.
A longtime devotee of music and supporter
of the Chicago Symphony, Ms. Querfeld has made an
invaluable investment in the future of the
orchestra by endowing the Arnold Jacobs Chair.
It perpetuates the memory of a great man
and musician, and helps remind future generations
of the powerful legacy of this great orchestra.
Everyone who loves and admires the Chicago
Symphony, most especially those of us who were
privileged to know Arnold Jacobs, are eternally in
her debt and send our most sincere appreciation
and admiration for making this possible.
Frank
Byrne
General
Manager, Kansas City Symphony
********
I
realized as I finally sat down to write this
letter that today is the third anniversary of
Arnold Jacob's death.
I looked up what I wrote in a journal that
day:
May
God wrap up Arnold's soul in the bonds of eternal
life. Arnold
wrapped up his soul into all of his students. He
still lives eternally in all of us.
May we be worthy of this blessing.
May God grant peace to his family and all
those him mourn this magnificent man.
My
name is Don Cagen. I am a professional trumpet
player in the Chicago area.
I play trumpet and lead a dance orchestra
that performs at many notable functions such as
the Lincoln Park Zoo Ball, The Presentation Ball,
Rush Presbyterian-St. Luke's Fashion Show and at
many weddings and corporate events.
I am also principal trumpet of the Evanston
Symphony and perform in many chamber music
settings.
When
you are a student of Jake's you are a life long
student. By
this I mean that even when the days of sitting in
his studio are over, Jake is always still next to
you, encouraging and inspiring.
My
first lessons were from 1978 to about 1980.
I was a trumpet major at Northwestern
University, studying there with Vincent Cichowicz
and Luther Didrickson.
I used to travel downtown to see Jake on
Friday afternoons, often just before or after the
CSO concerts. Jake helped me in every aspect of
music making. We worked on singing, mouthpiece playing, managing my asthma,
and of course, musical phrasing.
Eighteen
years later, in 1998, we renewed our relationship.
I decided to play at Jake's master class at
Northwestern, and saw him for 4 or 5 private
lessons that summer and fall. My last lesson was
on the last day of Jake's teaching, Saturday,
October 3, 1998.
Jake seemed to enjoy hearing about my dance
band gigs and shared many stories of his days
playing string bass and tuba with dance bands and
radio orchestras.
He would often have me play what he called
"a tune from the job" such as
"Smoke Gets In Your Eyes" or "Star
Dust," and then we would follow with
Scriabin's "Poem of Ecstasy" or the
Posthorn solo from Mahler's Third Symphony.
To Jake there was little difference between
the pop tune or the orchestral masterwork.
They are all opportunities to "teach a
beautiful melody to the audience," and an
opportunity for artistic development.
The answers to playing difficulties are
always found by raising the quality of one's
musical thoughts.
"Order the product, not the
method," he would say.
My
wife and I have made several donations to the CSO
in memory of Jake.
I am thrilled that Jake's legacy will be
forever honored by the principal tuba chair being
endowed in his name.
Congratulations to Christine Querfeld and
the Chicago Symphony on this most generous gift.
Sincerely,
Don
Cagen
********
I
wish that I were born a few years earlier so that
I could have had a chance to meet Mr. Jacobs.
It would have been such an amazing
experience and an honor.
Richard
Cane, Kamloops, B.C. Canada, Student with plans to
play professionally,
Studying with Eugene
Dowling
********
It
is wonderful that Arnolds Jacobs's career will be
celebrated and honored by Christine Querfeld's
endowment of the tuba chair of the Chicago
Symphony. Arnold was my teacher and mentor for 30 years. His enthusiasm
for music, playing and teaching are unsurpassed!
The Musical World owes deep gratitude to this
illustrious player and pedagogue!
Floyd
Cooley, Tuba, San Francisco Symphony, Chicago
Symphony 1992-1993, DePaul University
********
I, a
trumpet player, first studied with Arnold in the
early 50's when I was a member of the Chicago
Civic Orchestra. In 1953 I became a member of the
WGN staff orchestra, was playing in the Grant Park
Orchestra and played with the Boston Pops
Orchestra. In 1953
I was
drafted into the US Army and ended up playing in
the 7th Army Symphony Orchestra in Stuttgart
Germany. After discharge from the army in 1955 I
returned to Chicago and resumed playing at
WGN and studying with Arnold.
