{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://streaming.peabody.jhu.edu/iiif/mg7fq9qw6p/manifest","type":"Manifest","label":{"en":["Langston Fitzgerald oral history, 2002 May"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/008/original/peabody-institute.logo.large.horizontal.blue.cropped.png?1549570058","metadata":[{"label":{"en":["Description"]},"value":{"en":[" Langston Fitzgerald is a trumpeter who played for the Baltimore Symphony Orchestra from 1970 to 2003 and served on the Peabody Conservatory faculty. A past winner of the John F. Kennedy Center Stephen Sondheim Inspirational Teacher Award, he has also played with the National Symphony Orchestra in Washington, D.C., and served as assistant principal trumpet with the St. Louis Symphony Orchestra. He has been principal trumpet and musical contractor of the Baltimore Choral Arts Society Orchestra and a professor at Penn State University. In this telephone interview with an unidentified student interviewer, Fitzgerald discusses the music teachers he studied with, his studies at Catholic University, and his early career. (Abstract)"," Poor audio quality and low levels present on source media. (Physical Description)"]}},{"label":{"en":["Date"]},"value":{"en":[" 2002-05 (created)"]}},{"label":{"en":["Agent"]},"value":{"en":[" Fitzgerald, Langston (Interviewee)"]}},{"label":{"en":["Language"]},"value":{"en":[" English (Primary)"]}},{"label":{"en":["Format"]},"value":{"en":["audio/mp3"]}},{"label":{"en":["Publisher"]},"value":{"en":["Peabody Institute of the Johns Hopkins University"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["The collection is open for use. Contact peabodyarchives@lists.jhu.edu for more information."]}},{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://aspace.library.jhu.edu/repositories/4/archival_objects/215352"]}}],"summary":{"en":[" Langston Fitzgerald is a trumpeter who played for the Baltimore Symphony Orchestra from 1970 to 2003 and served on the Peabody Conservatory faculty. A past winner of the John F. Kennedy Center Stephen Sondheim Inspirational Teacher Award, he has also played with the National Symphony Orchestra in Washington, D.C., and served as assistant principal trumpet with the St. Louis Symphony Orchestra. He has been principal trumpet and musical contractor of the Baltimore Choral Arts Society Orchestra and a professor at Penn State University. In this telephone interview with an unidentified student interviewer, Fitzgerald discusses the music teachers he studied with, his studies at Catholic University, and his early career."," Poor audio quality and low levels present on source media."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["The collection is open for use. Contact peabodyarchives@lists.jhu.edu for more information."]}},"provider":[{"id":"https://streaming.peabody.jhu.edu/aboutus","type":"Agent","label":{"en":["Peabody Institute of the Johns Hopkins University"]},"homepage":[{"id":"https://streaming.peabody.jhu.edu/","type":"Text","label":{"en":["Peabody Institute of the Johns Hopkins University"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/008/original/peabody-institute.logo.large.horizontal.blue.cropped.png?1549570058","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/411/small/fitzgerald.jpg?1649885018","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411","type":"Canvas","label":{"en":["Media File 1 of 1 - pims0091_FitzgeraldL_200205_01.mp3"]},"duration":1514.03102,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/411/small/fitzgerald.jpg?1649885018","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/411/original/pims0091_FitzgeraldL_200205_01.mp3?1624270829","type":"Audio","format":"audio/mpeg","duration":1514.03102,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913","type":"AnnotationPage","label":{"en":["AUTO_TRINT_pims0091_FitzgeraldL_200205_01.mp3 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e Let's go ahead. The first question was, where did you grow up and what was it like growing up outside a major city in Washington, D.C.?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=20.87,29.6"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Well. I grew up in Prince George's County, where my house was about a little more than half a mile from the district line. I went to school there, elementary school, Fairmont Heights Elementary School, and then Fairmont Heights Junior, Senior High School. Which is located actually right behind my house. And as far as what it was like to grow up, there in the area, I spent a lot of time doing a lot of out of school musical activities. Particularly when I was in high school, I played a lot of orchestras and so forth, and the fact that those were in the metropolitan area like Washington, D.C., afforded me the opportunity to get some really great orchestral experience.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=31.58,97.99"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e Sure, I bet. How did your parents influence you musically when you were growing up? I know your dad was a jazz trumpet player. How did that influence you to go into music?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=101.07,111.3"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e He wasn't really a jazz player. I mean, he played a little. At one point, he spent time in a combo, but he mainly played--went to Virginia State in Petersburg. I never knew that he was a trumpet player or played the trumpet. Until I found the instrument in the closet one day [laughter]. And that's how--I was about eight years old or so. And I found this black box in the closet. Made my big discovery.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=112.206,141.66"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e That's funny.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=144.09,144.42"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e And my mother actually played keyboards. She played piano and organ. Matter of fact, she had an organ in the house.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=146.749,153.32"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e Oh wow. So they didn't. There was no pressure at home for you to jump right into music at all.