A World Premiere from the South
by Jorge Montoya and Gabriella Ibarra
-Concerto for Horn and Orchestra, Op. 37, by Eduardo Alonso Crespo-
In memory of the legendary Myron Bloom, Argentine composer Eduardo Crespo has written his concerto Op. 37 for Scott Bohannon, principal hornist of the Entre Ríos Symphony Orchestra and former student and friend of Maestro Bloom. As a tribute, the composer has captured in this beautiful concerto some of Bohannon's memories of his teacher.
The work emerged in 2019 as a commission by the ERSO. During the composition process, Professor Bloom died, so the second movement is an elegy to his memory—just as Anton Bruckner did with his seventh symphony, dedicating its second movement to the memory of Richard Wagner.
The form of the work is the traditional three movements of a concerto, in which the composer worked closely with Bohannon in defining the character of each of them. The first movement recalls the heroic character that we associate with much of the symphonic repertoire for horn. It explores the epic traits usually associated with this instrument, and so, after a brief introduction to the thematic material, the movement launches into the development of a fearless heroic march as the soloist advances through the multiple variations along the way, interacting fluidly with the orchestra.
For the second movement in particular, Scott wanted to pay tribute to his teacher, therefore the second movement is an elegy, a wordless poem in memory of Myron Bloom, the legendary American horn player who died in 2019 and who was probably the most famous proponent of the recent history of the instrument as soloist with the Cleveland Orchestra under George Szell and the Paris Orchestra under Daniel Baremboim. This elegy follows the dramatic succession usually associated with the requiem, that is, the sequence of sadness, reproach against fate, and eventual consolation which make up the different stages of mourning.
Finally, the third movement, in the form of a rondo, a typical feature of many horn concertos from Mozart to Strauss, restores the livelier atmosphere, this time with a dance in simple triple meter. In some way, it is a remaking of the historical association of the horn with hunting on horseback. The ternary rhythm associated with the equine gallop is, in this case, a Creole cavalcade. The soloist “gallops” through intricate themes with strong American associations which demand virtuosity to conclude the concert with a bright assertiveness.
Having experienced such a creative process filled with emotion, the composer was asked:
“Do you plan to write a second concerto for horn in the future?”
To this, Crespo replied:
“The horn is an instrument which fascinates me, both as a member of the orchestra in symphonic works and as a soloist in concert. It is an irreplaceable instrument that mixes varied and contrasting emotional aspects, from the epic call to the deepest intimacy. I think that any self-respecting composer would feel very attracted to the instrument, so it is likely that a second concerto is brewing on my horizon. In addition, my experience with Scott Bohannon was extremely enriching for me, since he is an exceptional hornist of the highest level who inspires me to continue composing for the instrument.”
The world premiere was held on March 19 of the current year at the “Tres de Febrero” Theater-Paraná, Argentina.
For more information about Maestro Crespo and his work, we invite you to visit his website: https://www.eduardoalonsocrespo.net
Thanks to Jorge Montoya for the collaboration for this new edition of the News from Latin America.
Thank you, Ab!
Ab Koster, recently retired Professor of Horn at the Hochschule für Musik und Theater and former principal hornist of the NDR Symphony Orchestra, both in Hamburg, Germany, has generously served Horn and More for six years by soliciting numerous (at least 40) players and professionals to submit to our wonderful Pedagogy Column in nearly all issues since he took up the task. It is a staple feature in Horn and More which I have always anticipated and enjoyed. His professional connections have consistently brought us outstanding information from the best of our colleagues. Professor Koster is leaving us now, and we will miss him greatly in this capacity.
We are deeply grateful for you, Ab. On behalf of the International Horn Society and the readers of Horn and More, thank you for all you have given.
Met oprechte en hartelijke dankbaarheid, beste Professor!
Mike Harcrow, Editor, Horn and More
Meet the Seraph Brass
Hello, Horn Community!
My name is Rachel Velvikis, and I am the core horn player for the all-women brass quintet, Seraph Brass. It is an honor to introduce both myself and the group to you.