In the
meantime my wife to be, Donna Frank, a trombone
player, came to Chicago to study with Arnold
Jacobs. She was from Minnesota, where she had
studied with several students of Arnold in the
Minneapolis Symphony Orchestra. She had just
finished a tour to Germany with the Kids From
Home Show, a variety show to entertain US
forces. She then played in the
Chicago Civic Orchestra and the North Carolina
Symphony. At a lesson she talked to Arnold about
her enthusiasm for Germany. He told
her about the trumpet player studying with him who
had also just returned from Germany. He then
arranged, without us knowing, back to back
lessons where he introduced us. A few
weeks later at my next lesson he asked me if
I had called Donna for a date yet. I hadn't
but then did. We went to a CSO concert,
sitting in the gallery. The rest, as they say, is
history. We have now been married for 42
years. Arnold was always proud of his
matchmaking and we remained close to him and Gizella
Jacobs until their deaths.
I
studied with Arnold, off and on until the late
80's. I found that how ever poorly I was
playing he could make me play better. He was
never discouraging and I always left with the
feeling that I really could play the trumpet, a feeling
I often didn't have before the lesson. I played at
the Lyric Opera for thirty years and also in
Berlin Germany for one year. Donna
stopped playing after we married but ran our
company producing brass instrument mutes until I
retired from the Lyric Opera.
Arnold and
Gizella
Jacobs will always have a special place in
our hearts.
Tom
and Donna Crown
********
The
legendary career of Arnold Jacobs spanned
forty-four seasons in the Chicago Symphony
Orchestra, from 1944 until his retirement in 1988.
In addition to being the master musician, he was
also the master teacher with students traveling
from throughout the world to for a precious lesson
with the master. He brought his immense knowledge
of human physiology along with his immense musical
insight into his teachings. Many students stated
they would not be playing today if not for Jacobs.
Others say he had the most influence on their
musical career. Through Song and Wind, he will be
remembered as the most influential brass teacher
of his era.
For
the Tribute to Arnold Jacobs in December 1998,
Arnold’s wife of more than sixty years, Gizella
Jacobs wrote “Letters from many who studied with
him say that when they are playing or teaching,
Arnold seems to be right therewith them, his voice
guiding them. We must believe this is not the
‘end of an era’ but through them, the
contribution of the Arnold Jacobs tradition and
method of teaching will exist for generations to
come.”
Today
we honor Christine Querfeld for endowing the
Arnold Jacobs Principal Tuba Chair as she has the
insight to continue the Jacobs tradition. For this
we owe her our gratitude and sincere thanks.
Arnold Jacobs will continue to be a part of this
great orchestra as future generations will not
forget him. The
Jacobs tradition will continue in the Chicago
Symphony Orchestra.
Dr.
Jacobs remarkable career spanned seven decades and
included many honors - the Arnold Jacobs Principal
Tuba Chair being the latest. It joins two honorary
doctorates and his career is documented in two
books and a compact disc with several projects
under development. Arnold and Gizella always
stressed education and, in that spirit, the Jacobs
Family, CSO Archives and Northwestern University
are working to create the Arnold and Gizella
Jacobs Archive for future generations to study.
Many
have said that the spirit of Arnold Jacobs exists
in every concert hall in the world. Today, here in
Orchestra Hall Arnold and Gizella are together
smiling.
Thank
you Christine Querfeld for your insight and
generosity to create the Arnold Jacobs Principal
Tuba Chair and continuing the tradition of Arnold
Jacobs.
Brian
Frederiksen
Mr.
Jacobs’ assistant 1986-1998, Author, Arnold
Jacobs: Song and Wind, WindSong Press Ltd.
********
Dear
Ms. Querfeld,
I
can think of no greater thing than your
magnificent efforts on behalf of the memory of
Arnold Jacobs, my teacher.
He was one of the greatest brass teachers
who has ever lived.
I had the privilege of being his student
since 1994 and of knowing him personally.
I was the last person to see him outside of
his wife and his driver before his death and I can
tell you that he was in fine spirits, looking
forward to the future despite his failing health.
