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I met Gene in 1967 when I joined the Cleveland Orchestra. He of course was already on the faculty of Oberlin. I had known of Gene for many years because of a mutual friend, Bob Weber, with whom I had played a tour with American Ballet Theatre and who had... moreI met Gene in 1967 when I joined the Cleveland Orchestra. He of course was already on the faculty of Oberlin. I had known of Gene for many years because of a mutual friend, Bob Weber, with whom I had played a tour with American Ballet Theatre and who had been a colleague of Gene’s when they were both students at Oberlin.
This was the beginning of a friendship that lasted over a half century. Gene was more than a best friend-he was the brother I never had. We had so many things in common: not only being trumpet players, but both having studied with Bill Vacchiano, when he was principal trumpet of the New York Philharmonic- I while attending the Juilliard School, Gene privately while he was at West Point. We shared and exchanged many stories of what that was like.
Gene and I had many other mutual friends and/or colleagues from our orchestral backgrounds. We shared many mutual likes and dislikes, i.e. orchestral repertoire, composers, conductors, orchestras, interpretations, many of the same trumpet player idols, similar senses of humor, similar experiences in the trenches in orchestras and with administrators and many years of similar alcoholic favorites. We also provided each other with support, advice, counseling (i.e. specifically when relating to “drinking issues”.)
But Gene was way beyond comparison, when it came to his talents as a conductor; his knowledge of repertoire was astounding, not only of standard orchestral literature, but particularly 20th and 21st century composers. His understanding and ability to convey the essence of those works not only to his trumpet students at Oberlin, but to all the young musicians he conducted in ensembles at the Hartt School, University of Connecticut, and Peabody was beyond measure. Have no doubt that much of the repertoire he conducted was the only exposure those students who performed in his ensembles ever had.
He had many passions that I could appreciate and admire but not begin to understand; here are three that stand out: 1) flea markets (I have many treasures from his “searches”); 2) his baton collection that is unique in every way; 3) his awareness of literature and how it related to music. Gene was a modern Renaissance man—he connected all of the dots!
Gene produced my first CD “BRAVURA TRUMPET”. I only had the opportunity to play with Gene as conductor on two occasions: once when he was at the Hartt School when I played the Haydn Trumpet Concerto and the other at the New England Conservatory when he conducted the Wind Ensemble on Greg McLean’s “The Twain Have Met”. Marvin Stamm has already commented on this experience, but what he didn’t mention was that the three of us were all around 75 years old when we did that concert. But as always, with Gene, his energy level made us all the age of the students in the ensemble.
The year after I retired from the Boston Symphony Orchestra (2006) I taught the trumpet students at UConn on Mondays and Tuesdays. I always stayed over Monday nights at Gene and Linda’s house in Coventry, which was only about 15 minutes from the school in Storrs. Linda always had dinner made for when I got to their house and Gene and I would watch TV while I ate—whatever was on--many times a Celtics game. Those evenings made it possible to get through that year with my sanity intact!
I could go on and on, but it’s difficult to keep my eyes dry. I visited Gene just a few days before he passed. Although he was already fading, I would like to think he knew I was there.
Less than a month later, our friend Tom Stevens passed away. I had planned to call him and reminisce about Gene but that was not meant to be.
So long Gene, you will always be a part of me. RIP.
Charlie Schlueter
Retired Principal Trumpet Boston Symphony Orchestra (25 years)
Retired faculty New England Conservatory (31 years)
Photo: (Charlie Schlueter, Gene, Bill Vacchiano, c.1988) less
Fierce, dedicated, intense. These are the first words I think of when I think of Gene Young. Loving contemporary music, I was thrilled to have found a home in the Camarata. I was so taken and inspired with his passion and it was Gene and this ensemble... moreFierce, dedicated, intense. These are the first words I think of when I think of Gene Young. Loving contemporary music, I was thrilled to have found a home in the Camarata. I was so taken and inspired with his passion and it was Gene and this ensemble that launched me on my career path. His complete commitment to the music demanded we rise to our highest level and it was some of the most exciting performances of my time at Peabody. I am so grateful for all he did for me and for the space he provided to create, explore, and achieve. less
Gene was a simply remarkable musician, one of the truly amazing ones that I have encountered. I had attended lots of his concerts beforehand, but the preparation of "With Blood, With Ink" was something quite different. It was an intense process that... moreGene was a simply remarkable musician, one of the truly amazing ones that I have encountered. I had attended lots of his concerts beforehand, but the preparation of "With Blood, With Ink" was something quite different. It was an intense process that took place over a long enough time so that I was really able to observe and learn from him. I felt like I gained so much musicianship watching him work on my piece, and from participating as the pianist for quite a few of the rehearsals. Every phrase, every bar, every beat had to be alive. He had such incredible energy and pursued this kind of detail relentlessly in all he did. I was always disappointed that he didn't get far greater recognition for his achievements, which he certainly deserved. I always felt he should have been conducting a lot more of the very best orchestras everywhere. How very fortunate we all were who had an opportunity to work with him. less
I met Gene Young at the beginning of my sophomore year at Peabody a decade ago. I wanted to try out for the Peabody Camerata, and at my audition, Gene greeted me warmly and just as warmly invited me to join the ensemble. In the two or three years I took... moreI met Gene Young at the beginning of my sophomore year at Peabody a decade ago. I wanted to try out for the Peabody Camerata, and at my audition, Gene greeted me warmly and just as warmly invited me to join the ensemble. In the two or three years I took part in concerts, Gene shared so much musical wisdom, ranging from ensemble suggestions to incredibly insightful directions to inspiring and often humorous anecdotes. (How many people do we know who can tell about their times working with Stravinsky, Messiaen, Xenakis, and others??) Even though I had a love for new music since my earliest years at the piano, Gene made each new work he performed all the more inspiring, simply by bringing out the best in every performer he conducted. That is the mark of a true conductor.
Gene, you will always have my heartiest thanks for your encouragement and my undying respect for your artistry. All who performed with you are truly blessed. less
Gene was such a wonderful, kind, and encouraging conductor. Gene actually made me excited to get up early on Saturday mornings to come to rehearsals. You always, *always* felt like he was happy that you - specifically you - were there. I’m not sure... moreGene was such a wonderful, kind, and encouraging conductor. Gene actually made me excited to get up early on Saturday mornings to come to rehearsals. You always, *always* felt like he was happy that you - specifically you - were there. I’m not sure I’ve ever felt so appreciated; he inspired you to do the best you could for someone. Anyone who has ever played with him knows how it felt to be greeted by him when you got to rehearsal or a concert, with that warm smile and firm handshake while looking you in the eyes. It’s not an exaggeration, he really did make you feel like you were exactly where you were supposed to be.
