Re: Re: Re: Re: Re: Re: Re: Re: Vaughan-Williams Concerto with Jacobs


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Posted by Rick Denney on January 21, 2003 at 21:54:17:

In Reply to: Re: Re: Re: Re: Re: Re: Re: Vaughan-Williams Concerto with Jacobs posted by JoeS on January 21, 2003 at 18:46:20:

Sheesh, Joe (and Dale for that matter), at least get the story right. Jacobs said that he played the cadenzas during the warmup. Then they recorded the piece without the cadenzas, and then the DG people told him they were done when he was ready to record the cadenzes for later editing into the master. They had been recording during his warmup, and he thought it was a sound-check. Yes, it did upset him. So much as been documented.

But it doesn't matter: It is there and it is what it is. The little Besson F sounds like that, no matter who is playing it. Catelinet sounded far worse, in my opinion. I've tooted one of the little Bessons too, though not with your credentials, and compared to any of my other tubas at the time it was raw and grainy. I think that was just the way they sounded. Other English brass players of time used pea-shooter instruments that also sounded raw and grainy compared to those of today. Personally, I think Jacobs made a strategic error in using that instrument, because he would not be judged against the tuba sound known to the composer, but against the tuba sound he had himself made famous in the CSO. I remember when the Heritage Brass wanted to play authentic OTS saxhorns in Civil War reenactments, and I opposed it, partly because I didn't want to buy an OTS saxhorn and learn to play in Eb, but mainly because our listeners would not judge us against the sound of the day, but would rather be comparing us to modern ensembles.

Remember, the Barlow F is an old design--it replaced the ophicleide in British orchestras. Perhaps Jacobs thought that was the sound intended by the composer, and that he should be true to it.

I generally agree with your repeated assertion that we tuba players tend to judge each other by standards that would not measure up to those of the great musicians on other instruments. I also agree that a lot of tuba solo music is just plain unsatisfying to most non-tuba listeners. But consider this: If Catelinet was considered the chief British practitioner of the craft in 1953, then maybe he set the standard for what the Besson F could do in a concerto setting (where you have to play loud to balance the orchestra). Jacobs vastly exceeded that standard by any technical measure. I'll let Jay carry the water on his musical interpretation.

Rick "who loves the 1937 RVW-conducted version of his 4th despite a multitude of technical flaws" Denney



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