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Portrait of an Artist: Arnold Jacobs

Summit(Classical)

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1. Work(s): Fanfare
2. Horn Concerto No. 1 in E flat major, Op. 11 (TrV 117)
3. Horn Concerto No. 1 in E flat major, Op. 11 (TrV 117)
4. Horn Concerto No. 1 in E flat major, Op. 11 (TrV 117)
5. Horn Concerto No. 1 in E flat major, Op. 11 (TrV 117)
6. Cs�rd�s, for violin & piano
7. Carnival of Venice
8. Carnival of Venice
9. Tuba Concerto in F minor: 1st movement
10. Etude No. 24
11. Etude No. 24
12. Cs�rd�s, for violin & piano
13. Canzon No. 2, for 4 parts
14. Lohengrin, opera, WWV 75: King Heinrich's Call
15. Symphonie fantastique for orchestra ('Episode de la vie d'un Artiste...en cinq parties'), H.48 (Op. 14): Dies Irae
16. Sonatina for brass quintet
17. Sonatina for brass quintet
18. Sonatina for brass quintet
19. Rom�o et Juliette, for alto, tenor, bass, chorus & orchestra ('symphonie dramatique'), H.79 (Op. 17): excerpt
20. Rom�o et Juliette, for alto, tenor, bass, chorus & orchestra ('symphonie dramatique'), H.79 (Op. 17): excerpt
21. Concerto for Orchestra, Sz. 116, BB 127: 2nd movement, excerpt
22. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): excerpts for tuba
23. Symphony No. 4 ('Det uudslukkelige'; 'Inextinguishable'), FS 76 (Op. 29): 1st movement, excerpt
24. Symphony No. 4 in E flat ('Romantic'), WAB 104: 1st movement, excerpt
25. Pictures at an Exhibition (Kartinki s v�stavski), for orchestra, orchestrated by Ravel: The Great Gate of Kiev

Average customer rating:

A good insight into this great musician.

A lot of good tips on playing brass instruments. Unfortunately Mr. Jacobs did not publish any books that I am aware of, but hearing his brief advice on how to play music is worth the price of this CD. I think all brass players will get something from this.

Jacobs was overrated

Arnold Jacobs was a brilliant man who could have succeeded in practically any profession. He was also a fine musical pedagogue, judging from his verbal insights on this CD with respect to the human body as a musical instrument. Yet, I am amazed that he rose to the rank of tubist in a world-class orchestra such as the Chicago Symphony. Frankly, I found his tone quality uninspiring, although he had fine techinque. I have heard at least half a dozen tubists whose tone is far more pleasing musically. Among the bassmen/women of the world, Jacobs has become a semi-divine entity. I believe that he has been somewhat overrated as a result. I felt that his verbal commentaries were highly educational; I was disappointed by his playing overall.

The Great Arnold Jacobs Captured on C.D.

This is a prolific set of audio that captures the historical sound of Arnold Jacobs' playing and teaching. I bought this C.D. because I wanted to explore the limits and capabilities of a tuba player so that I could see if playing music on the tuba was for me. This C.D. banished any doubt that I had about the ability of a tuba player to achieve at the utmost musical level. I have never meet Mr. Jacobs in real life, but this C.D. made me feel as if I was in a master class or recital hall listening to him myself. I would recommend this C.D. to anyone who loves music. As Arnold Jacbos said " It's not about the tuba, it's about music".

arnold jacobs

This cd tries to capture arnold jacobs: a prolific teacher, player and above all a great man. while listening, you'll discover the ideals, the methods and ideas that made arnold jacobs the best tuba player that there'll probably ever be. The more complex issues and artistry of brass playing are explained in simple words and sayings. a great deal of jacobs' lectures is also given, and you can also see the importance of understanding the functioning of other body units that help us trough our playing (the brain). a great disc, highly recommended, not only for tuba players, but for all brass players.

inspiring technician musician artist

Cannot agree more,this is a wonderful exposition of Jacobs the teacher,for he had developed working concepts any wind player could adopt.His studio in the Fine Arts Building in Chicago was like a mecca for all wind players coming to Jacobs to resolve some deep-rooted performing problem. As he says( my paraphrasing) " they get tied up in knots,worrying about all the motions of the lip. . .you can't think about all those motions for they are thousands of motions from the brain to engage in performing a brass instrument "

As a brass player myself,(trombone & tuba) I have always sensed we have little repertoire to play of any interest,but Jacobs in a lecture here reveals this problem and one way to solve it, is to consciously search for things to play,like an aria from Puccini,or a particular non-tuba passage,to duplicate it,a piano or violin solo. What this approach implies is then for the brass player to develop skills as a consummate musician/ virtuoso,for you are forever challenged then to expand your repertoire endlessly,as much as the instrument or your technique will allow. I now find myself playing Chopin Preludes(Eb-minor,B-minor melodies only) on the trombone,and contrabass orchestral excerpts or trumpet etudes on the tuba,and Jacobs encourages tuba players to learn to read treble clef to be able to read any melody.

There are wonderful examples here from all genres in music from solo etudes in his studio to Berlioz and Wagner excerpts, solo and within the context of the orchestra. It all reveals the seemless consistent sound Jacobs was able to summon from his York tuba. Every attach was uniform,every tone even and pure,at least that is what he heard in his ear. That's another Jacobs credo,you have to have the sound in your head,what do you want your listener to hear. You command that.

The Bozza Sonatine(brass quintet) is also a wonderful performance of great brass music,great use of colours and entrances,breaking down the quintet into smaller duets and trios.This all with Chicago Symphony players makes it all the more interesting,a vintage performance from 1966.I recall those days where solo brass was considered an oddity,and unaccompanied solos even more so.

Jacob's sound should remain in your mind's hearing to duplicate it. Eugene Pokorny (Jacob's Chicago Symphony successor) also provides insightful interesting notes here.