I remember asking him at the end of a season once if we could program Verklaerte Nacht sometime. He looked me in the eyes, and said, “For you, Caleb, anything!” It felt almost over the top the way he put it, but he would have said this to anyone. That was the way he was - he made everyone feel as though they were the most important person to him when he was speaking with them. Sure enough, the first concert the next season, we played Verklarte Nacht, and it was one of my favorite chamber music performances. less
I played under Gene Young for his final couple years as the director of the Peabody Camerata. I have such countless memories of those Saturday morning rehearsals - a rarity at Peabody. Gene was uncompromising with his programming and his search for... moreI played under Gene Young for his final couple years as the director of the Peabody Camerata. I have such countless memories of those Saturday morning rehearsals - a rarity at Peabody. Gene was uncompromising with his programming and his search for artistic excellence among those that he collaborated with. I distinctly remember coming to the first rehearsal of Mantovani's 'D'un reve partie' and nearly going cross-eyed looking at the part. Gene was able to pierce through the score and bring out the composer's intentions in ways I had never seen before and will always respect and admire as the composer I am today. The last concert I played under him, Schoenberg's 'Erwartung,' might have been one of the most challenging concerts of my life. There were many frustrations and teeth-gnashing, but Gene was able to pull us all together in the belief that we could create something amazing and unique as long as we were able to work together as artists. I will truly hold the time I spent with him with me forever. less
I was 16 when I first sat in on a rehearsal with the Peabody Prep Orchestra under Gene Young’s direction. As I came in, they were rehearsing the third movement (“Melody”) from Bartók’s Hungarian Sketches. The... moreGene Young’s impact on my life
I was 16 when I first sat in on a rehearsal with the Peabody Prep Orchestra under Gene Young’s direction. As I came in, they were rehearsing the third movement (“Melody”) from Bartók’s Hungarian Sketches. The piece begins with a simple melody played by unison violins, then the spotlight shifts to woodwinds, entering hesitantly one by one over tremolo strings, building – a world gradually opens up as if from nowhere, the melody deepening in timbre and register to the violas and then the cellos with warmth, spirit and life. It would have never occurred to me – I had no idea at the time – that the piece originally formed part of a set of “dirges”! It was at that rehearsal that I first made Gene’s acquaintance, introduced to him as a composer by my then-girlfriend Nora who played 2nd violin. Without hesitation, Gene asked if I’d bring some of my own music for the orchestra to read-through and possibly perform – which I/they eventually did. Since that time, for a period of about two years, I’d come and listen to Gene’s rehearsals – an experience that brought me into close contact for the first time with the great symphonies, among them Beethoven 2, 5, 7, Dvořák 8 and Tchaikovsky 5. And there were others besides me, orchestra members’ parents, who would sit in just to audit rehearsals. There was something deeply engaging about how Gene worked with the orchestra – he’d cajole, berate, tell stories, make jokes – and though technical considerations would receive their due attention (intonation, balance, phrasing, etc.), Gene’s primary concern was to get at the music’s expressive core, its real content and meaning. My girlfriend Nora (my “ex”) talked about playing Beethoven’s 6th Symphony never looking at the music – her eyes were drawn to the conductor, as transfixed. These experiences for a young person were formative, incomparable – hard to describe if you weren’t there.
During this time, my budding creative consciousness was equally impacted by performances of the Peabody Camerata, an ensemble of undergraduate music students (which Gene founded I think in the early 80s) devoted to 20th and later 21st century music. It’s hard to imagine how in any other context I’d have heard this music - top notch live performances of Messiaen, Boulez, Schoenberg, Berg, Webern – standing out especially I remember an all-Varèse concert, which included Amériques, Déserts and other large-scale works.
After finishing high school, I attended the New England Conservatory of Music in Boston for composition. Here is a good place to mention that had it not been for the recording of my composition played by Gene Young and the Prep Orchestra (see above), I strongly doubt I’d have been accepted into that and many other prestigious undergraduate composition programs. One day, Gene came to NEC to give a trumpet masterclass (this was his primary instrument, besides conducting), and we spoke briefly. Incredibly, he asked me for more music, this time for the Peabody Camerata. More incredibly, Gene’s support, generosity and interest in my music did not stop there – through the course of knowing him he conducted my music on no less than four separate occasions. And I needed that help. My mind in those days was spacey, wishy-washy, impractical (I got kicked out of NEC for stealing library books) – his presence and support in my life grounded me, and his seriousness and dedication served as a guiding light.
After spending some years completing a graduate degree in France, I returned to the States – Gene Young was still at Peabody doing his thing. It was at this time he and I became friends. I would sometimes bring him to/from the airport and attend his Camerata rehearsals (by then he had left the Prep Orchestra). I continued, now as an adult, to marvel at the energy, talent, knowledge, passion, dedication, that would draw undergraduate volunteer musicians out of their Saturday morning stupor into the world of Elliott Carter, Stockhausen, Birtwistle, et al. Gene Young’s standards were high – demanding of himself and those around him. His demeanor at times could be harsh, if he felt someone came to a rehearsal under-prepared or if he felt his instructions were being neglected. But everyone I know of who played under him loved and admired him – because he was genuine, honest; his love and integrity always shined through. Anyone who attended those rehearsals and performances will tell you what he accomplished with those young musicians bears no comparison.
Gene Young’s music
During a car ride I remember asking Gene why I never knew him to conduct much Brahms – he said (in so many words) Brahms was a great composer, but he falls on the wrong side of history. I was struck by the directness of this response, and it brings me to a point I want to make about Gene’s work as a composer (an important facet of his work most of us here have neglected to mention, since we came to know him primarily as conductor/teacher). As a student at Oberlin Conservatory, Gene studied with Richard Hoffmann, himself a student of Arnold Schoenberg. In music history a reductive yet necessary distinction is made between musical conservatism vs. progressivism. Gene was a progressive. I treasure Brahms’ music, but I was impressed by Gene’s remark in the car – and I lament how few among us (composers) still care about this distinction.