Seraph’s goal is to encourage young women to pick up brass instruments. The reason for this is simple: people still, even in the 21st century, are sometimes shocked to see that women are as capable of playing brass instruments just as well as their male counterparts…or as loud as, or as long as…. We aspire to inspire.
Being in Seraph Brass has, in all honesty, saved my love of music, and it has helped me remember why I am a musician: the music has always been the reason to play. Music and the feelings we share together in it are sacred. If we can evoke an individual’s emotions through music, then I will always feel fortunate to perform with this group. If through Seraph I can inspire others to play an instrument, I will feel even more fulfilled.
Beyond our objectives, the repertoire is terrific! Here is Go by Anthony DiLorenzo—it’s one of my absolute favorite pieces to perform in concert:
As we are also dedicated to commissioning pieces by women, here is the middle movement of Catherine McMichael’s Asteria (also the title of our award-winning album):
Another great work commissioned by Seraph for this album is Renee Orth’s Leaguered in Fire, Lagooned in Gold. Asteria is available on all major streaming platforms.
It would be our great honor if you would listen to our music and, if you are able, come see us in concert. We travel around the world, so the best way to find us is through the EVENTS listing on the Seraph Brass website.
If you would like to know more about me, please visit my personal website.
We hope to see you on the road!
Rachel
Students in the City
by Hannah Culbreth and Jack Bryant
(l-r) Sarah Boxmeyer, Hannah Culbreth, Jack Bryant, Etienne Kambara, Christine Ott, Martina Adams, Andrew Stump, Jennifer Montone, Jeff Lang, John Clark
After a long hiatus from live concerts due to the pandemic, we were excited to return to Verizon Hall on February 20th for our first orchestra concert for a live audience. We played a rather horn-heavy program, including Stravinsky’s Symphonies of Wind Instruments, Barber’s Toccata Festiva for organ and orchestra, and Strauss’s Also Sprach Zarathustra.
The historic Curtis Institute building at 1726 Locust closed for renovations while school was held online and just recently reopened. We now enjoy practicing in the large comfortable rooms while looking out over Rittenhouse Square and watching for people walking their dogs.
Curtis has an extensive collection of instruments available to the students for rental, either donated to the school or purchased for our studio, including alphorns, Wagner tubas, and period instruments. We especially enjoy practicing classical repertoire on the Seraphinoff natural horns and Kopprasch on a Wiener horn made by Robert Engel. The school also owns many vintage Conn 8Ds and a variety of descant horns, some of which were owned by former principal players in the Philadelphia Orchestra.
Our teachers, Jen Montone and Jeff Lang, often invite well-known players to give masterclasses. Recent guests have included Fergus McWillliam, Radovan Vlatkovic, Julie Landsman, Nury Guarnaschelli, Randy Gardner, David Cooper, Richard King, and Nicole Cash.
We’re looking forward to working on the Haydn/Rosetti Double Concerto for a performance on a brass recital later this semester.
In our free time away from the horn, we enjoy walking around the city and exploring the used bookstores and thrift stores in the area. We’re always on the lookout for rare recordings on vinyl that aren’t available on streaming platforms. For one of our studio classes this semester, we gathered at Professor Montone’s house, and we each chose some interesting recordings from Julie Landsman’s personal record collection. We took turns playing along with the recordings—everything from Dennis Brain’s recording of the Britten Serenade with Peter Pears to Ravel’s Pavane for a Dead Princess with the Cleveland Orchestra and Pierre Boulez.
We also enjoy visiting interesting stores in Center City to find fresh ingredients to make food for our friends. DiBruno Bros., Reading Terminal Market, and the Rittenhouse Square Farmer’s Market are some of our favorite places to purchase groceries. Jack is a coffee geek and likes to roast his own coffee and prepare espresso drinks with his manual-lever espresso maker, so we keep him “in supply.”
We sometimes take trips on Amtrak to New York City to see performances. Last November, we went to see the Metropolitan Opera’s production of Die Meistersinger von Nurnberg. But Philadelphia is an equally great city with a vibrant and engaging arts and culture scene and lots to see and discover.
