My Jacobs Theory

Dear New York Folks,

 

This is Jiwon and I was supposed to write something after June 9, 2005.

 

I gave up.

I’ve been too tired to do anything. Even when nothing goes wrong with my health, my eyes really hurt whenever I watch this computer screen.

So… I tried to change myself into the morning-person and tried this lifestyle for more than one year and failed, of course.

Finally… I gave up.

However, before making my farewell to Whom-It-May-Concern, I want to write this.

 

Story 1:

 

I am a devotee of theory and I still believe in My Jacobs Theory, which real value Mr. Arnold Jacobs could neither understand nor prove. 

So far, this is the only thing I know:

There is no perfect sound.

It means that no human is allowed to brag about that he/she is the best musician in the world.

It means, at the same time, that it is everybody’s privilege to imagine the perfect sound.

Maestro Furtwangler yelled, Maestro Mravinsky whispered… “Join the club!”

Yeah… I want to join the club.

I still want to prove that what an attractive, holy and mortal indeed, human being our musician could be when it is trained by Jacobs’ theory and filled by soulful praying.

 

Funny that I have stayed away from anything music, the radio included, for a long time, but I find myself more accurate in analyzing music.

Years ago, I heard nothing from Solti’s Ring (1965).

Now, I suddenly hear the reason of this music. Who is making or destroying music…

Who said this while the folks, the music critics included, were praising this kind of music making? “I want to strangle this sonnovabich to death!”

Yes… he was right. Where is he now?

 

You wrote:

“The string sound was so fine that he had little trouble making the wind parts come forward and take prominence. This is not a European-sounding orchestra. The best adjective I have come up with to describe its special gleam is ‘urban.’ Maybe ‘suburban’… (February 9, 2006)”

 

What means European Style?

What really means American style?

I learned my theory in America, and it is purely based on our human body and its ability.

For me, the European style means: the string section that sounds mushy, oily, dark, etc…. plus liberally superficial bassoon & ob, freely dirty clarinet, and their great partner flute. what about the brass section that is now busy to imitate their American friends? Especially trombone that forgot Furtwangler’s yelling long time ago? No horn player is complaining about this situation. Many are in fact happy. So… it’s the end of this story.

Of course, those European-style winds sound fabulous whenever they play the techniques; from Mozart to contemporary music…

The more their string section sound hopeless, the more the critics are excited to write, “Flawless techniques, full of emotion, lots of colors,  etc….”

Naturally, whenever I hear this European style music, I imagine their X-grade body and count their oomph. Sorry!

 

Then what means American style?

Ask Mr. Jacobs’ gravestone, please.

He will answer you everything if he truly knew about the Jacobs Theory.

(Part of message on Feb. 26, 2006)

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