Gene’s music is undoubtedly challenging, “advanced” – but equally striking is its expressive immediacy. Part of this has to do with the instrumentation. Much of Gene’s music involves tubular bells, percussion, theatrical elements, offstage effects – mysterious, otherworldly sounds. In Mahler and Partch, two of Gene’s favorite composers (also mine), novelty and expression are treated not in opposition but rather in symbiosis; they feed off each other. Similarly, in Gene’s music there is no expressive “filter” – no apology for feeling, deep genuine feeling, and for that very reason it never fails to be new.
Gene’s wonderful wife Linda Surridge has entrusted me with many of Gene’s manuscripts and recordings. In the coming months I will be working on digitizing these materials and making them available to performers and listeners, to ensure that his music lives on. I’ll mention that shortly before Gene’s passing, his work 35 Mescals in Cuautla for soprano voice, trumpet and percussion (1982), was published by Editions Bim. I hope to see more of his music published/performed in the coming years.
Closing
Gene Young was diagnosed with lung cancer in January, 2018. During this difficult time we discussed how happiness is determined not by the cards we’re dealt but by the love of the people around us – thinking of his wife Linda and his family. Spiritually, Gene and I are not easily connected to God through liturgical texts, dogma or ritual, but rather through music’s mysterious and visceral power. In laymen’s terms, music is our religion... And not to lay it on thick but Beethoven’s 9th is our bible. Thus, at a loss for words, these are the words came to mind, which Gene Young himself was wont to evoke:
Be embraced, you millions!
This kiss is for the whole world!
Brothers, above the canopy of stars
must dwell a loving father. less
When Gene and I arrived at Oberlin in the fall of 1956 (both trumpet majors in the freshman class) we did not know that we would eventually become best of friends for over sixty years. I admired his talent,... morePosted by Jack Cortner, Oberlin '60:
When Gene and I arrived at Oberlin in the fall of 1956 (both trumpet majors in the freshman class) we did not know that we would eventually become best of friends for over sixty years. I admired his talent, musicianship and knowledge of the orchestra and loved his story telling, funny, witty, sometimes hilarious with a bit of gossip mixed in. If I expressed some reluctance to embrace what I called “modern music”, Gene would nod approvingly, and then slowly win me over with a discussion of his favorite composers, the historical significance of their work, their important compositions, what to listen for, and, finally, stories of how peculiar and fascinating were the private lives of his heroes.
Fast forward, thirty years later, when I was living in New York City. Gene would call me from the Peabody Conservatory and leave me this message. “Hey man, can you catch the Friday train to Bal’mor this weekend? The Camerata is playing Schoenberg’s “Verklarte Nacht”! We’ll have dinner at that great Afghanistan restaurant Friday night and the rehearsal is Saturday morning! I got you a room as a visiting professor, it’s cheap! You gotta come!” Now, how can one ignore such an exuberant invitation? And, with a brilliant Saturday night performance, Gene would make again his argument that “modern music” matters.
In the last decade of his life, Gene and I would take turns visiting each other. He would bring a satchel full of CDs, scores and one or two gifts from the flea markets he so dearly loved. For two days we would listen to music and talk. He always had new stories and new adventures to discuss but on his last visit he handed me his personal score to Alban Berg’s, “Wozzeck”, and said he wanted me to have it. That score had all of Gene’s performance markings and observations. To this day I try to conduct it to a recording…and fail miserably! It was left unsaid that this was probably our last meeting.
How lucky am I? Gene Young was my teacher, my mentor, and my buddy.
During a visit to Oberlin a few weeks ago, memories of my three years with Gene as my trumpet teacher were reawakened. I was a Sophomore when Gene returned to Oberlin in 1966 to begin his term as Assoc.... moreFrom Paul Sundberg
Williams College, retired
During a visit to Oberlin a few weeks ago, memories of my three years with Gene as my trumpet teacher were reawakened. I was a Sophomore when Gene returned to Oberlin in 1966 to begin his term as Assoc. Prof. of Trumpet. In a very short time his charismatic nature inspired all of the trumpet players to excel, and Gene became the much admired center of our trumpet fraternity. His teaching style was unique, and he enthusiastically imparted knowledge gained by his recent study with William Vacchiano.
Gene was an amazing raconteur, and he seemed to have an interesting story on any subject and he managed to pass along both wisdom and good humor with these tales.
Early in my first year of lessons with Gene, he convinced me to switch from a major in Music Education to Trumpet Performance, and this, along with his fine teaching changed my life for the better. Two years later, as a Senior, I was hired for my first professional position with the Toledo Symphony, and a number of other orchestras would follow in the future. Gene was not only a wonderful teacher and mentor, but also a longtime friend. His work lives on as we who were his students endeavor to pass along his knowledge to our own students.
Many years later, after Gene was diagnosed with cancer, I sent him an email expressing my gratitude and appreciation for all he did for me, and for our continuing friendship. He, always the teacher and mentor, replied the next day: "Your email is treasured and will always be such. In despair, our feeble minds question and re-question endlessly. You have silenced these questions and pulled me back from the ABYSS." And later he wrote, "Your success in music and life has everything to do with the man, and little to do with the mentor. Love, Gene"
Gene's passing is the end of an era for those of us who were his students and friends. But, our memories of him, and his good work live on. less
Tribute from Marvin Stamm
Jack Cortner introduced me to Gene Young sometime in the early 1980’s. He brought Gene to a recording session upon which I was performing as a soloist on a recording project. Jack wanted Gene to hear the session and, in... moreTribute from Marvin Stamm
Jack Cortner introduced me to Gene Young sometime in the early 1980’s. He brought Gene to a recording session upon which I was performing as a soloist on a recording project. Jack wanted Gene to hear the session and, in addition, meet me.
Jack and Gene knew each other from the time they were both trumpet majors at Oberlin Conservatory in 1956. Jack and I became friends shortly after my moving to NYC in late 1966. Jack spoke of Gene many times prior to our meeting, but until he educated me to Gene’s career, I was unaware of who he was and what he had done. Jack’s informing me of Gene’s creds left me very impressed with Gene’s former life as an excellent trumpet artist and his then current status as a noted conductor.
Gene and I saw each other infrequently, usually when he came to the city to get together with Jack. However, every occasion served to evoke more warmth and respect at each meeting. And learning that Gene liked jazz was a delightful discovery for me.
Over the years our acquaintance morphed into a friendship built on mutual musical and personal respect.
