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| Portrait of an Artist: Arnold Jacobs | 
 enlarge | Creators: Bela Bartok, Hector Berlioz, Eugene Bozza, Anton Bruckner, Dietrich Buxtehude, Herbert L. Clarke, Giovanni Gabrieli, Gugel, Vittorio Monti, Modest Mussorgsky, Carl Nielsen, Richard Strauss, Igor Stravinsky, Ralph Vaughan Williams, Richard Wagner, Carlo Maria Giulini, Daniel Barenboim, Fritz Reiner, James Levine, Jean Martinon
Label: Summit(Classical)
Category: Music
List Price: $18.98
Buy New: $13.53
You Save: $5.45 (29%)
Buy New/Used from $9.99
Avg. Customer Rating:  (6 reviews)
Sales Rank: 107570
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
UPC: 099402267920
EAN: 0099402267920
ASIN: B00004UDEY
Release Date: August 15, 2000
Availability: Usually ships in 1-2 business days
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| Tracks:
| • | Buxtehude: Fanfare - Adolph Herseth/Vincent Cichowicz/William Scarlett/Charles Geyer/Dale Clevenger/Jay Friedman... | | • | We Are Enormously Complex | | • | Hn Con No.1 in E flat: 1st Movt: Allegro | | • | Hn Con No.1 in E flat: 2nd Movt: Andante | | • | Hn Con No.1 in E flat: 3rd Movt: Allegro | | • | The Musician Plays The Instrument | | • | Playing For The Audience | | • | Programming The Brain | | • | Czardas | | • | Carnival Of Venice | | • | Con: 1st Movt | | • | Etude No.24 | | • | 'Czardas' With The Metronome | | • | This Is An Art Form | | • | We Play By Song And Wind | | • | Canzon Per Sonare No.2 - Adolph Herseth/Vincent Cichowicz/Dale Clevenger/Jay Friedman/Arnold Jacobs | | • | Lohengrin: King Heinrich's Call (Exc) - Jay Friedman/Arnold Jacobs | | • | Sym Fantastique: Dies Irae | | • | Become A Singer In Your Brain | | • | There Must Be A Source Of Vibration | | • | Breath As A Motor Force | | • | Sonatine: 1st Movt: Allegro Vivo - Adolph Herseth/Vincent Cichowicz/Richard Oldberg/Frank Crisafulli/Arnold Jacobs | | • | Sonatine: 2nd Movt: Andante Ma Non Troppo - Adolph Herseth/Vincent Cichowicz/Richard Oldberg/Frank Crisafulli/Arnold Jacobs | | • | Sonatine: 3rd Movt: Allegro Vivo - Adolph Herseth/Vincent Cichowicz/Richard Oldberg/Frank Crisafulli/Arnold Jacobs | | • | Sonatine: 4th Movt: Largo; Allegro - Adolph Herseth/Vincent Cichowicz/Richard Oldberg/Frank Crisafulli/Arnold Jacobs | | • | Keeping Music As An Art Form | | • | Breathe To Expand | | • | F Tuba Demonstration With Berlioz | | • | Romeo And Juliet (Exc) - Chicago SO/Carlo Maria Giulini | | • | Con: 2nd Movt (Exc) - Chicago SO/Fritz Reiner | | • | Petrouchka (Exc) - Chicago SO/James Levine | | • | Sym No.4: 1st Movt (Exc) - Chicago SO/Jean Martinon | | • | Sym No.4: 1st Movt (Exc) - Chicago SO/Daniel Barenboim | | • | The Key For Communicating In Music | | • | Pictures At An Exhibition: The Great Gate Of Kiev (Exc) - Chicago SO/Fritz Reiner |
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| Customer Reviews: Read 1 more reviews...
 A good insight into this great musician. June 14, 2008
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 September 28, 2005
2 out of 20 found this review helpful
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. April 2, 2005
5 out of 5 found this review helpful
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 May 16, 2001
10 out of 11 found this review helpful
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 September 1, 2000
25 out of 26 found this review helpful
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.
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