Trumpeter William Vacchiano lays claim to one of the most remarkable careers in the history of American orchestral performance. As a member of the New York Philharmonic for 38 years (as assistant principal from 1935-42 and principal from 1942 until his retirement from the orchestra in 1973), Vacchiano never missed a concert in which he was scheduled to perform. A renowned pedagogue, he was a treasured member of the Juilliard faculty for an astonishing 67 years (1935-2002), and also served on the faculties of the Manhattan School of Music (1935-2002) and the Mannes College of Music (1937-83). In 1995, Vacchiano estimated that he had taught about 2,000 trumpet students. At one time, his students played in virtually every major orchestra in the country.

A native of Portland, Me., Vacchiano spoke Neapolitan Italian at home with his parents and siblings. He began studying the trumpet after a serendipitous misunderstanding of his father's suggestion that he should play "clarinetto," which the younger Vacchiano recalled as "cornetto" when his solfeggio teacher, a monolingual Italian by the name of Senor De Nobili, began enumerating possible instruments from which he might choose. Although his father was annoyed when he came home with the wrong instrument, his mother unwittingly helped seal her son's future when she remarked, "What's the difference? He's not going to be a professor."

William Vacchiano

Vacchiano's early teachers in Portland included Frank Knapp and a succession of capable trumpet players from the local theaters. He later traveled to Boston for lessons with Louis Kloepfel and Walter M. Smith. During his high school years, he played with the Portland Municipal Orchestra and as an unofficial member of the 242nd Coast Artillery Band.

In 1931, Vacchiano entered the Institute of Musical Art, which later became The Juilliard School, where he studied with the renowned Max Schlossburg until 1933. In 1935, Vacchiano auditioned for positions at the Metropolitan Opera Orchestra and the New York Philharmonic on the same day. At the Met audition, Vacchiano was asked by the personnel manager, Simone Mantia, to play only one passage: six successive high notes from the finale of Der Rosenkavalier. He played them, was offered the position on the spot, and signed a contract. At the Philharmonic audition, Toscanini asked him first to play a few soft, high notes from the conclusion of La Mer, then instructed him to leave for a few minutes, then asked him to come back and play the same passage. After repeating the process a third time, a nerve-frayed Vacchiano was offered the job. When he called Mantia to tell him what happened, Mantia reportedly told him, "Go with the Philharmonic; it's a better job. And God bless you."

In his long career at the New York Philharmonic, Vacchiano played under and recorded with such illustrious conductors as Leonard Bernstein, André Kostelanetz, Dmitri Mitropoulos, Leopold Stokowski, Igor Stravinsky, George Szell, and Bruno Walter. Known for his impeccable technique, beautiful tone, and graceful legato, Vacchiano was largely responsible for the widespread modern practice of using trumpets in various keys to fit the instrument to the music more closely. He has published numerous trumpet method books and designed his own line of trumpet mouthpieces.

Among Vacchiano's many students at Juilliard who went on to significant careers were Wynton Marsalis, Gerard Schwarz, and current faculty member Philip Smith. In May 2002, Juilliard held an event, attended by approximately 100 former students, colleagues, and friends, to celebrate Vacchiano's distinguished career on the occasion of his 90th birthday.

In recognition of his extraordinary contributions to American musical performance and teaching, Vacchiano will be awarded Juilliard's Honorary Doctor of Music degree on May 23.

—Lisa Robinson