I found Gene to be a warm and sincere person, and though extremely knowledgable about music and history, he always exhibited a humility about his talents. Gene wasn’t shy, nor was he overly modest; he just knew who he was and unlike many artists, had no need of broadcasting how good he was. He left it to you to delve deeper, if interested.
I have two stories that reveal who Gene was—at least to me. When I met Gene, he no longer played the trumpet, but was by then quite renowned as a conductor and teacher. I asked Gene if he had any recordings of his playing to which I might listen. Gene said he had a CD recorded during the period he was with the New Orleans Symphony and informed me that it was done with a chamber group performing avant-garde music. This was the first I knew of Gene’s being a foremost proponent of twentieth century music.
Gene presented me with the CD and mentioned that it was quite modern. I couldn’t wait to listen to it. I took it home and quickly put it in my player. As I listened, I found myself awash in sounds and textures that were quite foreign to my ears. I could certainly hear that Gene’s flawlessly performed trumpet part was very difficult and way beyond my abilities. But beyond this, I was out of my element.
I didn’t know quite what to say to Gene, but then realized he would take anything I said with humor and a grain of salt. My first words were, “Where’s the melody?” My second words were, “Isn’t there any harmony?” Gene just laughed and was probably thinking, “These jazz musicians! Philistines, one and all!”
In 2014, Charlie Schleuter and I were to perform two pieces with the New England Conservatory Wind Ensemble led by Bill Drury. Both pieces, James Stephenson’s “It’s About Time” and Greg McLain’s “The Twain Have Met,” were composed to feature two trumpet soloists, one jazz and one classical.
Charlie was living in Boston and I was living in North Salem, New York, about 50 miles north of NYC. Gene, living in Coventry, Connecticut, was situated about midway between us. With this in mind, and the fact that Charlie and Gene were close friends, we decided to meet at Gene’s home to rehearse the trumpet parts. Jack Cortner would join us, and we would all have dinner together afterwards. Meanwhile, Gene, sight-reading the unfamiliar scores, would conduct us in the rehearsal. The rehearsal went well, and Charlie and I became acquainted with how the parts fit together.
The performance was to take place several months later in Boston at the New England Conservatory. In the meantime, Bill Drury, the conductor of the wind ensemble, had graciously invited Gene to conduct one of the pieces. When the rehearsal took place the day before the concert, Gene strode onto the stage with only his baton in hand, no score in sight. In the short couple of months—or maybe it was six weeks—since our rehearsal at his home, Gene had memorized the score to “The Twain Have Met,” a nineteen-minute piece. I was flabbergasted.
As the rehearsal proceeded. it was obvious how deeply he had delved not only into the notes, but into the emotional depth of the piece. He brought so much music out of the wind ensemble, I’m sure far beyond what even they thought was possible. The performance of both pieces was excellent, but to me, Gene was the star.
There are many who knew Gene better than I. But these moments, to me, show much about Gene: his warmth, his humor, his musicality, his sense of purpose—who Gene was. But I realize there was so much more. I regret our not having more time together to discover each other on a deeper level. Gene’s passing is a great loss to music and to all of us who held him in such high respect and deep friendship. less
Gene's time as conductor of the Peabody Camerata pretty much coincided with my own as Director of Opera. We collaborated on at least three productions that showed his special gifts in modern music: a TURN OF THE SCREW, and two premieres: WITH BLOOD, WITH... moreGene's time as conductor of the Peabody Camerata pretty much coincided with my own as Director of Opera. We collaborated on at least three productions that showed his special gifts in modern music: a TURN OF THE SCREW, and two premieres: WITH BLOOD, WITH INK by Daniel Crozier and Peter Krask, and LIGEIA by Augusta Read Thomas. In the last of these, he prepared the group for Mstislav Rostropovich, who took the production to Evian-les-Bains, but musically the show was far more Gene's than Slava's. Gene's intense commitment could make him difficult at times; on one occasion I had to steer him off an instruction to the SCREW cast to live their roles night and day, as several of them were getting neurotic enough already! But the other side of it -- the side that mattered -- was a power and clarity that made even complex music sound inevitable. less
Posted by Robert Carl
Professor/Chair of Composition
The Hartt School
University of Hartford
I remain forever indebted to Gene Young, as a selfless advocate of my work. He premiered and recorded an electric cello concerto of mine at the Hartt School in... morePosted by Robert Carl
Professor/Chair of Composition
The Hartt School
University of Hartford
I remain forever indebted to Gene Young, as a selfless advocate of my work. He premiered and recorded an electric cello concerto of mine at the Hartt School in the 1990’s, which was a major event in my career. And after he left Hartt, when he had nothing to gain from it, he performed two other large works of mine at Peabody, something that emerged from a random meeting on a Hartford-Baltimore flight (he was like that). His performance of my chamber orchestra piece A Musical Enquiry Into the Sublime and Beautiful was passionate and rigorous. Here is the link, not for the sake of my music, but because the video shows his marvelous conducting!
https://www.youtube.com/watch?v=bQmIuXEqwN0
And more than all the above, what I treasure is his intensity, musicality, generosity. I was lucky to know him. He was a mensch. less
I also had the privilege and honor of working with Gene on a few Peabody Camerata performances, the highlight of which was the Manuel de Falla Concerto which he encouraged me to play, and can be seen on Youtube. Gene was such a gold mine of stories and... moreI also had the privilege and honor of working with Gene on a few Peabody Camerata performances, the highlight of which was the Manuel de Falla Concerto which he encouraged me to play, and can be seen on Youtube. Gene was such a gold mine of stories and reflections during rehearsals, I didn't know him well, but I imagine from the twinkle in his eyes as he spilled stories about famous composers - he lived a life most of us musicians would envy. I loved his creative and sometimes ruthless approach to conveying the composer's intention. Playing harmonium for his ensemble in some Schoenburg arrangements of Mahler was just divine, and his command over the orchestra was visceral, no one got away with anything less than their best. I'm so glad we as students were exposed to this level of artistry, it prepared us well for the world of music after graduation. Thank you Maestro Young for being a wonderful human being to share a stage with, and for pushing and inspiring us. less
I had the privilege and honor of getting to know Gene through my research on William Vacchiano, one of his trumpet teachers. Our phone conversations and email exchanges soon grew into lengthy visits at Donna’s Coffee Shop in Baltimore (or,... moreI had the privilege and honor of getting to know Gene through my research on William Vacchiano, one of his trumpet teachers. Our phone conversations and email exchanges soon grew into lengthy visits at Donna’s Coffee Shop in Baltimore (or, “Bawlmer” as he called it) after I would listen to his rehearsals at the Peabody Conservatory. We often sat and chatted for 2 or more hours, until I would walk with him just in time to catch the Light Rail.