He was doing what he did best, teaching.
His
impact on the brass and wind instrument world was
enormous and he has left a legacy that continues
and will continue to be felt today.
His concepts of teaching were revolutionary
when he first developed them back in the 1930s,
and they are still so, perhaps even more so today.
I just returned from my orchestra in North
Dakota where I gave a number of clinics based on
Arnold's teachings.
He
was the foundation of what made this Orchestra
great, and you have truly done one of the most
remarkable acts a person could ever do by creating
a permanent chair in his memory.
Sincerely,
Michael
Goode, Principal Trumpet, Bismarck/Mandan Symphony
********
I
received notice of the upcoming inauguration of
the Arnold Jacobs Principal Tuba Chair, endowed by
Christine Querfeld.
This is tremendously exciting and rewarding
for all of us devoted disciples of Mr. Jacobs, not
to mention lifelong fans of the Chicago Symphony
Orchestra, and admirers of the current virtuoso
tubist of the CSO, Gene Pokorny.
First
of all, a huge "thank-you" to Ms.
Querfeld. It
is a major gift to endow a principal chair in the
Chicago Symphony Orchestra; the tuba chair is one
that takes a special person with a discerning ear
and character to appreciate.
However, it is particularly fitting that
she and Gene Pokorny have collaborated to name the
tuba chair in the CSO as a tribute to Arnold
Jacobs, who was vital in forming the
world-renowned sound of the brass section.
So many of us were greatly influenced as
players and teachers by the sound envelope created
by Mr. Jacobs on his York tuba within the context
of the Chicago Symphony, as well as in other
smaller ensembles created from the CSO. It is absolutely appropriate that the tuba position in the
CSO be always known as the Arnold Jacobs Principal
Tuba Chair.
Mr.
Jacobs was the most influential musician in my
life. His
wisdom and musicianship continue to inspire my
teaching and playing today. I feel fortunate to
have studied extensively with him and to have
known him as a warm and engaging friend.
Even though he asked me to call him by his
first name, or as "Jake", I was never
able to do this, such was my absolute admiration
for him. His
legacy as a musician and teacher are as great
today as was his fame before his death.
The concepts he formulated have become
commonplace pedagogy today. His orchestral tuba
sound is considered to be such a perfect model
that several instrument makers have attempted to
copy the famous York tubas he owned, which are
today owned by the CSO.
Finally,
I cannot imagine anyone better to continue Mr.
Jacobs' legacy of inspirational playing in the CSO
than Gene Pokorny.
His great sense of humor, humility,
thoughtfulness, and wonderful ability to mentor
aspiring young performers combine to make him the
perfect successor to Arnold Jacobs as the
Principal Tubist of the CSO.
For the title to now read, "Gene
Pokorny, Arnold Jacobs Principal Tuba Chair"
is the most fitting and satisfying combination
imaginable.
Fritz
Kaenzig
Professor
of Tuba/Euphonium, University of Michigan,
Principal
Tubist, Grant Park Symphony Orchestra
********
I believe I had the last lesson that Arnold
Jacobs gave. I first came to know of him when, in
the early 60's, I was playing horn with Civic and
heard him play the Vaughan Williams. I left the
hall in a daze, and thought to myself "so
that's what the fourth horn is all about." I
had a lesson every week, or two, or three, for the
last 20_25 years of his life. It was a part of my
life. We were close friends, and I was his lawyer.
I am also a psychologist (Ph.D.). Arnold invited
me to be his assistant in the presentations that
he made when he selected as Brass Man of the Year,
in the 80's at Indiana University. At that time,
at his request, I also gave a lecture on the
psychological basis for his approach to playing
and to the teaching of playing wind instruments,
particularly brass. I share this anecdote. Arnold,
with Gizzie seated next to him, had, at the
Conference's request, been wired for sound so that
he could make comments on what was presenting
whenever he felt the need to do so. During my
presentation he fell asleep. When Gizzie knocked
him in the ribs with her elbow, he opened his
eyes, looked over at her, and said, over the PA,
system, "Please, I need my sleep. Besides,
Sheldon knows what he's doing."