Tradition in Albania
by Ilir Kodhima
Albania is a country in southeastern Europe located on the western part of the Balkan Peninsula. Due to its strategic geographic location, Albania has often been part of great wars and tragic historical events; this has adversely affected artistic growth and development.
Classical music in Albania was introduced via wind orchestras. Much evidence for this can be seen in photographs from the city of Shkodra dating to 1878. The ensemble was first directed by the Italian conductor, Maestro Giovanni Canale. Three years later, the group was directed by the well-known Albanian Palok Kurti.
In the early 1900’s, wind orchestras were very popular throughout the country, becoming part of political and cultural events. The first city closely associated with wind orchestras was Shkodra. Almost every neighborhood or school in the city had its own wind orchestra made up almost exclusively of amateurs and students. One of the most popular wind orchestras was in the city of Skopje. The ensemble was supported by many nationalists, including Hasan Prishtina, Kolë Bojaxhi (St. Mother Teresa’s father), and others. This ensemble played a very important role in the inspiration and entertainment of the citizens during the fight for liberation from the Ottoman Empire.
Wind orchestras from two other cities played a similar role in this era:
 |
| Freedom Wind Orchestra of Korçë |
 |
| Afërdita Wind Orchestra of Elbasan |
During the 1900s, many Albanians immigrated to the United States. Although they lived in a foreign country, they established the “VATRA” association, still in existence. This association established the “VATRA Wind Orchestra” to financially support the reconstruction of houses destroyed during the various Balkan wars.
Of the many musicians who were part of wind orchestras in Albania, only a few of them graduated from music conservatories in Italy or other western or eastern European countries. Later, many of these musicians, such as Çesk Zadeja, Prenk Jakova, and others, became famous in Albania, contributing to the consolidation of cultural institutions in addition to enriching the Albanian musical repertoire.
Thoma Nasi, a notable artist who studied violin in Albania and Greece then subsequently graduated with a degree in flute from Boston Conservatory in the United States, created and conducted the first Albanian Symphonic Orchestra on April 6, 1924. Following the difficult period of Balkan and world wars, this orchestra returned in 1950, and after 3 years became part of the National Opera and Ballet. Horn players who were part of this orchestra included Osman Banushi, Muharrem Gurra, and Kristo Kote. These artists were also quite active in other musical fields like arranging, composing, and conducting.
 |
| High Institute of Arts, Tirana |
The current University of Arts, located in Tirana, was established in 1966. The first horn professors were Kristofor Qorri and Dhimitraq Gjergji. Both studied at the Military Conservatory “Vitta Needleho” in the former Czechoslovakia from 1958-1960. After graduation, they returned as the players and professors in various orchestras and music schools in cities across Albania. They were, thus, a crucial part of orchestral development and of the artistic growth of many young horn players. Local orchestras appeared across all of Albania, improving rapidly and bringing music to a much higher artistic level.
The change from a totalitarian communist system to a democratic one in Albania initially adversely affected all that had taken decades to build. Even still, many music schools lack representative professors, musical instruments, or even a library, making it very difficult to generate interest in orchestral instruments in the younger generation. An obstacle during this period has been the closure of many city orchestras, causing deep financial and artistic losses.
Since 2004, with the evolution of technology and internet access, we have had the opportunity to enrich our study methods and literature. In the past, students and professors used to copy pieces or even method books entirely by hand due to the lack of copy machines. Method books were very old and often limited in their approach in adapting to different levels of student progress. Finding an instrument or even a mouthpiece was very difficult if not impossible. Many music schools have totally closed their brass-wind departments, creating an alarming situation which will require long-term policy for reconstruction, both of infrastructure and of all necessary supporting materials and conditions.
Lately, thanks to various cultural organizations, and in particular to the Albanian Brass Festival (www.iabf.al), many horn players from around the world have shared their expertise and talent with a whole new generation, helping them improve quickly. Some of our guests have included Brent Shires, USA; Arkady Shilkloper, Russia; Gergely Sugar, Hungary; and Luca Benucci, Italy, among others.
