
CD: CD 80625
152
Album Information
Tchaikovsky, P.E. Waltz from Eugene Onegin September 3 & 13, 1980
(Kunzel) 1983
LP: D-VCL 9019
CD: MWCD 7127
Tchaikovsky, P.E. Waltz from Eugene Onegin, Op. 24 September 22, 1998;
2001
CD: CD 80541
Tchaikovsky, P. E. Waltz of the Flowers from March 1, 2004

Act II, The Nutcracker, Op. 71 2004
CD: SACD 60625
Temperton, Rod Thriller (with SFX) October 23, 2000

(Kunzel) 2002
CD: CD 80580
CD: SACD 60580
Theodorakis, Mikis Theme from Zorba the Greek December 13 & 14, 1992
Beck, Crafton (arr.) (Kunzel) 1993
Patterson, Paul (arr.) CD: CD 80319
Tiomkin, Dimitri Buggy Ride from Duel in the Sun April 9, 1989
(Kunzel) 1989
CD: CD 80191
Tiomkin, Dimitri Gunfight at the OK Corral September 15 & 16, 1986

(Kunzel) 1986
LP: DG 10141
CD: CD 80141
Tiomkin, Dimitri Prelude from Duel in the Sun April 9, 1989

(Kunzel) 1989
CD: CD 80191
Tiomkin, Dimitri Prelude from Giant April 9, 1989

(Kunzel) 1989
CD: CD 80191
153
Album Information
Tiomkin, Dimitri The I Love December 13 & 14, 1992

Beck, Crafton (arr.) & from Friendly Persuasion 1993
Palmer, Christopher (arr.) (Kunzel) CD: CD 80319
Torme, Mel & The Christmas Song December 11 & 12, 1999
Wells, Robert (Kunzel) 2006
Stephenson, James (arr.) CD: CD 80538
Traditional Amazing Grace February 28; March 1, 1993

Renzi, Mike (arr.) (Kunzel) 1993
CD: CD 80315
Traditional Amen! February 28; March 1, 1993

Healey, Bruce (arr.) (Kunzel) 1993
CD: CD 80315
Traditional Caroling Fun, Medley December 11 & 12, 1999

CD: CD 80538
Traditional & Cielito Lindo June 4, 1990

Fernandez, Carlos (Kunzel) 1990
CD: CD 80235
Traditional Honor, Honor / Do Lord February 28, 1993;

Krogstadt, Bob (arr.) (Kunzel) March 1, 1993
1993
CD: CD 80315
Traditional Joshua Fit the Battle of Jericho February 28, 1993;

Healey, Bruce (arr.) (Kunzel) March 1, 1993
1993
CD: CD 80315
Traditional Mexican Hat Dance June 4, 1990

(Kunzel) 1990
CD: CD 80235
Traditional Sea Chanteys April 12 & 13, 1992

Knight, Eric (arr.) (Kunzel) 1992
CD: CD 80292
154
Album Information
Traditional Sing with us of Christmas, Medley December 11 & 12, 1999

CD: CD 80538
Traditional Swing Low / Swing Down February 28, 1993;

Taylor, Steven (arr.) & (Kunzel) March 1, 1993
Hard, Don (arr.) 1993
CD: CD 80315
Trenet, Charles Beyond the Sea April 12 & 13, 1992

CD: CD 80292
Vangelis Theme from Chariots of Fire May 10, 1987;

1987
CD: CD 80168
Various composers Cowboy Songs April 9, 1989

Brubeck, Christopher (arr.) (Kunzel) 1989
CD: CD 80191
Various composers Disney Fantasy Medley December 18, 1988

Healey, Bruce (arr.) & (Kunzel) 1989
Whitcomb, Ken (arr.) CD: CD 80196
Various composers Medly of Famous Cartoon Themes December 15 & 16, 1991
Hayes, Jack (arr.) & (Kunzel) 1992
Healy, Bruce (arr.) & CD: CD 80245
Hill, J. (arr.)
Various composers Medley of TV Adventure Themes September 10, 1990

CD: CD 80251
Various composers Medley of TV Western Themes April 9, 1989

CD: CD 80191
Various composers TV Down on The Farm June 3, 1991

CD: CD 80263
155
Album Information
Verdi, Guiseppe Finale - Act III from Falstaff January 17 & 18, 1994
(Kunzel) 1995
CD: CD 80364
Verdi, Guiseppe Grand March from Act II, Aida May 10 & 11, 2003
(Kunzel) 2004
CD: CD 80595
Verdi, Guiseppe Selections from Aida January 17 & 18, 1994