I learned a great deal from Gene during our relatively brief, yet intense, interactions. He was full of wisdom and experience, and I am deeply grateful for the time we spent together. He was a gentleman, scholar, superb musician, wise mentor, and friend.
I’ve always remembered these two quotes by Gene from one of his lessons with Mr. Vacchiano:
“He asked me in my first lesson, ‘Do you know the difference between a cornet and a trumpet?’ I said sure, and went on to explain. But he stopped me and said, ‘No, no. The difference between a cornet and a trumpet is you can’t hear the cornet past the third row!’”
“There was one time that I was working on a Sachse etude with him. And the first note was a high, pianissimo B-flat. Well, I played it and he stopped me and said, ‘No, no. It’s not like a bass drum entering; there’s silence and then there’s sound.’”
Brian Shook
Department Chair
Mary Morgan Moore Department of Music
Lamar University less
From Mitch Gershenfeld
President and CEO ( retired)
McCallum Theatre
Palm Desert, California
Gene Young was an extraordinary musician. He had the rare gift of being able to explain complex ideas in language simple enough for a tuba player to understand.... moreFrom Mitch Gershenfeld
President and CEO ( retired)
McCallum Theatre
Palm Desert, California
Gene Young was an extraordinary musician. He had the rare gift of being able to explain complex ideas in language simple enough for a tuba player to understand. Many years ago at UW, he was conducting a very difficult work by Edgar Varèse. He explained the concept of rotating geometric shapes in space. Each note was just a glance of one part of that shape, while the notes played by other instruments were glancing off other geometric shapes: spheres, cones, cubes, ellipsoids, tetrahedrons all rotating in space. It made the work instantly understood. That was an engaging mind, and it made Gene a remarkable educator. less
I was fortunate enough to have my first and only twelve-tone composition, "Dodici," selected by Gene as the winning piece of the 2003 Peabody Camerata Student Composer Contest. It was an enormous thrill to have the chance to work with him as a... moreI was fortunate enough to have my first and only twelve-tone composition, "Dodici," selected by Gene as the winning piece of the 2003 Peabody Camerata Student Composer Contest. It was an enormous thrill to have the chance to work with him as a 19-year-old undergraduate student, even if only in passing (as his assistant conductor conducted my piece that year). His kindness, generosity of spirit, and wisdom were evident in each brief conversation I had with him, and his total fearlessness about programming what he felt were interesting contemporary works -- regardless of forces required, level of difficulty, obscurity, etc. -- was very inspiring.
Maestro Young and the Camerata reliably delivered fantastic performances of music that was rarely heard (or sometimes even heard of) elsewhere in the Conservatory. His one-of-a-kind niche at Peabody was of major importance for composition students, for students and adults interested in out-of-the-mainstream music, and for any musician who enjoyed seeing and hearing a master director helping guide young performers to technically and artistically amazing levels of musical performance.
I was most sorry to hear of Maestro Gene's passing, and I will always remember him with gratitude for his support, encouragement, gentility, and immense musicianship. Rest in music, Maestro; you are missed. less
I went to a Wind Ensemble concert at the new UW Madison Hamel Music Center today. It reminded me of the wonderful experience I had as a student many years ago playing in the Symphonic Band under Gene. I googled his name and was sad to hear of his... moreI went to a Wind Ensemble concert at the new UW Madison Hamel Music Center today. It reminded me of the wonderful experience I had as a student many years ago playing in the Symphonic Band under Gene. I googled his name and was sad to hear of his passing. He was definately the best conductor I have had the pleasure of playing under. He had an amazing vocabulary and conducting technique and every practice and concert with him was an exquisite experience. less
Gene led the Peabody Camerata while I was there as a graduate student from 2004-2008. He gave us exposure to music I had never heard of before, and he became a role model through his dedication to both the craft and discipline of performing and to the... moreGene led the Peabody Camerata while I was there as a graduate student from 2004-2008. He gave us exposure to music I had never heard of before, and he became a role model through his dedication to both the craft and discipline of performing and to the musicians themselves. He offered me several solo opportunities with the Camerata as well, which I will always be grateful for. What an inspiring person, and I am sad to hear of his passing! less
I had the pleasure of playing in Gene's Camerata (wind) Ensemble while doing undergraduate studies in the Peabody Conservatory many years ago. To this day, I have never been required to play more challenging or complex music. Ever. In addition to being a... moreI had the pleasure of playing in Gene's Camerata (wind) Ensemble while doing undergraduate studies in the Peabody Conservatory many years ago. To this day, I have never been required to play more challenging or complex music. Ever. In addition to being a champion of new music, Gene was also a serious scholar and insisted that we understand every aspect of the music we performed, from the composer, to the harmonic structure, to the historical context of each piece. Honestly, he scared the crap out of me when I first joined his group because the music was insanely difficult and he had such extremely high expectations. The concerts were always amazing and I grew to really respect him.
Years after graduating and beginning my professional career, I returned to Peabody as a faculty member. Gene pulled me aside one day and said "you know why I was so tough on you when you were a student?" I told him no. He said it was because he saw my talent, believed in my talent, and wasn't sure others did. That meant the world to me. We became friends and colleagues and he ended up selling me my first home, a beautiful condo in Baltimore that he had rented to students for years. He sold it to me for about half of what it was worth because he wanted it to go to "someone who he knew would enjoy living in it as much as I did".
Beyond the huge impact he had on the lives and careers of the countless Conservatory students he taught, he had an equally or more powerful impact on the members of the Peabody Youth Orchestra, which he directed for many years. He was absolutely wonderful to watch when he worked with the kids. He really did love them and wanted to give them the very best musical experiences possible. They played their hearts out for him and I am sure many of them will share their memories of Gene as well as my fellow Conservatory alums.
I will always be grateful for Gene's belief in me as a horn player, a colleague, and a friend. He has left an enduring legacy.