To me, it seems that many European countries (and other nations around the world) have started to feel similar difficulties; and consequently, long-term policies must be implemented immediately for the improvement of situations that threaten the musical arts around the world.
Ilir Kodhima is the Artistic Director of the International Albanian Brass Festival, and he is professor of horn at the University of Arts in Tirana, Albania, as well as at the University Faculty of Arts in Pristina, Kosovo.
Una visión de Arnold Jacobs
em português
in Englishpor Christian Morabito
¿Cómo influyó el maestro Arnold Jacobs en mí, sin siquiera llegar conocerlo?
En diciembre del año 2018 comencé a ver videos del maestro Charles Vernon (trombón bajo de la CSO) en YouTube, ya que siempre me gustó su manera de tocar, su sonido y su musicalidad. En ese momento me pareció super interesante su enfoque pedagógico desde sus explicaciones simples y también su sentido del humor. Me concentré tanto en ese enfoque que pensé… “por qué no subtitular sus videos?”. Llegué inclusive a enviarle un email porque necesitaba su permiso para hacer el trabajo, pero nunca recibí respuesta. Sé que es una persona muy ocupada. Comencé a buscar información relacionada porque sentía que mis conceptos respecto a sonido, respiraciones y demás cosas que había aprendido con mi maestro Jorge Ramírez Álvarez (ex trombón bajo de la Orquesta Filarmónica de Buenos Aires, donde actualmente trabajo como corno grave), eran similares.
Un día, buscando información similar a la del maestro Vernon, descubrí una página de Arnold Jacobs: TUBAPEOPLETV!. Ex alumnos del maestro contaban sus experiencias propias en clases privadas en el sótano de su estudio de la calle South Normal -el famoso sótano!- y también en el edificio de Bellas artes, ambos en Chicago, entrevistados por un señor llamado Michael Grose. En ese momento se me ocurrió la idea de enviarle un email directamente a la página de Arnold Jacobs ya que no había recibido respuesta del señor Vernon y no quería quedarme sin conocer más del tema. Luego de escribir el email y enviarlo, pidiendo permiso para subtitular los videos de las entrevistas en mi idioma natal el español- que por cierto, son super interesantes todas!- al rato recibí una respuesta automática diciendo “en breve responderemos a su pedido” o algo así! Y pensé…. “uffff, no me van a contestar!”. Contrariamente a mi pensamiento, recibí al otro día un email muy agradable y cálido, el cual decía… “Estimado Christian, siéntete libre de subtitular lo que quieras! siempre que sea desparramar las enseñanzas del gran maestro Arnold Jacobs, siéntete libre”... con firma…Michael Grose! ¡Me quedé con la boca abierta! Y de inmediato le pregunté…”¿Usted es Michael Grose?”…Y enseguida me contestó… “Sí”... y pensé… ¡Guau! ¡Es él!
Desde ese momento comenzó una gran amistad entre nosotros y aunque aún no hemos tenido la oportunidad de conocernos en persona, luego de estar tanto tiempo en contacto, lo considero parte de mi vida y de mi familia también.
Al día de hoy, llevo más de 160 videos subtitulados al español y juntos, Mike y yo, creamos la página web www.arnoldjacobsenespanol.com donde se puede encontrar información en formato de videos y también artículos traducidos al español.
El enfoque del maestro Jacobs es el mismo que aprendí de Jorge! Según él, en los años 1970, cuando realizó sus estudios en los Estados Unidos de Norteamérica, “todos” estudiaban con Arnold Jacobs! Dicho enfoque se basa en la simplicidad. Trabajar con la naturaleza y no en contra de ella.
Aunque Jacobs era y es aún conocido como el “muchacho de las respiraciones” considero que esta frase le queda muy pero muy chica! Él basaba su enfoque en la famosa frase “Song and Wind”, “Canción y Viento”. Siempre enfocado en 85% en la canción y solo 15% en el viento. También existe el libro con este mismo nombre Song and Wind, escrito por Brian Frederiksen, donde pueden encontrar información técnica, así como también de la vida de Jacobs. Este libro acaba de salir también traducido al español por mí y por Julio Briseño (Trombonista Mexicano).
El señor Jacobs fue una persona que tuvo muchos problemas físicos y de salud. Luego de ser aceptado a la edad temprana de 15 años en el Instituto de Música Curtis como tubista con beca completa, se le fue ofrecida, años más tarde, una beca completa para estudiar canto. Al tomar clases de canto con el maestro (ciego) y gran tenor Luccianno Bochelli, Jacobs siempre terminaba con dolores de garganta y afonía. A partir de esto, Jacobs comenzó el estudio de la función y estructura del ser humano. Fue un estudio fascinante que mantuvo hasta los últimos días de su vida! De esta manera volcó sus conocimientos a la música, pero no para ayudarse a sí mismo, sino para ayudar a los demás, desmitificando temas como el apoyo diafragmático, entre otros tantos. Innumerables estudiantes llegaban a su estudio desde todas partes del mundo para solicitar su ayuda, salvando cientos de carreras musicales.
Siendo cornista y no tubista, a medida que me introducía más y más en sus historias y enseñanzas, seguí experimentando cambios en mi manera de tocar ya que, en mis inicios, todo estaba más enfocado en lo mecánico, la fuerza física, respiraciones poco profundas y “apoyo” muscular. Descubrí algo que quiero expresar en este escrito: “Cuando se conoce este enfoque y se experimenta por sí mismo, no se vuelve a lo anterior!”. Esto sucede porque uno comienza a tocar más libremente, con sonido más amplio y resonante y uno se enfoca más en el producto final que obviamente es la música, la comunicación y no en el aspecto físico de cómo lograrlo! Es un enfoque mental, basado en el producto final.
De esta manera influyó el maestro Arnold Jacobs en mi vida… y lo sigue haciendo!
¡Gracias siempre señor Jorge Ramírez, señor Michael Grose y señor Arnold Jacobs!
Uma visão de Arnold Jacobs
por Christian Morabito
Como o mestre Arnold Jacobs me influenciou, sem mesmo conhecê-lo?
Em Dezembro de 2018 eu comecei a ver vídeos do mestre Charles Vernon (trombone baixo da CSO) no Youtube porque sempre gostei da sua maneira de tocar, sua sonoridade e sua musicalidade. Nesse momento me pareceu super interessante seu enfoque pedagógico, desde suas explicações simples e também seu sentido de humor. Me concentrei tanto nesse enfoque que pensei… ‘’Por quê não legendar seus videos’’? . Cheguei inclusive a enviar um e-mail porque eu precisava da permissão dele para fazer esse trabalho, mas nunca recebi uma resposta. Sei que ele é uma pessoa muito ocupada. Então comecei a buscar informação relacionada porque sentia que meus conceitos sobre sonoridade, respirações e mais coisas que aprendi com meu professor Jorge Ramírez Álvarez (ex-trombone baixo da Orquesta Filarmónica de Buenos Aires, onde trabalho atualmente como trompa grave), eram similares.
Um dia, buscando informação similar a de Vernon, descobri uma página de Arnold Jacobs! TUBAPEOPLETV, onde ex-alunos do maestro contavam suas próprias experiências em classes particulares no porão do seu estúdio na rua South Normal (o famoso porão ) e também no edifício de Belas Artes, ambos em Chicago, entrevistados por um senhor chamado Michael Grose. Nesse momento me veio a ideia de enviar um e-mail diretamente a página de Arnold Jacobs, já que não recebi resposta do Sr. Vernon e eu não queria ficar sem conhecer mais sobre o assunto. Depois de escrever e enviar o e-mail, pedindo sua permissão para legendar os vídeos das entrevistas ( todas super interessantes!) em espanhol, meu idioma nativo, eu recebi imediatamente uma resposta automática dizendo ‘’em breve responderemos seu pedido’’ algo assim! Pensei… ''Affff, ele não vai me responder’’!. Contrariando meus pensamentos, recebi outro e-mail muito agradável e caloroso no dia seguinte com a seguinte resposta: ''querido Christian, sinta-se livre para legendar o que você quiser! sempre que seja para divulgar os Gensinamentos do grande Arnold Jacobs, sinta-se livre’’… assinado por…Michael Grose! Fiquei boquiaberto! E imediatamente perguntei…’’ Você é Michael Grose?’’Em seguida me respondeu…’’SIM’’. Pensei… UAUUU! É ele!