(Kunzel) 1995
CD: CD 80364
Verdi, Guiseppe Selections from Il Trovatore January 17 & 18, 1994

(Kunzel) 1995
CD: CD 80364
Verdi, Guiseppe Selections from La Traviata January 17 & 18, 1994

(Kunzel) 1995
CD: CD 80364
Verdi, Guiseppe Selections from Rigoletto January 17 & 18, 1994

(Kunzel) 1995
CD: CD 80364
Verdi, Guiseppe Triumphal March from Act II October/November 1977

from Aida 1978
LP: TVS 34715
Verdi, Guiseppe “Va, Penziero” - Act III January 17 & 18, 1994
from Nabucco 1995
Wagner, Josef Franz Under The Double Eagle September 9 & 17, 1985;
November 24, 1986
1987
CD: CD 80122
Wagner, Richard Ride of the Valkyries September 14 & 15, 1987

(Kunzel) 1988
CD: CD 80170
156
Album Information
Waldteufel, Émile À Toi Waltz unknown

(Kunzel) 1983
CD: VU 9009
Waldteufel, Émile Bella Bocca Polka unknown

(Kunzel) 1983
CD: VU 9009
Waldteufel, Émile Bella Mazurka unknown

(Kunzel) 1983
CD: VU 9009
Waldteufel, Émile España Waltz unknown

(Kunzel) 1983
CD: VU 9009
Waldteufel, Émile Estudiantina Waltz unknown

Collins, Philip (soloist) (Kunzel) 1983
CD: VU 9009
Waldteufel, Émile Grande Vitesse Galop unknown

(Kunzel) 1983
CD: VU 9009
Waldteufel, Émile Les Sirènes Waltz unknown

(Kunzel) 1983
CD: VU 9009
Waldteufel, Émile Nuée d’Oiseaux Polka unknown

(Kunzel) 1983
CD: VU 9009
Warbeck. Stephen Main Title from Shakespeare In Love June 7, 1999

CD: CD 80535
Waxman, Franz The Bride of Frankenstein October 23 & 24, 1988

Bernstein, Steven (orch.) (Kunzel) 1989
CD: CD 80189
157
Album Information
Waxman, Franz The Furies Suite September 15 & 16, 1986

(Kunzel) 1986
LP: DG 10141
CD: CD 80141
CD: SACD 60141
Webber, Andrew Lloyd Any Dream Will Do from June 4 & 5, 1995
Reineke, Steven (arr.) Joseph and the Amazing 1996
Technicolor Dreamcoat CD: CD 80405
(Kunzel)
Webber, Andrew Lloyd Don’t Cry for Me, Argentina from Evita June 4 & 5, 1995
CD: CD 80405
Webber, Andrew Lloyd Memory from Cats June 8, 1992

Webber, Andrew Lloyd Memory from Cats June 4 & 5, 1995

CD: CD 80405
Webber, Andrew Lloyd Music of the Night from June 8, 1992

Newsom, Tommy (arr.) Phantom of the Opera 1992
Webber, Andrew Lloyd Overture to The Phantom of The Opera October 23 & 24, 1988
(Kunzel) 1989
CD: CD 80189
Webber, Andrew Lloyd Selections from June 4 & 5, 1995

Beck, Crafton (arr.) Jesus Christ Superstar 1996
Webber, Andrew Lloyd Selections from Sunset Boulevard June 4 & 5, 1995
CD: CD 80405
Webber, Andrew Lloyd Selections from The Phantom June 4 & 5, 1995
Beck, Crafton (arr.) of the Opera 1996
158
Album Information
Webber, Andrew Lloyd You Must Love Me from Evita June 2 & 3, 1996;
Reineke, Steven (arr.) (Kunzel) September 9, 1996;
February 8, 1997;
May 20 & 21, 1997
1997
CD: CD 80440
Weill, Kurt Speak Low June 8, 1992

Weinberger, Jaromír Fugue from May 4; June 1 & 2, 1985

Schwanda the Bagpiper 1985
Weinberger, Jaromír Polka from May 4, 1985;