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=158.77,163.3"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Oh no. It was something I want to do. They actually wanted me--they wanted to make sure that I pursued what I wanted to do, and that's what I wanted to do. A lot of my experiences brought me closer and closer to music and traveling down that path. So, and they supported me.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=167.469,194.89"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e And that's important. Can you talk a little about your early college musical experiences at Howard? What was that like?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=197.3,204.91"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e I commuted. I didn't live on campus because I didn't have the funds to do that. And so I was getting up very early in the morning after coming very late was the norm. I would get there early in the morning, of course my mother couldn't use a car downtown. And I was able to use the family car, so I had her car anyway, and I took her to the bus stop and then I went on up to Howard. And I would get there very early to get a parking place, and I practiced. I would go to the practice area in the College of Fine Arts there, early in the morning. There were two of these to open the place up. Andrew White, and a very outstanding musicians who still live in the Washington area. But it was a great experience at Howard, a very strong department, there were a lot of stars who were in school at the time, Jessye Norman, Donny Hathaway. [Unclear names]. I can go on and on talking about people who were there at the time. Very, very strong music department. I did the marching band thing there, but I played in other orchestras outside of Howard University because Howard didn't have an orchestra. That's not something that they really supported at the time. As a matter of fact, later on I became a faculty member, that's something that I tried to develop and actually, sorry to say, I didn't get much support because that was something that they really didn't feel--something that they wanted to support, so that was the way that went.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=209.46,350.596"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e And who were some of your teachers early on in your in your early career that really influenced you to keep going with music?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=353.06,359.023"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e My trumpet teachers?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=359.043,359.052"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e Yes.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=359.052,359.052"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e My first teacher, I can't even fathom not mentioning him I suppose. I wrote an article recently for Maryland and the [Unclear] Journal. I published, and I give thanks to my music teacher, and I talk all about him and how he started me. How he was very important to me, and actually, when I was in the school back in Prince George's County, when I was growing up, the schools were segregated, which is hard to believe. And this particular band director the Fairmont Heights junior/senior high school grades seven through twelve, didn't have any in any school to see this program like the white schools did, they had the junior high school and so forth. He came over to the elementary school and started a band program. That's the program I started in, but he was very important to me.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=363.924,431.127"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Another teacher that I had, John Stevens, who still lives in the Washington area out in Montgomery County, and he was later a conductor, or at least I played with him, he was a composer and conductor for the Washington Camerata for New Music. We had several concerts. We made a lot of recordings, actually. And there was William Penn, who was at Howard University and helped me. I learned an awful lot from him. His background was the University of Michigan. Early on, he was one of the first Blacks to go through the music department at University of Michigan, and another friend of mine taught me trumpet at Howard University for a couple of years. It was Ambrose Jackson. He was a student of my principal teacher, who was, my primary teacher was Lloyd Geisler, who was the associate conductor and principal trumpet of the National Symphony for many years, and I stay in touch with him. I just say him a few days ago. He's about ninety years old right now. He's hanging in there. So those are my principal teachers--oh one other teacher, actually a couple more. [Unclear name], who came along, sort of as an interim teacher, who was off on the National Symphony, and he later left the Washington area to be the [unclear] of the Philadelphia Orchestra. And the one other man that I studied with for a summer at [unclear] was Robert Nagel, so those are all my teachers.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=433.6,551.521"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e Wow, good list. Can you pinpoint a couple instances when you were in college or beyond that had a real profound musical moment in your life?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=552.67,565.75"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e In college? Or after? I think I was in college at Howard, I got a chance to play one particular piece that Norman Dello Joio called The Song of Open Road, which was written as a choral piece with a solo trumpet, an unaccompanied solo trumpet in the beginning. And I got a trumpet part throughout and that piece sort of gave me an opportunity to sort of be put on the map at Howard and I played it on a big tour and I played it in Washington a number of times then I actually played it on a radio broadcast, and that was a big deal [unclear]. I think that was special, I guess my work at Howard University was Warner Lawson, who's a super outstanding person in choral music. I guess, my opportunity to play in orchestras around the Washington area while I was at Howard University. I had a lot of experience playing at the GW [George Washington] Orchestra and American University Orchestra. [DISTORTION]","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=568.221,653.291"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e So those were, I think, rather riveting things in my college years.