by
Frank Byrne
When
Arnold Jacobs passed away in 1998, one of the
first concerns was to preserve his legacy, and
among the projects proposed was a tribute
recording.
Only now that the “Portrait of an
Artist” CD has been released has it become
apparent how great was that concern.
While it is inconceivable to some of us,
it appears that a fair number of tubists active
today have either an incomplete or inaccurate
picture of Arnold Jacobs’ philosophies, the
incredible scope of his artistry, and even the
degree to which he influenced the art of tuba
playing. I
have compared notes on the above observations
with other Jacobs students and the consensus is
similar. Without
great effort, we risk losing touch with one of
the greatest artists of the 20th
century.
Jacobs
retired from the Chicago Symphony in 1988.
Today, consider the fact that any player
age 12 or younger was not even alive during his
tenure with the CSO, and that many college age
players today were only periphally aware of his
work when they began playing some 12 or fewer
years ago.
I have been more amazed at the number of
professional brass players (especially tubists)
who, after hearing the recording, have
commented, “I had no idea he was that
amazing!”
Some professional players from the
western United States stated that his influence
was more regional and not known as well in the
area they grew up as perhaps in the midwest and
the east coast.
Houston, we have a problem.
To
gain perspective on this matter, we need look
only to our colleagues in the vocal community.
Singers even today turn to recordings of
Caruso, Bjoerling, Melchior and others to gain
insight into the great artistry that preceded
them: a level of artistry that some say will
never again be equaled. This past spring I was privileged to hear Die Walküre
at the Metropolitan Opera, a performance which
included James Morris as Wotan and Placido
Domingo as Siegmund.
I was amazed to discover that opera
lovers had traveled from as far away as Japan
and Australia to witness first-hand what may
have been the last MET Walküre with this
cast.
As
lifelong students, we must take every possible
opportunity to flood our minds with the sounds
of great performers past and present, for it is
only in the act of performing that we can
appreciate their depth of artistry and know what
is possible.
As tubists, we can especially not afford
to miss the opportunity to have an intimate look
at perhaps the greatest tuba player of the 20th
century. (The
previous statement is made with all due respect
to Bill Bell and other fine players of their
era. The
point is that as a performer and teacher, no
other player had such a great impact or set such
a unique and high standard.)
I
was first approached about this project by Sam
Pilafian, a friend of long standing and one with
whom I had worked on several previous recording
projects. I
am a fanatical CD collector, a certified Jake
groupie, and had experience producing many
recordings during my tenure with the Marine
Band, including considerable experience with
archival and historic recordings. This, coupled with Sam’s estimation that I was a “project
guy” (his term) started the ball rolling.
One
of the first decisions was to determine what
length the recording would be.
Initially, we thought it should be a
two-CD set since there seemed to be such an
incredible wealth of material from which to
choose. To
give perspective and periodic “reality
checks” on the project, I formed an informal
advisory committee of key people, each of whom
knew the Jacobs legacy first hand and would be
able to pick and choose when required.
This group included Sam Pilafian, Bob
Tucci, Dave Fedderly, Rex Martin, and Gene
Pokorny. Each
of these gentlemen were incredibly helpful and
are owed a huge debt of thanks for their
contributions.
My
own recording collection provided a base from
which to begin, but the committee was asked to
suggest what “must” be on the final
collection.
I selected a preliminary collection
filling two CDs with solos and excerpts and
circulated them to the committee with the
question “What should be included?”
The answer “All of it!” required a
second round of input.
In consultation with Summit Records, we
eventually settled on a single CD and that
increased the requirement to be selective.
Along
the way, additional material began to float in
from various sources, and leads on other
material as well. This launched additional detective work via letters, phone
calls, e-mails, and other internet sources.
As some proved to be “dry wells,”
others suggested alternate points of contact,
and still others required additional letters,
permissions, and calls, the process became more
complicated.
A major priority was to locate the best
possible source material and then request
permission to use it for the project.
A complete description of the process
would fill 10 issues of the Journal but a
synopsis may prove of some interest.
In
preparation for negotiations with recording
labels and others, it was important to establish
the credibility of the project.
I obtained a letter from Arnold’s son,
Dallas, expressing the support of himself and
Mrs. Jacobs (who was still living at the time)
for the project.
I also solicited a letter from Henry
Fogel, President of the Chicago Symphony and a
personal friend, who was wonderfully supportive
of the project.