Schwanda the Bagpiper June 1 & 2, 1985
(Kunzel) 1985
CD: CD 80115
Weinberger, Jaromír Polka and Fugue from May 10 & 11, 2003
Schwanda the Bagpiper 2004
Whelan, Bill The Countless Cathleen March 12, 2001;

from Riverdance on Broadway September 9, 2001
(Kunzel) 2002
CD: CD 80571
CD: SACD 60571
Wildhorn, Frank Into the Fire from September 14, 1998

The Scarlet Pimpernel, musical 1999
Wildhorn, Frank This is the Moment from September 14, 1998

Jekyll & Hyde, musical 1999
Williams, Hank Hey, Good Lookin’ June 3, 1991

Reynolds, Dick (arr.) (Kunzel) 1991
CD: CD 80263
159
Album Information
Williams, John Across the Stars from Star Wars September 9 & 13, 2005
Episode II: Attack of the Clones 2006
CD: SACD 60664
Williams, John Aunt Marge’s Walts from September 9 & 13, 2005
Harry Potter and the Prisoner of Azkaban 2006
CD: SACD 60664
Williams, John Battle of the Heroes from Star Wars September 9 & 13, 2005
Episode III: Revenge of the Sith 2006
CD: SACD 60664
Williams, John Cantina Band September 11 & 12, 1989;

from Star Wars October 16, 1989
(Kunzel) 1990
CD: CD 80231
Williams, John Cantina Band from Star Wars September 9 & 13, 2005
Episode IV: A New Hope 2006
CD: SACD 60664
Williams, John Close Encounters of the November 21, 1983

Third Kind: Main Theme 1984
CD: CD 80094
CD: CD 80495
Williams, John Dorinda Solo Flight February 8; September 8, 1997;

from Always June 21, 1998;
(Kunzel) September 13 & 14, 1998
1999
CD: CD 80495
Williams, John Duel of the Fates from September 9 & 13, 2005
Star Wars Episode I: The Fantom Menace 2006
(Kunzel & Porco) CD: CD 80664
CD: SACD 60664
160
Album Information
Williams, John E.T.: The Bicycle Chase November 21, 1983

(Kunzel) 1984
LP: DG 10094
CD: CD 80094
CD: CD 80495
Williams, John E.T.: The Departure November 21, 1983

(Kunzel) 1984
LP: DG 10094
CD: CD 80094
Williams, John Escape from Venice from September 11, 1989

Indiana Jones and The Last Crusade 1990
CD: CD 80495
Williams, John Harry’s Wondrous World from September 9 & 13, 2005
Harry Potter and the the Sorcerer’s Stone 2006
CD: SACD 60664
Williams, John Hymn to The Fallen from February 8; September 8, 1997;

Saving Private Ryan June 21, 1998;
(Kunzel) September 13 & 14, 1998
1999
CD: CD 80495
Williams, John Main Theme from Star Wars September 9 & 13, 2005
CD: SACD 60664
Williams, John Main Themes from Hook December 12, 1993

(Kunzel) 1994
CD: CD 80342
CD: CD 80495
Williams, John Main Themes from Jurassic Park November 1, 1993

(Kunzel) 1994
CD: CD 80342
CD: CD 80495
161
Album Information
Williams, John Main Title from Star Wars: June 7, 1999

The Phantom Menace / The Flag Parade 2000
Williams, John Main Title from February 8, 1997;

Price, Joseph (arr.) Sugarland Express September 8, 1997;
(Kunzel) June 21; September 13 & 14. 1998;
1999
CD: CD 80495
Williams, John March from 1941 February 8, 1997;

June 21; September 13 & 14, 1998
1999
CD: CD 80495
Williams, John Music from Space Camp September 15 & 26, 1986;
May 10, 1987
1990
CD: CD 80146
Williams, John Olympic Fanfare September 9 & 17, 1985;

September 15, 1986;
November 24, 1986
1987
CD: CD 80122
Williams, John Parade of the Ewoks from September 15 & 26, 1986;
Return of the Jedi November 24, 1986;
1990
CD: CD 80146
Williams, John Parade of the Slave Children from February 8, 1997;