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=669.05,673.396"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e I found out that you played in the Navy Band for a while. Could you talk about that experience a little and how different that was from being an orchestral player? Or is it different?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=680.01,692.93"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Well, actually, it was a rather--it came along at a time. Well, I mean, I can tell you it was really tough for African Americans to get into the band and I can remember trying to get into the Marine Band and being told that there weren't openings, but there really were openings, but I was told that to sort of keep me out, and I have a couple other friends who were in the same position, but when I auditioned for the Navy Band, there were three African Americans in a pool of about 156 musicians. Quite a low percentage, but as far as what that was like, I mean, I learned a lot about playing. I learned a lot about myself. I learned how to play. When I was under pressure to have to play in the moment and get the notice at like six o'clock in the morning, and I learned how to play loud and I learned how to conserve my energy. So, I mean, those are things that I must say I--and I think I became a better musician because I was surrounded by a lot of good players when I was in there.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=693.65,784.169"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e And is it much different from what you're doing now in BSO [Baltimore Symphony Orchestra]? How different is it to play in a military band versus in an orchestra?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=784.17,795.42"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Well, it's a little different sound, a different instrument, too. I play a C trumpet predominantly in the orchestra. But I played a B-flat instrument all the time in the Navy, and a large portion of my career, actually, I was in the ceremonial band. They call it the honors band. And we spent a lot of time at-- [DISTORTION]. It was during the Vietnamese conflict. At one time, I was actually, at one point, being auditioned to be the solo cornet. I was one of three people that they sort of chose to do that. And I didn't win the chair, but it was an experience. And there were other moments when I played concertos with the band, and that was. That was special.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=797.96,857.95"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e But as far as focusing in on how--I mean playing in an orchestra is just one type of playing and in a band is another time playing. It's hard to really describe now in this interview. The writing is quite a bit different. You don't have to worry about transposition as much in a band, maybe, there might be isolated instances, but in the orchestra, yes, you have to transpose a lot. I guess those are the main differences.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=859.71,891.179"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e Could you talk just briefly about your experiences at Catholic University?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=895.6,901.81"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e You mean as a student?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=903.66,904.15"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e Yes.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=904.15,904.15"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Well, actually, it goes way back. I mean, my first situation as a student was when I was in a pre-college music class. I traveled over to Catholic U every Saturday morning when I was quite young. And that was very much riveting for me because it really gave me a real strong background and in harmony and sight-singing. When I went to college, I was real good at that. And it was mainly attributable to the fact that I had done that. Also, as a young musician in high school, I had opportunities to play with a Catholic University orchestra, too. I didn't mention that earlier, but I did. And then later, while I was in the Navy Band, I got my master's while I was in the Navy Band and also I got my doctorate, later. After I had been in the Baltimore Symphony. But I played principal trumpet in the orchestra for a big group at the time, and it was really tough because, initially, I was appointed as principal trumpet, but they had so many students that they had to audition. I remember my last two or three semesters they had the audition. They had as many 30 or 40 trumpet players auditioning. And I still was the principal trumpet in the orchestra.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=906.83,1008.287"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e And how are the ensemble's different at Catholic versus Howard? Did you find them more demanding?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1011.65,1018.85"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Howard didn't have an orchestra, so that's one big thing. As far as the wind ensemble, I guess they were very similar, and I would say that the big band, stage band, or jazz orchestra, that developed over the years was very, very strong and they're still strong.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1021.42,1050.12"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e Can you talk a little bit about your early years with the BSO? Your predecessor was a guy named Wilmer Wise?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1054.92,1061.19"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Not really. I mean, people think that because he was Black, but I didn't really come in and take his chair. He was the associate principal trumpet and I actually came in to play second, so I wasn't really filling his chair. But he was, I must say, he was responsible for me getting an opportunity to audition because I remember I had played a rehearsal at the Catholic University Orchestra on Monday night. And I came in and had his message on my machine, to the fact that he was going to be leaving the orchestra and that they're going to have some auditions and I contacted the personnel manager. Well, he hadn't done that, I probably wouldn't be in an orchestra right now because I was getting out of the band, the Navy Band, and I had sent a lot of letters, but, of course, to be on file in case they have auditions, but, they didn't know me and, of course they wouldn't be calling me. So it was nice that Wilmer did that.