Gaston Dufresne (BSO bass, 1927-1957) oral history interview (informal): DuFresne, Gaston, interviewee (Side A); Arthur Press (BSO percussionist, 1956-1992) oral history interview: Press, Arthur, interviewee (Side B), August 10, 1993; August 27, 1993, 2023-07-12T00:00:00+00:00

Cassette 46: Oral history conducted by Robert Ripley on August 10, 1993, Martha Dufresne is the wife of Gaston Dufresne (Side A); Oral history conducted by Robert Ripley on August 27, 1993 (Side B).

PARTIAL TRANSCRIPT

Tape 46, Side A

Interviewer: Bob Ripley Interviewee: Gaston and Martha Dufresne Notes: Note on the tape describes this as a "very informal 'candid camera' (tape) conversation" Date: August 10, 1993 Location: North Scituate, MA

0:06 INTERVIEW BEGINS

0:36-1:02 Gaston sings

1:02-1:34 introduction from Bob Ripley

2:48-5:41 more of Gaston's singing

7:54 playing with L'Opera and Opera Commune

10:33 Reflections on KOUSSEVTIZKY and MONTEUX's conducting

12:58 Dufresne sketched people, including ALLARD

17:49 trumpet and bass lessons at the Paris Conservatory

20:20 solfege required at Conservatory

22:42 discussion of army service, became secretary to a general

30:00 experience with rehearsal timing before the union

32:02-32:43 Dufresne sings for a third time, tune not clear

36:08 time in Florida in retirement

41:38 happy to be in orchestra; difficulty under KOUSSEVITZKY; better under MUNCH

42:47 Pops and Arthur FIEDLER in Sarasota

45:07 reflections on the BSO, continued quartets, including ZAZOFSKY's quartet; Dufrense's dislike of WILLIAMS

46:07 RECORDING ENDS

Tape 46, Side B

Interviewer: Bob Ripley Interviewee: Arthur Press Date: August 27, 1993

0:09 INTERVIEW BEGINS

0:27-1:48 early life; born in Brooklyn, NY in 1930; not from a musical family though they enjoyed music; was an only child

1:48-3:25 was fascinated by the Big Bands that emerged in the early 1940s; would listen to swing shows on the radio; went around to the theatres in New York to speak to band members, attended rehearsals

3:25-6:50 found a teacher; mother was supportive of his taking lessons; began playing at age 13-14; played with hotel bands at age in Catskill Mountains at age 14; transitioned to high school with strong music program; joined Dean DICKSON's youth orchestra; studied with Al HOWARD

6:50-11:55 Went to Julliard and attended classes with Mo GOLDENBERG and Saul GOODMAN; played with the Little Orchestra Society; worked outside of the school extensively as there was always demand for percussion players; subbed at and then worked full time at Radio City Music Hall

11:55-12:27 friendship with Harold FARBERMAN, who invited him to Boston; became interested in the BSO at this time

12:27-16:00 performed with KOUSSEVITZKY at Carnegie Hall while still a student at Julliard; performed vocals for a BSO concert; story of KOUSSEVITZKY and his valet

16:00-21:12 Raymond PAGE was conducting orchestra at Radio City Music Hall; no health benefits and intense rehearsal and performance schedule; good salary for the time

21:20-21:55 visited Boston around 1952, and began waiting for opportunity to audition at the BSO; when one came up, attended

21:55-26:39 audition for MUNCH; brought a program, which was unusual for percussion audition; Richard BURGIN, Arthur FIEDLER, Rosario MAZEO, Bernard ZIGHERA listened to preliminary audition; accompanied ZIGHERA for audition before MUNCH

26:39-29:34 was offered job by MAZZEO; came to Boston quickly to begin wtih Pops in the summer; quick transition out of position at Radio City Music Hall

29:34-36:57 met wife Beverly in 1954 on a blind date and were married in 1954; took her some adjustment to move to Boston as she had a lot of family in New York; reflections on Boston's provincial quality; felt very visible because of his position in the percussion section; had a son and daughter who did not pursue music, though worked around the BSO; daughter attended McGill to become a doctor; son is in business

36:57-40:00 felt starstruck when he started with the Pops; FIEDLER recognized that the Pops needed a sense of "fun" after intensity of regular seasons; FIEDLER had a good ear for fixing intonation;

40:00-41:58 story of accidentally leaning on siren sound effect during a different performance

42:13-43:20 story of igniting a small fire on stage, causing smoke

43:20-44:24 impressions of MUNCH; felt there was a good relationship between MUNCH and the orchestra, no tension;

44:24-47:33 impressions of LEINSDORF; was never very sure of himself; comparison with OZAWA who has a far more fluid conducting style; felt LEINSDORF thought he knew best about the pieces they played

47:33-49:22 retirement life; keeping a quiet life, excited to know grandson; playing tennis, reading, maintaining the house

49:43 INTERVIEW CONCLUDES