Price, Joseph (arr.) Indiana Jones and the Temple of Doom September 8, 1997;
(Kunzel) June 21, 1998;
September 13 & 14, 1998
1999
CD: CD 80495
162
Album Information
Williams, John Precious Moments from Home Alone December 11 & 12, 1999
Price, Joseph (arr.) (Kunzel) 2006
CD: CD 80538
Williams, John Princess Leia from Star Wars September 9 & 13, 2005
CD: SACD 60664
Williams, John Raiders of the Lost Ark: November 21, 1983

The Raiders’ March 1984
CD: CD 80094
CD: CD 80495
Williams, John Star Wars: Main Title November 21, 1983

(Kunzel) 1984
LP: DG 10094
CD: CD 80094
Williams, John Star Wars: Throne Room & End Title September 17, 1984
(Kunzel) 1984
LP: DG 10106
CD: CD 80106
Williams, John Superman: Love Theme September 17, 1984

(Kunzel) 1984
LP: DG 10106
CD: CD 80106
Williams, John Superman: Theme November 21, 1983

(Kunzel) 1984
LP: DG 10094
CD: CD 80094
Williams, John The Chamber of Secrets from September 9 & 13, 2005
Harry Potter and the Chamber of Secrets 2006
CD: SACD 60664
163
Album Information
Williams, John The Empire Strikes Back: November 21, 1983

The Imperial March 1984
CD: CD 80094
Williams, John The Imperial March from September 9 & 13, 2005
Star Wars Episode V: 2006
The Empire Strikes Back CD: CD 80664
Williams, John The Long Road to Justice from Amistad February 8, 1997;
Collins, Philip (Soloist) (Kunzel) September 8, 1997;
June 21, 1998;
September 13 & 14, 1998
1999
CD: CD 80495
Williams, John The Planet Krypton from Superman I September 15 & 26, 1986;
May 10, 1987
1990
CD: CD 80146
Williams, John Theme from Jaws September 14, 1987

(Kunzel) 1987
CD: CD 80168
CD: CD 80495
Williams, John Toy Planes, Home and Hearth February 8, 1997;

from Empire of the Sun September 8, 1997;
(Kunzel) June 21, 1998;
September 13 & 14, 1998
1999
CD: CD 80495
Williams, Paul Evergreen from A Star is Born December 15 & 16, 1990
CD: CD 80243
Willson, Meredith It’s Beginning to Look a lot December 11 & 12, 1999
Reineke, Steven (arr.) like Christmas 2006
164
Album Information
Withers, Bill Lean on Me February 28, 1993;

Knight, Eric (arr.) (Kunzel) March 1, 1993
1993
CD: CD 80315
Yeston, Maury Godspeed from Titanic, musical September 14, 1998

(Kunzel) 1999
CD: CD 80498
Yeston, Maury The Latest Rag from Titanic, musical September 14, 1998
(Kunzel) 1999
CD: CD 80498
Young, Victor Theme from Around The World December 13 & 14, 1992
Beck, Crafton (arr.) in 80 Days 1993
McGurty, Mark (arr.) (Kunzel) CD: CD 80319
Zimmer, Hans Roll Tide from June 2 & 3, 1996;

Reineke, Steven (arr.) Crimson Tide September 3, 1996
(Kunzel) 1997
CD: CD 80437
CD: CD 80437-DTS
Zimmer, Hans “The Final Game” from A League of Their Own September 9, 1996;
September 8, 1997
1998
CD: CD 80468
165
APPENDIX D
SELECT DISCOGRAPHY:
OTHER NOTABLE RECORDINGS
Composer Album Title Recording Date(s)

Composition Release Date
(Conductor) Album Information
French Recital Music for Trumpet

Douglas Lindsay – Trumpet (solo CD)
Tomasi, Henri Trio Pour Trois Trompettes 1995

1995
CD: CD 32001
German and English Music of the Late Renaissance for Brass

The Eastman Brass Quintet
Ferrabosco, Alfonso II Four Note Pavan September 23 & 24, 1967

Gibbons, Orlando In Nomine 1968 or 1969
Holburn, Anthony Galliard LP: CE 31004
O’Koever, John Fantasie LP: TV 37071S
Scheidt, Samuel Benedicamus Domino CD: ACD 8154
Scheidt, Samuel Canzona Aechiopicam
Scheidt, Samuel Canzona Bergamasca
Scheidt, Samuel Canzona Gallicum
Scheidt, Samuel Galliard Battaglia
Scheidt, Samuel Wendet euch um irh Äderlein
Simmes, William Fantasie
Weelkes, Thomas As Wanton Birds
Weelkes, Thomas Death Hath Deprived Me
Weelkes, Thomas In The Pride of May
Weelkes, Thomas O Care, Thou Will Despatch Me
Weelkes, Thomas Sit Down and Sing
National Arts Centre Orchestra
Eckhardt-Gramatté, S.C. Triple Concerto for unknown