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1063.319,1135.937"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e Yeah, so once you were the new guy, how was that for your first couple of years there?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1137.94,1143.46"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Well, actually when I came, as I said, you know, I didn't replace Wilmer. Actually, there were two openings at one time, so I wasn't the only new guy. I mean, I was one of two new guys, so that was--you know, misery has company, but it was just the job, and I was learning and I'm having fun, and all that and. Nervous like anybody else. But I've survived for 32 years.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1144.27,1180.8"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e That's right. And during those 32 years, you've had at least three different conductors. Can you talk about the differences between them and what they were like to work with?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1181.19,1194.99"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Well, trying to be as diplomatic as possible. Well, Sergiu Comissiona hired me. And I guess he saw something and wanted to hire me. And I feel indebted to him for that. He was very much a taskmaster when he conducted us. There were times when he sort of played games, and he can make life really pretty miserable for some people. If he thought that you possessed some weakness or something, I mean, he would really harp on it. I mean, that was one of those things he was like.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1195.62,1253.832"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e And then [David] Zinman came along. Zinman was different in the sense he's an American conductor. He had a little different approach. He's very much into contemporary music. He did a lot for the orchestra, in that respect, and we recorded an awful lot of stuff. Some people didn't like the contemporary music, but and some people didn't like his approach. But I think the orchestra made some tremendous strides during his regime.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1256.37,1293.6"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Now, we have Yuri Temirkanov . Yet another different style. He's a very expressive conductor. He's of the school of orchestra that has a very wide, dynamic range, much, much wider than Zinman. Zinman didn't like to hear the brass. This guy likes to hear the brass. Anytime Zinman would see trumpets getting ready to play, he would give you a hand. It's too loud already.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1296.24,1330.964"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e That's no good.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1333.19,1333.19"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e This conductor really wants to hear it. Not that, he doesn't want to force you to play softly. Because he really wants to hear a beautiful sound that's soft, too. He has a very wide dynamic range, and he's a very expressive conductor, who likes to really hear people project their individuality into the music.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1334.214,1357.73"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e And do you think the orchestra has changed with each conductor?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1360.28,1366.19"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Almost definitely it happened. It just happens.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1369.74,1369.86"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e And what's your hope for the future of the BSO and other young African American musicians?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1372.94,1378.91"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Well, first of all, I hope that the BSO can sort of rebound from some minor problems. Orchestras, like any group, can go through stages of development. That's where Baltimore is right now, in the middle of a financial deficit, but if we can get beyond that stuff and--orchestras just don't record anymore, so I can't say that recording will be something that we'll do. But I hope that the orchestra will sort of become solidified and in a stage change, which happens when you have another the music director, who comes in, a lot of times you have changes in personnel and that's happened, and there may be more changes as so duly indicated. So, it's my hope that all that stuff will smooth out.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1380.62,1455.46"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e And as far as African Americans in orchestra I just hope that there are a lot of African American players that deserve an opportunity to learn. They just can't be expected to know everything, but I hope that they get a chance to learn and get some of opportunities of encouragement that some of my blue-eyed friends have had over the years.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1455.565,1492.02"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e All right, great. Well, thank you so much and I will let you get some sleep. I really appreciate it. And this will be great. They'll really enjoyed this.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1494.55,1507.06"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Will I be able to hear it?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1507.269,1508.403"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eInterviewer:\u003c/strong\u003e Yes.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1508.408,1508.408"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411/transcript/31913/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLangston Fitzgerald:\u003c/strong\u003e Okay. When?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44128/file/117411#t=1508.408,1508.408"}]}]}]}