The entire staff of the Chicago Symphony
were incredibly helpful at every turn.
Having
worked with licensing issues on previous
recording projects, I knew a major question
would be distribution of profits and/or
royalties from the sale of the recording.
To remove this question, it was made
clear that no one involved in the project was
being paid and we also established a scholarship
fund into which all proceeds could be directed.
This made it more palatable for recording
companies to grant free approval for use of the
commercial recordings.
An additional factor in our favor was
that we requested to use only short segments
rather than complete works.
Dealing
with the commercial recording labels was an
adventure.
The experience ranged from fairly
painless to nearly impossible.
At one label, one of the key A&R
staff was a former euphonium player well
familiar with the Jacobs legacy and helped
facilitate approval.
At another label, they required dozens of
calls, faxes and e-mails, with assurance after
assurance on one point or another, and even a
signed letter of permission from the conductor.
The approval was granted via Los Angeles
but required negotiation with offices in London. Just when it appeared that all required documentation had
been provided, there was one more requirement. Final approval of this one excerpt came just days before the
drop dead date to go into production, and
without Mr. Fogel’s personal assistance it
would probably not have happened.
Ensemble
recordings came primarily from WFMT radio in
Chicago and from the Ravinia Festival.
Both were quite cooperative but requested
signed letters from CSO players (present, past,
and family members of those who were deceased)
who performed on these recordings, each granting
permission for the recordings to be used.
This launched another series of letters
with permission forms.
Some responded right away, some later,
one I stalked in the players’ locker room at
Symphony Center, and one Gene helped get signed. Bottom line: against all odds, the permission letters were
obtained.
Just
when it seemed the hard part was over, technical
glitches in the various master tapes and the
dubbing thereof created havoc.
One DAT tape arrived with such horrible
hum (from a grounding problem) that it was
unusable and a second copy had to be requested.
Another turned out to be mono and should
have been stereo.
The problem?
The original master tape for this
performance was recorded on recycled tape stock
that had not been properly bulk erased before
use. The
only solution?
Since the erasure problem affected only
one channel, they used the one good channel and
created a mono recording from it.
A third tape arrived with (somehow) a
second audio program on top of the desired
performance.
At one point, it seemed the project was
doomed to failure, but persistence was the only
saving grace.
SOLO
RECORDINGS:
One
of the centerpieces of this CD was to be
Arnold’s live recording of the Vaughan
Williams concerto, one far superior to the
commercial DGG recording where the sessions were
problematic and about which he was not entirely
pleased. The
live recording, from a concert conducted by CSO
assistant conductor Henry Mazer, was released on
a special 2 CD set of CSO soloists as part of
the CSO’s archival recording series.
That set is now out of print.
Despite the personal assistance of Henry
Fogel and Gene Pokorny, the CSO players
committee could not permit the use of this
recording due to union regulations governing the
orchestra’s recordings.
I hope this live recording will surface
again at some time in the future.
The
recording of the Strauss Horn Concerto #1 came
from one of Arnold’s summers at the Gunnison
(CO) Music Camp.
Key officials of the old camp, including
the widow of he founder and two of the senior
administrative staff were contacted to try to
track down original master tapes, but to no
avail. In
the end, we were forced to use a pristine,
unopened LP given to me by Dallas Jacobs. To ensure the finest possible transfer, I asked Summit to
allow Ward Marston, perhaps the finest historic
transfer engineer on the planet and one with
whom I had worked extensively on a set of Marine
Band historic recordings.
Ward has the unique gift of lifting every
iota of sound from the grooves of old recordings
and knowing just which stylus will yield the
best result.
Very tasteful equalization and noise
reduction resulted in a very clear and sonorous
transfer of this amazing performance, which was
recorded in a single take.
For those interested in hearing many fine
opera singers of the early 20th
century, I highly recommend checking out Ward
Marston’s website at www.marstonrecords.com.
It is a treasure trove of great
musicianship.
The
final solo recordings came from personal
practice tapes found in the Jacobs basement.
On a visit to see Mrs. Jacobs during her
last few months, Dallas permitted me to look
through tapes in the basement and I borrowed
those on which there appeared to be some brief
documentation in Arnold’s shorthand indicating
it might have something of interest.
In all probability, the tapes that
survived did so by accident, for it appears that
these tapes were re-used, stopped and started in
a random manner.
After carefully transferring each tape
(some of which were in poor condition) I
listened and made extensive notes about the
contents. Following
several re-listening sessions, I dubbed a
cassette of what I felt to be the best things
and sent these off to Rex and Gene to get their
perspective.
This was invaluable, for I found
something to admire in each of them.
One of the gems was the sequence of three
solos (Czardas, Carnival of Venice, and the
first movement of the RVW Concerto) that he
recorded in preparation for a solo appearance in
Ann Arbor.
This was too impressive for words and had
to be heard.
This
sequence of solos also included two that he had
performed but for which there were no other
known recordings (Czardas and Carnival of
Venice), each of which were historically
significant to his life.
The Clarke Carnival of Venice was one of
the pieces he played at his audition for the
Curtis Institute at age 15.
Monti’s Czardas was part of a stage
routine performed by his wife when she was a
professional dancer.
He once told me that she needed to
practice her dance routine and he couldn’t
play it fast enough on piano so just learned it
on tuba. As
evidenced here, he really could play it.
SPOKEN/INTERVIEW/CLINIC
RECORDINGS:
These
came from three main sources:
A
1977 interview on Chicago’s WFMT by host Jim
Unrath for a program entitled “Profiles” in
which prominent Chicago musicians were
interviewed.
One of the most attractive features of
this interview is that it is such a fine
representation of his sonorous voice.
It is also a great summary of many of his
basic teaching philosophies. A bonus is that it was recorded in his studio in the Fine
Arts Building on Michigan Avenue, and anyone who
ever had a lesson in that room will recognize
its acoustic signature.
If you listen carefully with headphones,
you can even hear the rumble of the “EL” as
it goes down Wabash Street behind the building. While I selected only those portions with Arnold
speaking, you can hear Jim Unrath responding in
the background, although we modified the stereo
image to make Arnold’s voice dead center and
that minimized Jim’s contributions.
Other
sources were tapes of various master classes he
gave for the U.S. Marine Band in 1991, and
shorter segments came from his lecture at the
1973 ITEC held at Indiana University, these
obtained thanks to Harvey Phillips.
An additional source were wire recordings
of a 1959 television interview that were
unearthed in preparation for the Jacobs memorial
service at Orchestra Hall in 1988.
Once
the source material had been identified and
given several listenings for the purpose of
taking extensive notes on content and DAT
timings, I made a complete transcript of the
primary segments and used these to select and
edit the final sequence.
The goal was to condense material and
make a logical sequence that would tell a story
when combined with the musical selections, each
reinforcing the other.
It was also essential to try to focus on
some of Arnold’s key teaching concepts in such
a brief format as would be available on a single
CD.
Final
editing and fine adjustments were made before a
finished master was sent to Summit for
manufacture, along with booklet notes, photos,
and suggested layout of the interior.
A special thanks go to Summit recordings
for agreeing to take on this project and making
it possible for this fantastic legacy to be
shared with many others.
First,
foremost, and always: many people contributed to
this project, but it is my hope that only one
name will be remembered and that is the name of
Arnold Jacobs.
The value and the long term benefit of
this CD belong entirely to him, for it is his
concepts and his playing that make it great. In this condensed format, I believe we mere mortals get
a “keyhole view of heaven” and do not think
it an overstatement to suggest that what the
Jacobs legacy represents has the potential to
make us better, and virtually change the lives
of some players.
That would be the ultimate tribute to
Arnold Jacobs.
LISTENER’S
GUIDE
I
thought it might prove interesting to give a
track by track commentary on each item on the
CD, giving a few personal observations and, in
some cases, insight into why each was included
on the final list:
[1]
Buxtehude Fanfare: It seemed right to begin and
end with music since that was the true essence
of Arnold’s teaching.
This one short selection tells you all
you need to know about the greatness of Arnold
Jacobs: a man capable of making great music with
whole and half notes.
Listen to the tone, the crystal clear
attacks, the intonation, the elegant use of
vibrato, and especially the balance.
Everything that made the CSO brass
section great during this era is there and, as
in other selections, the issue is not that he
played loud all the time.
His sound had a unique presence which,
when balanced properly, allowed every note to be
audible. Amazing.
[2]
This bears re-listening.
This is a key concept, one which will be
reinforced at the end of the CD: his teaching
was not primarily about physical things.
He stresses not to worry about whether
it’s right or wrong, just “make sure it
sounds better than anybody else.”
Listen to the enthusiasm, the joy, and
the warmth in his comments.
I love how he stresses certain words and
then he closes by saying that when done properly
it becomes a joy, so simple in playing...
[3]-[5]
Strauss Horn Concerto No. 1: and BANG, here it
is and he really makes it sound simple.
This is bravura playing of the first
order, with real personality.
The instrument is no impediment
whatsoever and he is just making great music.
Listen to the crystalline attacks and the
full rich tone across the entire range of the
instrument.
This is a great, very sensitive
interpretation that Phil Farkas would have
applauded. Among the most amazing parts to me is the second
movement [4] where all the notes are so
connected, his slurs so elastic, the line so
seamless that it sounds almost like a string
instrument.
His singing tone, great dynamic range,
and great technical facility make this
incredible.
In track [5] from 3:45 to the end, this
is a demonstration of great virtuoso playing,
with clear, even sound and you can hear every
single note.
[6]
What integrity!
What a brilliant man he was (a genius in
my book) and wonderfully articulate to boot.
You get to hear him expounding
extemporaneously with such elegance (again that
word).
Here it is folks: it’s the musician who
plays the instrument, it’s just a piece of
brass, it hasn’t any brains.
For those obsessed with equipment,
mouthpieces, horn modifications, take note.
While he certainly experimented with
equipment, he was Arnold Jacobs and did so out
of his own insatiable curiosity.
For the rest of us, maybe 5% of the
problem is in the equipment.
He stresses the challenge of
interpretation and why it is important to learn
to produce music to become a more effective
interpreter and stylist.
[7]
Can you imagine having such wisdom at age 15
when he went to Curtis, playing where Reiner,
Stokowski, and others could hear him on a daily
basis?
The key here is to go for excellence at
all times: slow it up, drop it an octave, do
whatever...but go for constant excellence in
every note.
He strongly advises playing for someone
else, even if it means playing for a tape
recorder, something we hear him do in a moment.
He did this a lot and did his own
self-evaluation after the fact, not while he was
playing. When
the horn was in his hand, he was performing.
[8]
This little segment had to be included because
it has him playing the big York in a big room.
He says that you can imitate a trumpet
player or a violin player with marvelous results
and then plays part of the violin solo from Scheherezade.
Amazing.
[9]-[11]
He practices (literally) what he preaches.
He is playing for a tape recorder, and he
is imitating a violin player (Czardas) and a
trumpet player (Carnival of Venice) with truly
marvelous results.
He’s playing on a huge Holton CC tuba
with his adjustable cup mouthpiece and he
approaches the tape recorder as if he were
playing for a live audience.
Arnold was big on the power of
imagination in making music and he speaks as if
he were before a live audience, which in my
estimation is how he imagined such a session.
(Gene commented that he makes this sound
so easy it was like he was walking out to mail a
letter)
In track [9] you get to hear a brief
segment of “noodling” :27-:32 which
demonstrates his immediate facility picking up
the horn.
Throughout this segment he demonstrates
his tremendous facility and musicianship, and I
find it incredible that he could play with such
technique and maintain such a huge sound.
Often the sound suffers, or people go to
tiny horns.
Anyone who thinks it is not possible to
play the RVW on a huge horn needs to hear this.
His final comment, “Playbacks are in
order” just means that it’s time to listen
to the tape.
[12]
This Gugel/Pottag etude was one of his favorites
and I put it on especially for Rex, who thought
it was the best of all.
In contrast to the previous tracks, this
shows Arnold doing the real “heavy lifting”
– the slow, legato playing required to develop
tone quality and control.
His liquid slurs, singing tone, and wide
dynamic range are to be admired, as is the
dramatic quality he brings to this performance.
Again, it sounds like a performance, not
a practice session.
This is the real stuff, the kind of
practice that really makes a difference.
[13]
This is just for fun, and to show how he
challenged himself, pushed his own limits.
Again he is playing the big horn and he
is leaning into it.
I particularly appreciate his humanness
when he comments, “I hope I can make it.”
His smooth phrases and their even contour
make this seem effortless.
I think even he was beginning to break a
sweat by the time this was over, as his final
comment indicates.
I will never tire of his elegant manner
of speech, even when alone in his basement.
What a man.
[14]
The MUSIC comes first.
Focus on the stylistic aspects from YOU
to an AUDIENCE.
Sound is dominant over methodology.
Focus on WHAT you are trying to
accomplish, not HOW.
Again we need to come back to home base. This is it.
Not gadgets, devices, mouthpieces,
whatever.
Music, music, music.
Sound, sound, sound.
To paraphrase the old Clinton campaign
slogan, “It’s the music, stupid.”
[15]
Reinforcement: we never play by segmented
tissues.
We play by SONG and WIND.
We have to order the Catalog (the
sound).
[16]
Gabrieli: puts it into practice.
Great balance, is one with Jay Friedman,
note the subtle use of dynamics.
We’ve all played this, but no Jacobs
performance was taken for granted.
[17]
King Heinrich’s Call: A chance to hear how
unanimity of style results in a greater effect
and how one plus one can add up to more than two
when they are playing with ideal note lengths,
attacks, etc.
Listen with the headphones for quick
inhalations.
[18]
Dies Irae: One of the great tuba moments of all
time. Listen
to the note lengths, how the breaths are almost
invisible.
His characteristic attacks and the
presence of the sound are thrilling to hear with
him playing alone.
[19]
Singing in the head is essential.
In this track you get to hear him buzz on
a mouthpiece rim and can detect the quick
response of his lip.
He called this “instant buzz”and even
though he was not actively performing or
practicing at this point, that lip was hard
wired to the tonal center in his brain. While most of us operate on a low voltage dimmer
switch, he had a 440 volt direct line.
[20]
There must be a source of vibration or there is
no source of sound.
Duh.
So it’s not about effort, it’s about
vibration.
In this track you hear him sing and buzz
on the rim.
He says, “It’s so easy to do” and
it sounds it.
At :55 on this track he is buzzing the
same thing out of the side of his mouth, as he
often did in clinics.
Key point: we must be ignorant of tissue
and very knowledgeable about vibration.
Think about it: ignorant about tissue.
The man who knew more than anyone else
about the tissue tells you not to pay attention
to it.
[21]
This just had to go on so you could hear him
buzzing on the mouthpiece. You will want to replay this one several times.
Although this is an old recording, you
can hear it very well.
Listen to him buzzing on the mouthpiece:
the tone, real sonority, and the vibrato.
Sounds like the horn, doesn’t it?
Is it any wonder he sounded go great?
He says, “The vibratory rate is
established in the mouthpiece” and resonated
by the horn.
If it isn’t happening in the
mouthpiece, it is not happening on the horn.
[22]-[25]
Bozza Sonatine: Dave Fedderly put me on to this
performance.
What incredible chamber playing, so
appropriate to the context.
The entire group is pretty amazing but
you get to hear Arnold “up close and
personal” and that is a rare opportunity.
He has incredible accuracy and can pick
off anything in any register.
Dave commented that there is nobody who
could get such resonance on short notes, and I
agree.
He shows evenness of tone across the
entire range, an amazing dynamic range (note the
soft playing), all the musical details and fine
points are here.
In track [25] the sustained opening part
with the trombone is great and the part at 1:24
is jaw dropping.
[26]
He didn’t intend to use his biological studies
in teaching.
He uses devices only as an aid to
teaching by bringing in the sense of sight and
making some phenomena objective.
BUT (10 foot high letters, please) this
is never a substitute for the art of making
music.
Anyone who thinks that Arnold Jacobs was
just about gadgets and devices is missing the
point.
Again he points to the importance of
being like a singer.
[27]
VERY, very important Jacobs concept.
We must breathe to expand, not expand to
breathe. On
this track you get to hear him take several
breaths (great cues here - listen for the sound
of moving air).
He points out how many students
unknowingly substitute shape change for real
inhalation.
Key point: suck air at the lips and let
it go where it will.
In this segment when he mentions
“holding the bag” he is talking about the
breathing bag (anesthesia bag) that the subject
was using in the demonstration.
[28]
The CD had to end with a selection of orchestral
excerpts, since it is that for which he was so
well known.
Here he is with a borrowed horn (an F
tuba), miked very close, and he just nails it. You can hear the clear, articulate nature of his sound
and again it sounds so easy.
Throughout these excerpts, please note
that his audibility in the orchestra is not
simply a function of volume but of tone quality
and balance. After playing the Berlioz excerpt, he says “if you
want to get our recording, fine and dandy” and
since I had planned to include that recording,
this seemed like the perfect intro.
[29]
Berlioz R&J recitative: Massive!
This is the real deal.
Perfect balance, intonation, and dynamic
range.
Many people have never heard this since
it was only released on CD very briefly.
This is super exposed playing, letting it
all hang out.