Bassoon, Clarinet and Trumpet 1976/1985/1999
(Bernardi) LP: CBC SM 272
CD: ACM 21
CD: PMB 303
166
APPENDIX E
COLLINS’ EQUIPMENT
Bb trumpet: Vincent Bach Stradivarius; medium-large bore

#37 bell; silver plated
C Trumpet: Vincent Bach Stradivarius; large bore

25H leadpipe; #229 bell; silver plated
D Trumpet: Yamaha
Eb Trumpet: Schilke; E 3-L (two bells)
A/Bb Piccolo Trumpet: Schilke; P5-4; silver plated
Cornet Bach
Rotary Trumpet: Monke C
Mouthpieces: Vincent Bach 1C, 24 throat, 24/symphonic backbore

(Bb/C trumpets)
Vincent Bach 7C and 7E (piccolo trumpet)
Mutes: Dennis Wick Aluminum Straight Mute:

For loud passages which require penetration, i.e. R. Strauss’ Ein
Heldenleben and O. Respighi’s Pines of Rome
Vincent Bach Black Plastic/Rubber Straight Mute:

For softer passages, i.e. B. Bartok’s Concerto for Orchestra, mvnt.
II, D. Shostakovich’s Piano Concerto, mvnt. II
Vincent Bach White Mercedes Model Straight Mute:

For even softer passages, i.e. C. Debussy’s La Mer opening solo
Vacchiano Aluminum Straight Mute:

For medium presence; not too loud but not to stuffy
Dennis Wick Adjustable Cup Mute:

For Enesco’s Legend, Arutunian’s Trumpet Concerto, and as an
option for Shostakovich’s Piano Concerto203 204
203
204
167
APPENDIX F
HUMAN SUBJECTS COMMITTEE

INSTITUTIONAL REVIEW BOARD APPROVAL
The Florida State University

Office of the Vice President For Research
Human Subjects Committee
Tallahassee, Florida 32306-2742
(850) 644-8673 · FAX (850) 644-4392
APPROVAL MEMORANDUM
Date: 1/9/2018
To: John Kilgore
Dept.: MUSIC SCHOOL
From: Thomas L. Jacobson, Chair
Re: Use of Human Subjects in Research

PHILIP COLLINS: THE CAREER OF A DISTINGUISHED TRUMPET PERFORMER AND
PEDAGOGUE
The application that you submitted to this office in regard to the use of human subjects in the
proposal referenced above have been reviewed by the Secretary, the Chair, and one member of
the Human Subjects Committee. Your project is determined to be Expedited per per 45 CFR §
46.110(7) and has been approved by an expedited review process.
The Human Subjects Committee has not evaluated your proposal for scientific merit, except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit. This approval does not replace any departmental or other approvals, which may be
required.
If you submitted a proposed consent form with your application, the approved stamped consent
form is attached to this approval notice. Only the stamped version of the consent form may be
used in recruiting research subjects.
If the project has not been completed by 1/7/2019 you must request a renewal of approval for
continuation of the project. As a courtesy, a renewal notice will be sent to you prior to your
expiration date; however, it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee.
You are advised that any change in protocol for this project must be reviewed and approved by
the Committee prior to implementation of the proposed change in the protocol. A protocol
168
change/amendment form is required to be submitted for approval by the Committee. In addition,
federal regulations require that the Principal Investigator promptly report, in writing any
unanticipated problems or adverse events involving risks to research subjects or others.
By copy of this memorandum, the Chair of your department and/or your major professor is
reminded that he/she is responsible for being informed concerning research projects involving
human subjects in the department, and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations.
This institution has an Assurance on file with the Office for Human Research Protection. The
Assurance Number is FWA00000168/IRB number IRB00000446.
Cc: Christopher Moore, Advisor