Heartbroken to hear of the passing of Gene Young. Both Stephanie and I worked with Gene as pianists for the Peabody Camerata while graduate students. Gene was a wonderful conductor and a powerful voice for new music. I will never forget rehearsing with... moreHeartbroken to hear of the passing of Gene Young. Both Stephanie and I worked with Gene as pianists for the Peabody Camerata while graduate students. Gene was a wonderful conductor and a powerful voice for new music. I will never forget rehearsing with him the Ligeti Chamber Concerto. He created vivid sound images like no one else. After graduating, Gene gave us one of our first breaks as a piano duo by hiring us to perform Messiaen's Visions de l'Amen at Peabody. He was a kind, generous and inspiring mentor. R.I.P., dear Gene. Saar Ahuvia & Stephanie Ho, pianists, NYC less
Tribute to Gene Young from Vicki Nonn, past Music Director, Wisconsin Public Radio's NPR and Classical Music Service:
I just watched the video of Gene Young leading PICO in the Finale from Mozart's "Jupiter" Symphony.
Maestro Young inspired... moreTribute to Gene Young from Vicki Nonn, past Music Director, Wisconsin Public Radio's NPR and Classical Music Service:
I just watched the video of Gene Young leading PICO in the Finale from Mozart's "Jupiter" Symphony.
Maestro Young inspired the musicians to play exuberantly and precisely, bringing out the joy of the music. It was very exciting! At the conclusion of the performance, I was impressed that he made certain the musicians were recognized first, before turning to acknowledge the applause himself. less
From Leon Fleisher
Pianist/Conductor
Professor of Piano, the Peabody Institute of Johns Hopkins:
Gene Young was that true rarity amongst musicians... someone with an authentic passion and gift for the music of his time.
How fortunate was Peabody to have... moreFrom Leon Fleisher
Pianist/Conductor
Professor of Piano, the Peabody Institute of Johns Hopkins:
Gene Young was that true rarity amongst musicians... someone with an authentic passion and gift for the music of his time.
How fortunate was Peabody to have him as a powerful influence for its young musicians. less
These two wonderful performances led by Gene Young
show his great gifts as a conductor as well as the range and depth of his musical understanding. We can only imagine how much he will be missed by his students, colleagues and audiences. We hope that... moreThese two wonderful performances led by Gene Young
show his great gifts as a conductor as well as the range and depth of his musical understanding. We can only imagine how much he will be missed by his students, colleagues and audiences. We hope that someday more of his recorded performances will be available to be shared with the world.
Bill and Roxanne Rea
Co-founders of Hutchins and Rea Music less
show his great gifts as a conductor as well as the range and depth of his musical understanding. We can... moreThese two wonderful performances led by Gene Young:
show his great gifts as a conductor as well as the range and depth of his musical understanding. We can only imagine how much he will be missed by his students, colleagues and audiences. We hope that someday more of his recorded performances will be available to be shared with the world.
Bill and Roxanne Rea
Co-founders of Hutchins and Rea Music less
Tribute to Gene from Dr. William Richardson, Emeritus Professor of Music, UW- Madison:
We are all very saddened by the passing of Gene Young. As I recall, Gene came to the UW School of Music in the fall of 1979, to conduct the Wind Ensemble and... moreTribute to Gene from Dr. William Richardson, Emeritus Professor of Music, UW- Madison:
We are all very saddened by the passing of Gene Young. As I recall, Gene came to the UW School of Music in the fall of 1979, to conduct the Wind Ensemble and Symphonic Band.
My wife and I got to know Gene mostly in a social setting, where he was always gracious, charming, and extremely witty and funny. To this day, I rarely sip a cup of coffee without thinking of Gene, who not only sought out the best coffee, he gave me the best Italian coffee maker that I still use. Thank you, Gene!
At the UW, he was all business, very focused and single-minded in his pursuit of musical excellence. He led his students in their rehearsals, and especially in concerts, to perform better than they thought they could. His concerts were electrifying, exciting, and beautifully executed. He set
a high mark for musical performances at the UW when he left a few years later.
My students who played under his baton were at first scared to death of Gene, because his rehearsals were fast-moving and musically driven. They realized quickly (as all professionally-minded musicians do ) that the rehearsal was not where they " learned the notes" as many had in high school; this was where a composition was built up from the fundamentals to an exquisite musical experience for them and for the audience.
Once they made the same commitment to learning their part as Gene did to his score preparation and conducting precision, they produced what he expected of them. They soon realized that he could hand out
(sparingly) compliments they would cherish, or encouraging words that they would remember for the rest of their performing lives. Gene had that level of intensity in his musical personality that could inspire people to do their best.
Dr. William W. Richardson
Emeritus Professor of Music
UW-Madison, 1974-- 2003 less
From Dr. Michael Landrum, after viewing Gene's YouTube performance of Mozart:
Gene Young leads the student orchestra from Peabody in an exuberant and poised performance of the Finale from Mozart's Symphony no41 ("Jupiter"). His rapport with the ensemble... moreFrom Dr. Michael Landrum, after viewing Gene's YouTube performance of Mozart:
Gene Young leads the student orchestra from Peabody in an exuberant and poised performance of the Finale from Mozart's Symphony no41 ("Jupiter"). His rapport with the ensemble is palpable, as he elicits a colorful, exacting, and thoroughly satisfying reading of this great work. What a remarkable gift for bringing out the best in the young musicians!
Dr. Michael Landrum
OCCM, '71
Pianist
Professor Emeritus,
Roberts Wesleyan College
Rochester, NY less
I watched the Youtube video of Gene Young conducting PICO in the Finale from Mozart’s Jupiter Symphony. What amazing energy! He elicited a remarkable and professional performance from the student group. Truly he must have been a great motivator and... moreI watched the Youtube video of Gene Young conducting PICO in the Finale from Mozart’s Jupiter Symphony. What amazing energy! He elicited a remarkable and professional performance from the student group. Truly he must have been a great motivator and inspirational leader! less
Tribute from Douglas Hill, Emeritus Professor of Horn, UW-Madison
Gene Young was a good friend and colleague and a musical inspiration while here at the
University of Wisconsin School of Music. It was a time when many of the most advanced wind
students... moreTribute from Douglas Hill, Emeritus Professor of Horn, UW-Madison
Gene Young was a good friend and colleague and a musical inspiration while here at the
University of Wisconsin School of Music. It was a time when many of the most advanced wind
students chose to play in the Wind Ensemble to work with Maestro Young and to experience the
unique contemporary repertoire he would choose to program. He consistently brought out the
best of the students in his ensembles. I find most memorable our collaboraton recording my
“Abstraction for Solo and Eight Horns” with Gene conducting the UW Horn Choir. Those years
when Gene was among us, were some of the finest years of music making at the UW. less
I remember Gene Young from my first two undergraduate years at the University of Wisconsin-Madison. He was a demanding and inspirational conductor. Working with him in the Wind Ensemble was a little scary as a freshman, but he managed to get us to... moreI remember Gene Young from my first two undergraduate years at the University of Wisconsin-Madison. He was a demanding and inspirational conductor. Working with him in the Wind Ensemble was a little scary as a freshman, but he managed to get us to play music that seemed beyond our abilities. The end results were very exciting and made a lasting impression on me. His talents and vision touched many students over the years and I feel fortunate to have had the opportunity to work with him during my formative years.
Mary Kay Fink
Piccoloist, The Cleveland Orchestra
Head of Flute Department, Cleveland Institute of Music less
I was fortunate to play principal trumpet under his baton while he was at Wisconsin. Memorable: 8 of us undergrads performed Stravinsky's Octet for Winds live on Wisconsin Public Radio among other performances. He pushed and deepened our young... moreI was fortunate to play principal trumpet under his baton while he was at Wisconsin. Memorable: 8 of us undergrads performed Stravinsky's Octet for Winds live on Wisconsin Public Radio among other performances. He pushed and deepened our young musicianship, he showed us what true passion is for the art and the need to get it to the public. His intellect and desire to reach us deeply touched us all. Gene's influence on my growth and development into a version of him cannot be overstated. I regret I could not see him one more time in this life.
Grant Manhart, D.M., Professor of High Brass and Jazz Studies, Northern State University, Aberdeen, South Dakota less
From Joseph Schwartz, Emeritus Professor of Pianoforte, Oberlin Conservatory
I remember Gene Young as an intelligent, gifted musician and conductor. He was an avid advocate for 20th Century music and contributed greatly to the music scene at Oberlin. We... moreFrom Joseph Schwartz, Emeritus Professor of Pianoforte, Oberlin Conservatory
I remember Gene Young as an intelligent, gifted musician and conductor. He was an avid advocate for 20th Century music and contributed greatly to the music scene at Oberlin. We were sorry to see him leave, but were glad that he found a wonderful position at Peabody. less
Tribute to Gene Young By:
Gary J. Malvern
OCCM ’80.
Professor of Music
Furman University
Greenville, South Carolina
I arrived at Oberlin in the fall of 1976 intending to pursue a double degree in music and biology. Gene Young, my trumpet teacher, was... moreTribute to Gene Young By:
Gary J. Malvern
OCCM ’80.
Professor of Music
Furman University
Greenville, South Carolina
I arrived at Oberlin in the fall of 1976 intending to pursue a double degree in music and biology. Gene Young, my trumpet teacher, was inspirational in my discovering and living out a new vision of what a musical life could be. I had never met anyone so devoted to, passionate about, or immersed in the music itself, unadorned with all the competitions, trophies, tours, banquets, fundraisers and booster clubs I had experienced in high school. In my sophomore year, I dropped the biology degree and committed myself to the musical life Gene had inspired. It was exhilarating.
Gene became a luminous presence in my young life, each lesson an unforgettable revelation. During the years I studied with him he taught me about breathing, fundamentals and transposition, and he brought unexpected wisdom to the orchestral repertoire. During one lesson my freshman year, we looked at the trumpet call from Beethoven’s Leonore Overture No. 3. I knew that it was played offstage, at a considerable distance. My idea was to play it softly so that it sounded far away. Gene sprang to his feet and climbed onto his desk. “This should be the loudest, most urgent thing you ever play in your life! People should hear this from five miles away!” Standing on top of his desk, he proceeded to play the call at such an unimaginable volume that I thought I might faint.
Gene also helped me to develop a professional musical attitude. He disdained the hand-holding he perceived in the high school culture from which most of us came, and he made sure it would not continue at Oberlin. The musical contract had changed. At the conclusion of our final rehearsal for a concert that evening, one student asked innocently, “What time do you want us to be here for the performance tonight?” Gene’s response was a combination of bewilderment and impatience, “Be here in time to play!” He expected us to act like professionals.
There was an intensity about him, and beneath his genial charm and good humor there was a frenetic energy continually percolating. It was evident in the way he turned the pages of the music and marked his scores, the precision with which he enunciated his instructions, and the meticulous ink strokes he made--with a fountain pen!--in my orchestral excerpt books. He was deliberate in the minutest aspects of his musical life; there was nothing casual about him.
My most indelible memories of Gene Young are of him as a conductor. He directed the Oberlin Wind Ensemble and his great loves were Mozart, Mahler, Varèse and Messiaen. He was the finest conductor of contemporary music I have ever known. His devotion to this music was extraordinary and his musical expectations were uncompromisingly high. In rehearsal, Gene could not leave a passage alone until every nuance, color, pitch, articulation, rhythm and dynamic had found their place. Nor would he relent until we all understood why he had requested these things. This produced a hyperalertness among the musicians, a focus and sensitivity that strove to match his own. At times, it was as though we were all connected to the same electric current. His presence on the podium was so compelling that it was difficult to play outside his musical will. He was mesmerizing.
He brought insight and ferocity to the music of Edgard Varèse; he believed that most recordings of the composer’s work, though precise, had “no blood in them.” Preparing Intégrales one semester, Gene noted that performances often used bicycle chains as an effect in the work. Determined that this was not what Varèse had envisioned, Gene asked instead that a ship’s anchor chain be dropped onto a metal table.
In the spring of 1979--what turned out to be Gene’s last semester at Oberlin--Olivier Messiaen came to celebrate his 70th birthday. Gene Young and the Wind Ensemble prepared a series of concerts of his music. We performed Oiseaux exotiques and Et exspecto resurrectionem mortuorum in a single night (I still have the program signed by Gene and Messiaen). Gene’s commitment to these works--which often bordered on the obsessive--and the superhuman precision of his conducting--from memory!--was astonishing. Every musical detail was reflected in his face and gestures. His music-making was so incisive and intense that if I had pulled the trumpet away from my lips the sound would have continued. If he had risen off the podium I would not have been surprised.