Desde esse momento começou uma grande amizade entre nós e ainda que não nos conhecemos pessoalmente, depois de estar tanto tempo em contato, eu o considero parte da minha vida e também da minha família.
Atualmente já legendei mais de 160 vídeos em espanhol e juntos, Mike e eu, criamos o site www.arnoldjacobsenespanol.com onde é possível encontrar vídeos informativos e também artigos traduzidos para espanhol.
O enfoque de Jacobs é o mesmo que aprendi com meu professor Jorge! Segundo ele, na década 1970, quando realizou seus estudos nos Estados Unidos, ‘’todos’’ estudavam com Arnold Jacobs! Seu enfoque se baseia na simplicidade, trabalhar com a natureza e não contra ela.
Apesar de que muitas pessoas conheciam e conhecem a Jacobs como ‘’o cara das respirações'', esta frase é muito, mas muito pequena para ele. Jacobs baseava seu enfoque na famosa frase ‘’Song and Wind''(canção e vento). Sempre focado em 85% na canção e só 15% no vento. Também existe um livro com esse nome, Song and Wind, de Brian Frederiksen, onde podem encontrar informação técnica e sobre a vida de Jacobs. Este livro acaba de ser traduzido ao espanhol por mim e por Julio Briseño (Trombonista Mexicano).
O senhor Jacobs foi uma pessoa que teve muitos problemas físicos e de saúde. Aos 15 anos foi aceito no Curtis Institute of Music como tubista e com bolsa integral, anos mais tarde lhe ofereceram uma bolsa completa para estudar canto. Ao tomar aulas de canto com o professor (cego) Lucciano Bochelli, um grande tenor, Jacobs sempre terminava com dores de garganta e afônico. A partir disso, Jacobs começou a estudar as funções e estrutura do ser humano, Foi um estudo fascinante que manteve até os últimos dias da sua vida! Dessa maneira ele direcionou seus conhecimentos para a música, mas não para ajudar a si mesmo e sim para ajudar os outros, desmitificando temas sobre o apoio diafragmático, entre outros tantos. Vários estudantes chegavam ao seu estúdio de todas as partes do mundo para pedir sua ajuda. Jacobs salvou a carreira de centenas de músicos.
Sendo trompista e não tubista, a medida que eu me aprofundava mais e mais nas suas histórias e ensinamentos, eu segui experimentando mudanças na minha maneira de tocar já que, nos meus inícios, tudo estava mais enfocado no mecânico, na força física, nas respirações profundas e no ''apoio'' muscular. Descobri algo que quero expressar por escrito… ‘’Quando você conhece essa abordagem e experimenta por si mesmo, você não volta ao anterior!’’. Isso acontece porque você começa a tocar livremente, com um som mais amplo e ressonante e você se foca mais no produto final que obviamente é a música, a comunicação e não nos aspectos físicos de como fazer isso! É um foco mental, com base no produto final.
Desta maneira Arnold Jacobs influenciou minha vida… e ele continua fazendo isso!
Obrigado sempre Sr. Jorge Ramirez, Sr. Michael Grose e Sr. Arnold Jacobs!
Insight on Arnold Jacobs
by Christian Morabito
How did Arnold Jacobs influence my life, even without knowing him?