HSC No. 2017.22697
169
APPENDIX G
FSU IRB HSC APPROVED SURVEY QUESTIONS
Participant Information
Name:
Current and/or past positions(s):
Participant relationship to Philip Collins
How long have you known Philip Collins:
In what capacity did you interact with Philip Collins:
Philip Collins as a performer
Can you describe Philip Collins within the artistic workplace:
Can you describe Philip Collins as a colleague:
What single artistic characteristic would you ascribe to Philip Collins:
What aspect of Philip Collins’ performance legacy is most notable:
Is there a recording(s) of Philip Collins that stands out to you, or one that you would recommend:
What do you believe aided Philip Collins’ success as a professional trumpet player:
Is there an aspect of Philip Collins which influenced your career as a performer:
Philip Collins as an educator
Can you describe a typical lesson, or course of study, with Philip Collins:
In a few words, can you describe Philip Collins’ pedagogy:
Is there a unique characteristic to Philip Collins’ approach to teaching:
Is there an aspect of Philip Collins’ pedagogy that impacted you in a positive way:
Is there an aspect of Philip Collins’ pedagogy which influenced your pedagogy:

170
Do you, or have you, studied from Philip Collins’ published materials:
Supplementary Questions
Do you have an artistic or performance memory with Philip Collins:
Do you have a lesson memory with Philip Collins:
Is there a memorable story of Philip Collins that you wish to share:
Treatise Questions
Is there any portion of this survey you wish to omit?
Within the final treatise, do you wish to be quoted or remain anonymous?
In the final treatise Appendix, do you wish to have a copy of your survey included or excluded?
171
REFERENCES
“A History of the Pittsburgh Symphony Orchestra.” Pittsburgh Symphony Orchestra. Web. May
4, 2018. https://pittsburghsymphony.org/pso_home/web/about-landing/history/history-of-
the-pittsburgh-symphony-orchestra.
“About.” The Cincinnati Chamber Orchestra. Web. May 10, 2018.

https://www.ccocincinnati.org/aboutcco/.
“About Us – Cincinnati Symphony Orchestra.” Cincinnati Symphony Orchestra, Web. May 1,

2018. cincinnatisymphony.org/about-us/.
“Additional Conductors – Jesús López-Cobos.” Cincinnati Symphony Orchestra. July 5, 2015.

Web. May 1, 2018. cincinnatisymphony.org/about-us/conductors/additional-conductors/.
Broiles, Karen; Broiles, Thresa; Mortenson, Gary. “Mel Broiles: Biography.” Windsongpress.
Web. March 28, 2018.
http://www.windsongpress.com/brass%20players/trumpet/Broiles.pdf.
Collins, Philip. 100 Trumpetudes: Performers’ Show Prep. Cincinnati, Ohio: Collinsnotes
Publications, 2007. Print.
Collins, Philip. Classic Style: A Collection of Favorites from the Classical Repertoire.
Cincinnati, Ohio: Collinsnotes Publications, 2018. Print.
Collins, Philip. In The Singing Style. Cincinnati, Ohio: Queen City Brass Publications, 1982.
Print.
Collins, Philip. E-mail interview message to author. Received March 12, 2018; March 30, 2018;
March 31, 2018; April 5, 2018; April 7, 2018; April 13, 2018; April 22, 2018; April 23,
2018; May 2, 2018; May 5, 2018; July 8, 2018; July 9, 2018; July 10, 2018; September 5,
2018; October 1, 2018; October 3, 2018; October 5, 2018; October 10, 2018; October 11,
2018; October 22, 2018.
Collins, Philip. Facebook message to author. Received October 11, 2018.
Collins, Philip. Piccolo Trumpet Studies. Cincinnati, Ohio: Collinsnotes Publications, 2012.
Print.
Collins, Philip. TrumpetMatters. Blogspot, March 2006-present. Web. August 30, 2018.
http://philstudents.blogspot.com/.
___________. “What to Pack for the Audition.” TrumpetMatters. Blogspot, October 5, 2011.
Web. August 30, 2018. http://philstudents.blogspot.com/2011/.
172
Collins, Philip. Trumpet 1, Pops Orchestra: 138 Original Composition in the Style of the Pops
Repertoire. Cincinnati, Ohio: Collinsnotes Publications, 2006. Print.
Cooper, Catherine. “Calendar: Music/Dance.” Cincinnati Magazine July 1989: 29. Google
Books. Web. May 5, 2018.
https://books.google.com/books?id=rusCAAAAMBAJ&pg=PA29&dq=philip+collins+tr
umpet&hl=en&sa=X&ved=0ahUKEwix4LKSnJHcAhXWITQIHb0fDC44ChDrAQgsM
AE#v=onepage&q=philip%20collins%20trumpet&f=false.
Elste, Martin, and Schwinger, Wolfram. “Gielen, Michael (Andreas).” Grove Music Online.
Oxford Music Online, January 20, 2001 and February 28, 2002. Web. May 6, 2018.
http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/grovemusic/view/10.1093/gmo/978
1561592630.001.0001/omo-9781561592630-e-0000011109?rskey=zAkA11&result=1.
Frederiksen, Brian. Arnold Jacobs: Song and Wind. Gurnee, Illinois: Windsong Press, 1996. 88-
89. Print.
Gabrieli, Giovanni. The Antiphonal Music of Gabrieli. Columbia Masterworks, 1969. LP and
CD.
Gustin, Daniel. Report on the Twenty-Seventh Session of the Berkshire Music Center. Lenox,
Massachusetts: Boston Symphony Orchestra, 1969. Archive.org and the Boston
Symphony Orchestra Archives. Archive.org. Web. 5, 19, 21, 154, 503. April 20, 2018.
https://archive.org/details/tanglewoodmusicc1969bost/page/n0.
“History, 1895 – Today.” Cincinnati Symphony Orchestra. Web. May 1, 2018.

