ity of Miami. Dr. Champouillon based his lecture on his dissertation, which was titled "Gilbert Johnson Artist and Teacher: The Philadelphia Years" (University of Northern Colorado). An accompanying article on Mr. Johnson can be found in the May 1999 issue of the ITG "Journal."
The session began with Dr. Champouillon and Dr. Charles Leinberger, Assistant Professor of Music at the University of Texas at El Paso, performing the first movement of the Vivaldi Concerto in C for Two Trumpets. Both are former students of Mr. Johnson. Jeffrey Piper, Secretary of the Guild, then officially introduced Dr. Champouillon and Gilbert Johnson, who was present. Piper called Mr. Johnson "an orchestral trumpet player's trumpet player," to which Mr. Johnson responded, to the delight of the audience, "It's not often that someone gets to hear their own obituary!"
The major focus of the presentation was a series of slides showing Mr. Johnson throughout his career with the Philadelphia Orchestra. While the slides were projected on a screen, portions of recordings featuring Mr. Johnson were played. Among the selections were Copland's Fanfare for the Common Man, Promenade from Pictures at an Exhibition, Respighi's Pines of Rome, and the first movement of the Haydn Concerto in E-flat. Mr. Johnson also added lively commentary throughout Dr. Champouillon's lecture.
Gilbert Johnson joined the Philadelphia Orchestra as Co-Solo Trumpet in 1958, just prior to their Spring European tour. A year later he was made Solo Trumpet, a position he held until his retirement from the orchestra in 1975. Mr. Johnson was listed as "Solo Trumpet" because the title of "principal trumpet" was not used in the orchestra until Frank Kaderabek's term, which followed Mr. Johnson's tenure. In his 18 years with the Philadelphia Orchestra, Mr. Johnson performed on over 800 recordings, and was a soloist on 14 of those recordings. He performed as soloist with the orchestra 40 times, and participated in 169 U.S. tours and 52 Foreign tours.
Mr. Johnson never used an assistant, and on one occasion had to perform the Haydn Concerto in E-flat and a Bruckner symphony on the same program. When the orchestra later recorded the Bruckner symphony and had time remaining on the recording session, Eugene Ormandy called up the Haydn and Mr. Johnson had to record the concerto after having played the 1st trumpet part to the Bruckner!
Mr. Johnson taught at Temple University (1963-70) and the Curtis Institute of Music (1965-75) before moving to the University of Miami in 1975.
Dr. Leinberger then presented a personal account of his history of study with Mr. Johnson at the University of Miami. The session ended with Dr. Champouillon's personal observations and a testament to Johnson's teaching. His strong emotional and professional feelings toward Mr. Johnson were quite evident.
Gil Johnson has contributed a wealth of recordings featuring some of the finest orchestral trumpet playing found anywhere. He performed under an amazing number of musical directors while at Philadelphia. He has taught numerous players who themselves have gone on to distinguished teaching and performing careers. Seymour Rosenfeld, who was a member of the trumpet section in Philadelphia for over 40 years, said that the 18 years playing 2nd trumpet to Gilbert Johnson were "the happiest years of my [professional] life." Johnson remains a shining example of orchestral trumpet playing to us all.