What Arnold was able lo do, by careful reading
and experimentation, was come to an understanding
of how we can most efficiently function as wind
players and how we acquire the necessary skills,
including habits, in order to become proficient
players. He did this primarily through the
underlying study of anatomy and physiology and
certain aspects of psychology. Over and through
all of this were the elements of musicianship.
Into the process of acquiring skills and habits,
he melded, or merged, the attitudes and outlook of
the artist so that these skills and habits were
those of a musical artist. I believe he
added three final elements as a teacher. Kindness,
and the belief that each person was unique, as to
gifts, outlook, and problems, personal, physical
and professional. And that one never excluded that
uniqueness from how teaching was to be achieved.
He told me he once took on as a personal
challenge, an individual who loved music but who
was tone deaf, He could not carry a tune, any
tune. "We worked for several years" he
told me, and "when we were finished he made
his living as a symphony player."
As a teacher he always tried to convey a sense
of humanity. He was not a harsh man. It was not in
his makeup. And he was generous. Some people did,
at times, unkind things to him or took advantage
of him, but he was not one for retaliation or
vengeance. He simply eliminated or minimized the
person from his life or took a measure of the good
and the bad, and if the balance tipped to the
good, he tried to look at the bad in that
perspective.
Sheldon Kirshner
********
For more than forty years it had been my very
good fortune to play next to Arnold Jacobs. Each
day I was awed and inspired by this artist
gentleman. He being the foundation upon which the
Chicago Symphony brass choir was built, provided a
"keyhole peek into heaven" for us as
well, as thousands of others.
This honor bestowed upon Arnold is indeed a
commendable endowment.
Many thanks to you from all of us
Sincerely,
Edward Kleinhammer
Bass trombonist Chicago Symphony 1940 - 1985
********
I had the wonderful experience of playing tuba
for Mr. Jacobs only once--at the last Master Class
that he ever conducted at Northwestern University
in the summer of 1998.
It was amazing how quickly he perceived
certain characteristics of my playing and how
instantly he was able to suggest an improvement.
It
was also impressive how, at the age of 83, with
innumerable physical ailments and discomforts, he
remained so alert and articulate.
He was remarkably energetic and encouraging
with each student who came forward to play for the
class. He
never "missed a beat" in his verbal
presentations; meaningful thoughts flowed
incessantly.
But
what really impressed me at that Master Class,
however, was the obvious symbiosis between Mr. and
Mrs. Jacobs.
How endearing the conversation between them
was! It
was crystal clear how unashamedly in love they
were with each other, and how they supported each
other.
As
a student of Rex Martin's, I often heard him quote
Mr. Jacobs verbatim.
No doubt many of Mr. Jacobs' students do
the same when they teach their own students.
I
play tuba with professional and volunteer
ensembles in the Chicago area.
I continue to take an occasional lesson
with Rex Martin at Northwestern University.
Sincerely,
Steve
Marcus
********
I studied with Arnold Jacobs for two years.
Were it not for him I would not have such a
wonderful, rich and rewarding career in music. I
should add that his wife Gizella often offered me
words of encouragement during my studies with him.
How can one describe this man - this
"Master of Masters?" If I were asked to
describe his beautiful tone on the tuba, I would
say, "Full, resonant, warm, flowing and
vibrant." However, the words would fall short
in describing the full spectrum of his beautiful
tone.
If I were asked to describe Arnold Jacobs
himself, I would say, "Jake was an absolute
musician, a fine artist, a shining beam of
inspiration whether playing the tuba or teaching,
a psychologist, and finally a sensitive, vibrant
and compassionate human being. Again, a limited
description and one which would not encompass the
full spectrum of Arnold Jacobs.
With Arnold there were always positive feelings
and thoughts neither of which I can verbalize nor
write at this time. My thoughts come to an abrupt
halt. If we take all I have written about him thus
far and call them "parts," then Arnold
is the embodiment of the adage "The whole is
greater than the total sum of its parts."
That was and is Arnold Jacobs to me.