https://cincinnatisymphony.org/about-us/history/.
Jennings, Sarah. “About the National Arts Centre.” National Arts Centre. Web. April 24, 2018.
https://nac-cna.ca/en/about/history.
Rosenberg, Donald. The Cleveland Orchestra Story: Second to None. Cleveland, Ohio: Gray &
Company Publishers, 2000. 35-59 & 396-422. Print.
“S.C. Eckhardt-Gramatté 100 – A Centenary Celebration.” Discogs. Web. April 25, 2018.
https://www.discogs.com/Various-SC-Eckhardt-Gramatté-100-A-Centenary-
Celebration/release/11473893.
173
Sherman, Rodger. “Cleveland Orchestra & More.” Bernard Adelstein: Virtuoso Trumpeter &
The International Trumpet Guild Journal, Dec. 1988. Web. March 28, 2018.
www.bernardadelstein.com/cleveland.html.
Sowder, Fred. “Calendar – Music/Dance.” Cincinnati Magazine Jan. 1979: 24. Google Books.
Web. May 5, 2018.
https://books.google.com/books?id=YAsDAAAAMBAJ&pg=PA24&dq=philip+collins+
trumpet&hl=en&sa=X&ved=0ahUKEwilpbOOm5HcAhXiOn0KHWlOB9kQ6wEINDA
C#v=onepage&q=philip%20collins%20trumpet&f=false.
“Tanglewood Music Center History.” Tanglewood Music Center. Boston Symphony Orchestra.
Web. April 20, 2018. https://www.bso.org/brands/tanglewood-music-center/about-the-
tmc/history.aspx.
Tillery, Patrick. Qualtrics survey interview. Submitted July 22, 2018. Web.
Wyler, Joan. “Cityscape – Music.” Cincinnati Magazine Nov. 1977: 20. Google Books. Web.
May 5, 2018.
https://books.google.com/books?id=xx0DAAAAMBAJ&pg=PA20&dq=philip+collins+t
rumpet&hl=en&sa=X&ved=0ahUKEwilpbOOm5HcAhXiOn0KHWlOB9kQ6wEIMDA
B#v=onepage&q=philip%20collins%20trumpet&f=false.
174
BIOGRAPHICAL SKETCH
John Kilgore is an ABD Doctoral Candidate in Trumpet Performance at Florida State
University (FSU) in Tallahassee, Florida and studies under Dr. Christopher Moore. At FSU,
Kilgore was a Graduate Teaching Assistant for the Trumpet Studio, where he taught applied
trumpet lessons and coached chamber music.
Currently, Kilgore serves as Principal Trumpet of the Boise Philharmonic in Boise, Idaho,
a position he has held since August 2017. Additionally, he performs as Principal Trumpet with the
Boise Philharmonic Brass Quintet, Boise Philharmonic Chamber Players, Ballet Idaho, and
frequently performs with the Boise Baroque Chamber Orchestra. As a commercial musician, he
regularly performs Principal Trumpet on productions including CINE Concerts, Disney Concerts
and on additional commercial music tours. Additionally, Kilgore has performed as guest-Principal
Trumpet of the Tallahassee Symphony Orchestra, and has performed with the West Virginia
Symphony and Lexington (KY) Philharmonic. As an educator, Kilgore is the Adjunct Professor
of Trumpet at Boise State University (BSU), a position he has held since January 2018. At BSU,
he teaches applied trumpet lessons and coaches chamber music. He also maintains a private
teaching studio of elementary, middle, and high school students.
A native of Cleveland, Ohio, Kilgore completed a Bachelor of Music degree at Ohio
University (studying under John Schlabach) and a Master of Music degree at the College-
Conservatory of Music at the University of Cincinnati (studying under Alan Siebert and Philip
Collins).
175