Most memorable was waiting for the gongs to fade into silence after their deafening climax in Et exspecto, a full 90 seconds--with every musician frozen in silent concentration. And there was Gene Young, listening intently for the last reverberation to die away, his eyes focused somewhere above the musicians, arms in position, sans baton, waiting for the exact moment to continue. We were so swept up in the music, we had almost forgotten that Messiaen was present. It is the most memorable performance I have ever been part of.
I worked with Gene again in the summer of 1983, when he served on the conducting staff for the American Wind Symphony Orchestra. He conducted most of the chamber music on that tour, and we played the Stravinsky Octet and other iconic works. It was another illuminating experience.
After Gene’s passing in June, 2018, I found a video of him conducting Mozart’s “Jupiter” Symphony with the Peabody Institute Chamber Orchestra. He was older and his face was more aquiline than I remembered, but the intensity was still there, the concentration, the discipline, his eyes still searching for that place beyond the music, beyond this world; every fiber of his being poised for that next downbeat. less
Tribute to Gene by Robert Austin Boudreau, director of the American Wind Symphony Orchestra.
Gene Young’s association with the American Wind Symphony Orchestra goes way back to its first season in 1957. Still a student at Oberlin, Gene performed in... moreTribute to Gene by Robert Austin Boudreau, director of the American Wind Symphony Orchestra.
Gene Young’s association with the American Wind Symphony Orchestra goes way back to its first season in 1957. Still a student at Oberlin, Gene performed in the trumpet section not only that year, but for several following years as the orchestra entertained audiences on the banks of the Allegheny River in Point State Park, Pittsburgh, and then began touring on the Allegheny, Monongahela and Ohio Rivers and beyond.
Gene returned to perform and to act as assistant conductor during the AWSO’s 1983 tour. We were now performing on a self-propelled vessel, Point Counterpoint II, and Gene, along with all our family lived on the boat and acted as crew. This was a mammoth tour, traveling all the way down to Brownsville, TX and then across the Gulf of Mexico, around Florida, up the East Coast, eventually through the Great Lakes. There were adventures galore, and one involving Gene was recorded in a book titled “Point Counterpoint II: Arts Afloat on the Waterways of the World” which my wife recently wrote:
“The tour headed westward and went as far as the Mexican border once again. There, in Matamoros, Mexico, Robert, his assistant conductor Gene Young, and the orchestra held a symposium for a number of Mexican composers, wherein some conducted their own works and heard them played for the very first time. Final concert for the symposium was a benefit for blind children, with packed hall. The day following the concert, Gene discovered that one of the orchestra vans was missing. Tracing its whereabouts to the Matamoros police, he was told the van had been taken to a location some distance out in the desert. He was taken to the remote and forbidding auto pound, and after several hours of switching from rationality to braggadocio to bribery in dealing with the menacing armored thugs who ran the place, Gene managed to bring the old orange van back in one piece.”
Gene’s humor, his puns, his musicianship, his support made our travels that much easier and more memorable. A great friend, he will be missed. less
From Eddie Bittar, Gene's trumpet student:
Gene Young was my best trumpet teacher. He taught what he learned from William Vacchiano, 1st trumpet of the NY Philharmonic (under Bruno Walter and Leonard Bernstein). Gene helped many trumpet players have the... moreFrom Eddie Bittar, Gene's trumpet student:
Gene Young was my best trumpet teacher. He taught what he learned from William Vacchiano, 1st trumpet of the NY Philharmonic (under Bruno Walter and Leonard Bernstein). Gene helped many trumpet players have the proper embouchure, which resulted in their being able to hit the double high C. Gene was also a great person. He will be missed. RIP less
Gene Young was truly an exceptionable musician and teacher! At the University of Wisconsin-Madison, I had the opportunity to see how he could communicate with student (and faculty) musicians in a very understandable and inspiring way. His programs with... moreGene Young was truly an exceptionable musician and teacher! At the University of Wisconsin-Madison, I had the opportunity to see how he could communicate with student (and faculty) musicians in a very understandable and inspiring way. His programs with the wind ensemble often featured new works, seldomly heard or performed, and he brought these wonderful works to life by his keen insight and his ability to bring out the best in his players. He challenged the musicians without being overbearing, and they responded in kind. Gene was also a very good friend. I remember my first meeting him in Oberlin where we would go for early morning runs around the campus area and our musical conversations were always lively. Thank you, Gene, for what you have given and shared with so many of us! less
i first met gene when i auditioned to be a trumpet major at oberlin. i played a few things and then he preceded to give me an amazing hour long trumpet lesson. my auditions at other places were nothing like this. choosing oberlin was easy after that... morei first met gene when i auditioned to be a trumpet major at oberlin. i played a few things and then he preceded to give me an amazing hour long trumpet lesson. my auditions at other places were nothing like this. choosing oberlin was easy after that first encounter with gene. taking time with people, extraordinary generosity, encouraging people -that's who gene was to me and so many others. as a conductor, genes' deep love for music led him to achieve the highest standards possible. we were on an adventure together, exploring music , working toward goals that we never knew were possible before meeting gene. i fondly remember his frequent use of the word 'exceedingly'. we went beyond the bland, risk less performances that are all too common in classical music performance. gene loved to work and to strive. not reaching the standards of his imagination could frustrate him at times but his humanity, generosity and encouragement always balanced his desire for perfection.
we'll miss you gene. but your talents and gifts will continue to resonate and expand now and into the future. less
Dear friends, I received this beautiful tribute to Gene from Jim Latimer, Professor Emeritus, UW-Madison:
"Gene loved what he did and brought his talents and expertise to our students with ease and professionalism. Gene was an asset to the music... moreDear friends, I received this beautiful tribute to Gene from Jim Latimer, Professor Emeritus, UW-Madison:
"Gene loved what he did and brought his talents and expertise to our students with ease and professionalism. Gene was an asset to the music community of Madison and the UW. Play on, Gene Young! Be remembered for doing good through music. That's what our profession is all about." less
Gene was an important force in the very early days of Eighth Blackbird, at a time when most of the group were still undergraduates at Oberlin, and our future was entirely uncertain. We were working (for the very first time) on Schonberg's First Chamber... moreGene was an important force in the very early days of Eighth Blackbird, at a time when most of the group were still undergraduates at Oberlin, and our future was entirely uncertain. We were working (for the very first time) on Schonberg's First Chamber Symphony (in the arrangement for quintet by Webern), and Gene was our coach, guide, and general encourager on that journey. It has been many years since then, and many years since we have seen Gene, but we remember him and his mentorship fondly. less
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