Ardash Marderosian
Principal Trombone - Lyric Opera of Chicago -
retired
Principal Trombone - Grant Park Symphony -
retired
********
By establishing and endowing The Arnold Jacobs
Principal Tuba Chair for The Chicago Symphony
Orchestra your thoughtful and generous gift
recognizes and perpetuates the memory of a musical
icon of exceptional merit and achievement. Arnold
Jacobs, more than any orchestral tubist, defined
the musical role of his chosen instrument His
interpretations of orchestral repertoire were
definitive; admired by colleagues, praised by
conductors, worshiped and emulated by aspiring
students throughout the world.
Arnold Jacobs was also a teacher. He taught by
example and he taught by intuitively analyzing
each students potential. His knowledge of human
anatomy and musical pedagogy was infinite....
"... he never met a musician he couldn’t
teach." Ad infinitum Arnold Jacobs' students
and their students will perpetuate his legacy of
performance and pedagogy.
It is worthy to note that these traditions of
personal and artistic integrity continue to be
honored and maintained by Gene Pokorny, the first
tubist to occupy The Chicago Symphony Orchestra
Arnold Jacobs Principal Tuba Chair.
I join a legion of others who respect, admire
and appreciate your recognition of the tuba the
artistry of Arnold Jacobs, a complete musician.
Sincerely,
Harvey G. Phillips
Distinguished Professor Emeritus of Music
PS. On Thursday December 20, 2001 at 12 noon
some 400 tenor anti bass tubists of all ages will
celebrate the 28th anniversary of MERRY
TUBACHRISTMAS by performing a concert of Christmas
music in the lobby of the Palmer House Hilton
Hotel. This concert is respectfully dedicated to
Arnold Jacobs and Christine Querfeld
********
Ms.
Querfeld,
Just
a note to let you know that we appreciate your
generosity for the gift
to endow the Arnold Jacobs Principal Tuba Chair.
While I was never
a
student of his, I learned so much studying with
tuba master performers that had indeed studied
with Mr. Jacobs.
His teachings made me what I am today and I
will certainly continue the tradition by passing
on his concepts to my students.
And who better to be sitting in that chair
than the fabulous Gene Pokorny. Thank you.
Raúl
I. Rodríguez
Professor
of Tuba and Euphonium, Southwest Texas State
University,
San
Marcos, Texas
********
Three years ago we lost one of the most
influential brass players and teachers of all
time. The inspiration of his playing and teaching
continue to raise the level of music-making all
over the world.
My first association with Arnold Jacobs was as
a student fresh out of college. Wanting to raise
the level of my own playing, I sought his advice
in lessons in the basement of his Normal Ave.
home. I'll never forget his reaction when he
discovered my 6.8 liter vital capacity which when
tested blew out the calibrations of his old
spirometer which I now have in his old studio. I
cherish the notebook I have of his ideas from
these lessons.
My next association with him was as a colleague
in the CSO. We enjoyed many friendly times and
conversations in our years in the orchestra. He
always seemed to retain an interest in being my
helpful teacher. Over the years I would
occasionally get the question, "Well how are
things going Bill?" This was my clue that he
had noticed something in my playing that could
uses little help. Without hesitation he offered
the ideas to alter whatever he had discovered.
There is no doubt in my mind that I would not have
had a career in music without the help of Arnold
Jacobs in addition to my other inspiration, Bud
Herseth
In the years after Arnold left the orchestra we
continued our friendship though at less frequent
intervals. One time when I was leaving his studio
to go to a CSO rehearsal, he lamented how much he
wished that he could still be in the orchestra.
Playing was still in his blood even though the
eyes and lungs were failing.
In the months before his passing we were
discussing sharing his studio and continuing with
the research that he had started years before. It
wasn't to be.
However, his ideas are still heard in room 428,
his stories are still told and there's one teacher
there who would love to have just one more
backstage chat.
Thanks, Jake We miss you and still appreciate
you.
Will Scarlett,
CSO Trumpet, retired
********
From
Richard Schneider - pupil of Arnold Jacobs from
1957 onward. . .
It's
good to live during an age in which great
orchestras, and those who support them, recognize
the contributions of individual musicians who have
occupied key chairs for long periods, and have
helped to create the world- class reputations
these orchestras have enjoyed.
One such individual is Arnold Jacobs, who
in a period of over four decades as Principal Tuba
with the Chicago Symphony Orchestra, provided the
anchor and foundation for what would come to be
regarded as the world's greatest orchestral brass
section, one which would be recognized as the
standard by which others were measured, and to
which others would aspire.
As
a player and teacher, Arnold Jacobs inspired and
guided literally generations of brass players, and
as his knowledge of human physiology and
psychology developed, players of all wind
instruments were drawn to his studio, where
musicians learned to surpass themselves, and in
some cases, salvage careers.
For
those of us who were privileged to know Arnold
Jacobs, a day doesn't pass in which we don't think
of him, recall an observation he shared with us, a
passage we heard him play, or imagine what he
might have said in a given situation, or how he
may have played something.
When
Gene Pokorny learned he had been appointed to the
chair, he is reported to have stated that he was
honored to have been selected, but that "no
one REPLACES Arnold Jacobs."
Probably the only thing anyone could have
said at the time, but in the intervening years,
Gene Pokorny has made the principal tuba chair his
own, as much on his own terms and according to his
own talents as Arnold Jacobs had done in his time.
Arnold
Jacobs, one of whose missions in life was to help
musicians to realize their own concepts to the
best of their abilities, would have had it no
other way.
********
As a member of the tuba community, and a
student, colleague and friend of the late Arnold
Jacobs, I write with my congratulations on the
occasion of celebrating the endowment of the CSO's
Arnold Jacobs Principal Tuba Chair. I have also
written to Christine Querfeld to express my thanks
for her generous gift to endow the chair in Mr.
Jacobs name.
I was fortunate to hear and meet Mr. Jacobs on
numerous occasions, during my years as a New York
freelance tubist, when the CSO came to town. (An
evening in Carnegie Hall and Mulligans tavern was
an evening well spent!) Like so many tubists and
other musicians, I later took a number of lessons
with him and had opportunities to spend time
together at conferences and when he visited
Madison. Time spent with Arnold Jacobs, whether in
a listening, teaching or social setting, was
always an immensely enjoyable and educational
experience. In addition to the assistance he gave
me with my own playing, he was a huge influence in
the development of my concepts of teaching. I'm
very proud and grateful to be one of so many
teachers of our instrument now passing along the
Arnold Jacobs legacy to new generations of young
musicians.
Mr. Jacobs was not just a musical role model
however. He was the epitomy of professionalism in
every way and one of the most dynamic people I've
ever met. He will be remembered for great
performances and an unparalleled teaching career,
but it was as a fellow human being that he gave us
his greatest gifts. The endowment of the tuba
chair in Mr. Jacobs' name will perpetuate his
musical and personal integrity and class into the
future for generations to come. It is a most
fitting tribute to a man who helped to make the
Chicago Symphony one of the world's great
orchestras.
Sincerely,
John Stevens
Professor of Tuba and Euphonium, University of
Wisconsin - Madison
********
There can be no doubt that Arnold Jacobs turned
my life around. Those lessons, with my girl friend
(later to be my wife) taking notes, pointed me to
a musical arena that I had never even imagined.
Within just a few months, I started getting jobs
and then my profession was on its way.
During his lifetime, Arnold Jacobs actually
turned the whole world of brass playing around. As
one or his early followers, I was able to witness
this transformation. In 1962, when I joined the
Philadelphia Orchestra. the name of Arnold Jacobs
was known but his work was frequently considered
unconventional or even harmful. By 1984, the
Second International Brass Conference at Indiana
University granted Arnold Jacobs its most honored
award. It only took those 22 years for the world
of brass performers to recognize the greatness in
this man’s art.
As mentor and
Following
the concert on Friday, October 12, 2001 the Arnold
Jacobs Principal Tuba Chair, Endowed by Christine
Querfeld was dedicated at a reception in
Symphony Center's Grangier Ballroom. While
the guest of honor, Christine Querfeld was in the
hospital and unable to attend, students,
colleagues and
friends of Mr. Jacobs joined
friends of Christine Querfeld to celebrate this
event. There was an exhibit of photos spanning Mr.
Jacobs' career on display and following the
dedication, many guests either went to
Northwestern University Hospital to visit Ms Querfeld or went to the Fine Arts Building with
Will Scarlett to Mr. Jacobs' studio of more than
25 years. 
It
was in 1944 when Mr. Jacobs began his study of