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Florida State University Libraries

Electronic Theses, Treatises and Dissertations The Graduate School

Philip Collins: The Career of a

PHILIP COLLINS: THE CAREER OF A DISTINGUISHED

TRUMPET PERFORMER AND PEDAGOGUE

A Treatise submitted to the

© 2018 John Robert Kilgore

enthusiasm, this project would not have been possible.

throughout the entirety of my doctoral program.

have supported me throughout my journey.

reach my aspirations without their support.

ABSTRACT .................................................................................................................................. vii

Statement of Purpose ...................................................................................................................2

2. BIOGRAPHY: EARLY LIFE ....................................................................................................5

3. BIOGRAPHY: ACADEMIC AND FESTIVAL EDUCATION ................................................9

Eastman School of Music ............................................................................................................9

4. BIOGRAPHY: EARLY PROFESSIONAL ORCHESTRAL EXPERIENCES .......................13

The Cleveland Orchestra ...........................................................................................................13

5. BIOGRAPHY: THE CINCINNATI SYMPHONY ORCHESTRA .........................................16

6. PEDAGOGICAL APPROACH ................................................................................................22

In The Singing Style, 1982 .........................................................................................................28

Lessons Learned at Auditions ...................................................................................................36

9. COLLINS’ PRIMARY TEACHERS........................................................................................37

Melvin ‘Mel’ Broiles .................................................................................................................37

10. ORCHESTRAL AUDITIONS.................................................................................................47

On Audition Preparation ...........................................................................................................47

11. ADDITIONAL ARTISTIC EXPERIENCES ..........................................................................50

In Chamber Music .....................................................................................................................50

12. REFLECTIONS FROM COLLEAGUES, STUDENTS AND FRIENDS..............................53

Within the Artistic Workplace ..................................................................................................53

13. CONCLUSION ........................................................................................................................56

A. ANNOTATED BIBLIOGRAPHY OF PUBLISHED MATERIALS ......................................58

BIOGRAPHICAL SKETCH .......................................................................................................175

upbringing, education, professional career experiences and contributions as an educator. The

document for current and future generations of musicians.

In addition to a lengthy orchestral career, Collins is the Adjunct Associate Professor of

Trumpet at the College-Conservatory of Music at the University of Cincinnati. His effectiveness

performance, and has published hymn arrangements for trumpet ensemble.

communities is important to document and share.

In addition to an orchestral career, Collins is a collegiate music educator. Currently, he

serves as Adjunct Associate Professor of Trumpet at the College-Conservatory of Music (CCM)

Symphony, Boise Philharmonic, West Virginia Symphony, Lexington Philharmonic, Pershing’s

for current and future generations of musicians.

The purpose of this treatise is to provide comprehensive documentation of Philip Collins’

dedication as an educator is evidenced by his students’ placement in professional ensembles,

important resource that further captures the significance of his career.

Methods and Procedures

examination of audio recordings.

conclusion of the treatise and is followed by appendices.

BIOGRAPHY: EARLY LIFE

Collins decided to pursue becoming a professional orchestral trumpet player.12

BIOGRAPHY: ACADEMIC AND FESTIVAL EDUCATION

Eastman School of Music

level of musicianship expected provided a significant and rewarding challenge, as he recalls:

As Collins transitioned to the upperclassman level, his artistic maturation provided

Orchestra and undertake graduate studies at the Cleveland Institute of Music.25

competition.”26 A few of Collins’ trumpet classmates included Vince DiMartino, international

suggests a bit of advice: