Posted by Brian Frederiksen on March 30, 1999 at 18:58:33:
In Reply to: Re: Re: Re: Re: Re: Re: Whats the very best horn out there posted by Roger Lewis on March 26, 1999 at 10:09:56:
In my opinion, the best horn out there is the one that does the job for whatever music you are playing at the time. It could be of any key, size, shape or manufacturer. Each horn has a unique characteristic that may suit a specific piece of music.
As far as the best horn I have ever played, the award goes to the two Yorks that Mr Jacobs used later selling to the CSO. I own a York (4/4 Bb) and there is a unique sound to them. This is because of their use and selection of metal used - specifically the thickness and composition.
As far as the story about the York tubas, here is part of ARNOLD JACOBS:SONG AND WIND that pertains to the York tuba:
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In 1933, in answer to Donatelli's request for a true contra-bass tuba, Bill Johnson designed and built two large CC tubas, one was given to Philip Donatelli and the second was retained by the factory, later being sold.
York of the 1930s built premium-quality tubas, and, during the time Jacobs' tuba was manufactured, York was highly selective with the quality and composition of the metals used in their instruments. This tuba has a .750-inch bore at the valves, but unlike traditional European designed tubas, it flares rapidly, especially at the bottom bow terminating in a twenty-inch bell. The four piston valves are augmented by a fifth rotary valve operated by the thumb that adds a flat whole step.
Characteristic of all 1930-vintage Yorks, this tuba has a short leadpipe going directly into the first valve, with the tuning slide located between the fourth and fifth valves. Fortunately, or unfortunately, depending upon one's perspective, the short leadpipe created problems for Donatelli. Being of portly stature, whenever he breathed, his body would push the tuba away from him, making playing this instrument nearly impossible. One day Donatelli, knowing that Jacobs needed to purchase a tuba, called him into his studio and offered to sell his large York for $175, an enormous amount of money in the 1930s. However, Jacobs had a payment plan, $5 a week until paid, with no carrying charges.
When Jacobs first brought the tuba to orchestra rehearsal at the Curtis Institute, Fritz Reiner liked the sound of the tuba so much that he sent his chauffeur to bring Jacobs and his tuba to each rehearsal {see: Curtis Institute: Fritz Reiner}. Jacobs used this tuba throughout his career. At one point, he traveled to Grand Rapids and toured the York factory where he met the tuba's designer, Bill Johnson. York advertisements in the 1930s featured a photograph of Jacobs, then with the Indianapolis Symphony Orchestra.
Later, as chance would have it, Philip Donatelli was on tour with the Philadelphia Orchestra and performing at the University of Oklahoma. There, he saw the second York tuba on stage, and informed Jacobs. Jacobs immediately called the dean of the school of music to attempt to buy or trade for the York tuba. They finally struck a deal. In return for the York, he sent them two tubas, a brand new Alexander F and an overhauled Conn BB .
When the second York arrived, it was badly dented, full of dirt, deceased insects and other assorted problems, but it had the same sound as Jacobs' original York. Jacobs sent the tuba to T. M. (Ted) Koeder in Naperville, Illinois for repair. Koeder had, before opening his own business, been a valve maker for Holton. Koeder's initial assessment was that the valves were bad. He offered Jacobs the choice of replating the valves for $15 each, or replacing them with new valves for the same price. Jacobs chose new valves. Afterwards, he took his other tubas to Koeder for new valves.
Both York tubas were reunited—and Jacobs owned both of them! Over the years, he used both instruments with the Chicago Symphony.
At one point, York number one developed a problem. "I was playing the Powerama [a large exposition displaying America's technological achievements], and between shows took my horn to Lyon-Healy. I asked them to patch the leadpipe, as it was leaking. When I returned, they had replaced the leadpipe. They looked for the old one, but it had already gone out with the trash."
This replacement leadpipe was a smaller one from a Conn tuba and York number one retains this leadpipe. The fifth valve was removed after being judged unrepairable and replaced by another valve. To his dismay, Jacobs later saw the original valve installed on another tuba.
In the early 1980s, York number one was almost destroyed in shipment to be copied at the Hirsbrunner factory in Switzerland. The tuba was shipped in a cardboard box, rather than a wood crate, and something fell on the box, severely damaging the tuba. Jacobs was to have had the tuba returned within three months, but additional time was required to rebuild it. During this time, work needed to be done on York number two requiring him to use his Holton tuba with the CSO. Eighteen months later, the repaired York number one was returned complete with a new fifth-valve.
This is not the only case of damage to Jacobs' Yorks. In the 1960s, on the eve of a tour, Jacobs received a call from one of the CSO's stagehands. While moving instruments from a recording session at one of Chicago's hotels, the cable of an exterior elevator snapped. A bass, a harp and several other large instruments, including York number two, plunged seven floors into an excavation pit filled with water. The tuba was in a shipping trunk made for the tuba by orchestra members Fred Boos and Johnny Klima. Luckily, the trunk protected the tuba. "Sand got into the valves and several solder joints were knocked open—that was all," recalled Jacobs. There was also a storage area on the top of the trunk for Jacobs' concert clothing. Because the orchestra was beginning their tour the next day, the late-night phone caller instructed Jacobs to bring both his other tuba and another set of tails for the tour. When the instrument was repaired, the bill was $150. Inexpensive in comparison to the repairs on both the harp and bass.
During the mid 1970s, York number two, which was more than showing its years, was overhauled by Jerry Lechniuk who worked for Renold Schilke's company.
When he retired in 1988, Jacobs sold York number two to the Chicago Symphony. Gene Pokorny chooses to use the York daily. Pokorny writes, "Mr. Jacobs has never twisted my arm into insisting which instrument I use. The York is a beautiful instrument and one that is very difficult to copy—ask any tuba designer, because they have all seemed to try at one point or another."
Jacobs sold York number one to the CSO in 1996.
ARNOLD JACOBS:SONG AND WIND copyright 1996, Brian Frederiksen all rights reserved