He is the energizer tubist: keeps going,
and going, and going.
What an incredible sound machine.
He often spoke of the need to develop the
fanfare style of playing and this shows how
great it can sound.
[30]
Bartok chorale: one of my all time favorite
moments, and a contrast to the previous track.
Smooth, soft chorale playing, so
tasteful, so lovely.
Listen to where the breaths occur.
The CSO low brass section worked out
these breaths years ago and in every other
performance I heard they breathed in exactly the
same places.
First rate.
[31]
Now for something COMPLETELY different!
This Levine recording of the complete
Petrouchka was only out on LP for a while and
many have not heard it.
This must be heard to be believed.
One of the great excerpt and audition
moments, played fearlessly with great flair and
total abandon.
I cannot imagine playing this excerpt
with this power and control at the same time.
He is super clear and resonant on the
high Ds and he sounds as comfortable as if he
were playing it an octave lower. The decrescendo to the final high D is a magnificent
example of total control.
All I can say is “Wow!”
[32]
Nielsen 4th: This, too, is not a
widely available recording but a truly great
one. The
entire symphony is amazing but this gives a
sense of his incredible presence and the
unflagging manner in which he could just keep
pumping it out with a great sound. I am praying that more of these Martinon/CSO recordings
will come out on RCA’s “High Performance”
series. (Especially
the one with the excerpts from Mendelssohn’s
Midsummer Night’s Dream.)
[33]
Bruckner 4th: While Solti recorded
this, too, this 1972 recording under Barenboim
with the old trombone section in its prime is
amazing, perhaps the best of this Bruckner
cycle.
His presence is just amazing and you can
hear every note.
I love the massive B-flat chord at 1:13
and the way it resonates around Medinah Temple. Then
there is the massive (no other word I can think
of) foundation in the block chords starting at
1:49. The
balance with the rest of the brass section is
fantastic and his presence is always evident.
Gene commented that what most people
always want to know about the Bruckner 4th
is whether you can hit the high E-flat.
Fuggiddaboutit.
This excerpt shows the true glory of what
the tuba brings to the orchestral pallette.
[34]
There needed to be a summary, and again some way
to communicate what Arnold Jacobs was really
about.
Listen to this more than once, especially
the beginning part.
Listen to his voice, the enthusiasm, and
the genuine joy. He says, “The emotion...the story...this is what I love to
teach...the ability to communicate.”
The key word here is LOVE.
He just loved music and it almost oozed
out of his pores.
Again we recap a key point from track [2]
“I don’t care if a person plays all wrong if
they sound great.”
So it’s not about physical things, not
about equipment, it’s about becoming a better
musician by hearing other great musicians and
making that part of your own life. The only reason he ever picked up a breathing bag or
used a gauge or made a measurement is because
people came to him that didn’t play up to
their potential, and he was a master as knowing
how to isolate those issues and then give
MUSICAL challenges to substitute new, healthy
habits for old ones.
Music was always and first the
motivation.
[35]
Great Gate finale: How else to end?
Reiner, the glory days of the old CSO, a
great performance of a work that this orchestra
practically owned for many years.
Even though he was not miked (and
sometimes frustrated by that fact) you can hear
him back there doing big stuff and laying it
down, especially :53 to the end.
To me, this represents the drama, power,
and the grandeur of his career as an orchestral
tubist.
FRANK
BYRNE is the General Manager of the Kansas City
Symphony, having recently retired after 27 years
with “The President’s Own” United States
Marine Band where he was Executive Assistant to
the Director.
ABOUT
THE JACOBS SCHOLARSHIP FUND
Proceeds
from the sale of the “Portrait of an Artist”
CD will go to a scholarship fund to benefit
winners of the Arnold Jacobs Orchestral Audition
Competition established through T.U.B.A.
Proceeds from the CD are not meant to be
the only manner in which funds are added but as
seed money for other contributions.
The eventual goal of the scholarship fund
is that the winner of the Jacobs Orchestral
Audition might receive some monetary stipend to
underwrite a trip to Chicago where the winner
might hear the CSO and study with one of the
prominent tubists who were former students of
Arnold Jacobs.
Through this effort, it is also hoped
that young players might be inspired by the
great example and standard of Arnold Jacobs.
Donations to the scholarship fund may be
sent to:
Kathy
Aylsworth Brantigan
, Treasurer
- T.U.B.A.
, 2253 Downing Street
, Denver, Colorado 80205