In December of 2018, I started to watch videos of maestro Charles Vernon (bass trombonist of the Chicago Symphony Orchestra) on YouTube. I always liked his way of playing, his sound and his musicality. At that moment, it seemed to me that his pedagogical approach was very interesting, from his simple explanations and even his sense of humor. I was focused on his approach when I thought, “Why don't I subtitle his videos?” So I sent him an email since I needed permission to do the work, but I never got an answer. Of course I knew he was a very busy person. I started to search for additional information because I felt that my concepts of sound, respiration, and other aspects of playing which I had been learning from Jorge Ramirez Álvarez (former bass trombonist of Buenos Aires Philharmonic Orchestra, where I play as a low horn player) were similar.
One day, while searching for information similar to Mr. Vernon’s, I discovered an Arnold Jacobs page: TUBAPEOPLETV, hosted by a man named Michael Grose. Former students of Mr. Jacobs were talking about their private lesson experiences in the basement of his South Normal Street home (the famous basement!) or in the Fine Arts Building, both in Chicago. At that moment, I had the idea of sending an email directly to the Arnold Jacobs page, since I had not received an answer from Mr. Vernon and I didn't want to say something without first learning about it. I sent the email, asking for permission to write subtitles for these video interviews (all of which were so interesting!) in Spanish—my native language, by the way—and some minutes later I received an automatic answer saying something like: “Shortly we will answer your request,” and I thought, “Ufff, he is not going to answer me either!” To my delight, the next day I received a very nice and warm e-mail that said, “Dear Christian, please feel free to subtitle everything you want; if it is about sharing Mr. Jacobs’ teaching…just feel free to do it.” And it was signed by…Michael Grose! I was astonished! Immediately I asked, “Are you Michael Grose?” And when he replied, “Yes,” I at last thought: Wow! It's him!
Since that moment, we have started an amazing friendship even though we don't know each other in person yet. Now, after being in touch for three years, I consider him part of my life–and of my family too.
Until now, I have completed more than 160 videos about Mr. Jacobs, subtitled in Spanish, and together, Mike and I have created a web page www.arnoldjacobsenespanol.com where you can find information in video format as well as articles also translated into Spanish.
Mr. Jacobs' approach is the same I’d learned from Jorge! Jorge told me that in 1970, when he worked on a doctorate in music in the United States, “everyone” was studying with Arnold Jacobs. His approach is based on simplicity: work with nature and not against it.
Many people knew Mr. Jacobs as “the breathing guy,” but this phrase is too small to describe him! He based his approach on the phrase “Song and Wind,” focused always on 85% song and just 15% on wind. There is also a book titled Song and Wind, written by Brian Frederiksen, in which you can find historical, technical, and pedagogical information about Mr. Jacobs. This book recently arrived, and it is now translated into Spanish by Julio Briseño (a Mexican trombone player) and myself.
Mr. Jacobs was a person who had many physical and health issues. After being accepted into the Curtis Institute of Music as a tubist at age 15, he also received another scholarship to study voice. While taking voice lessons, Jacobs always ended up with throat pain. The pain caused him to wonder why he was made so uncomfortable while singing but not from playing the tuba. So he started to study the function and structure of the human body. It was a fascinating study that occupied him until his last breath. Jacobs brought this knowledge to music, tirelessly helping others, and demystifying concepts like “diaphragm support.” Many students came into his studio from all different parts of the globe asking for help…and he saved many musical careers.
I am a horn player and not a tubist, yet while I was moving deeper into his stories and teaching, I kept experiencing changes in my playing. As initially everything was focused on mechanics, physical strength, shallow breathing, and “muscle support,” I've discovered something I want to express in this article: When you know this approach and you experiment by yourself, you will never return to your prior approach. This happens because we start to play more freely, with bigger and better sound that is more resonant; and we learn to focus on the end product—obviously the music, the communication—rather than on the physical aspects of how to achieve it! It is a mental approach based on the final product.
In this way Mr. Jacobs influenced my life…and he is continuing to do so!
Thank you always, Mr. Jorge Ramirez, Mr. Michael Grose, and Mr. Arnold Jacobs!
