only personal but also of a kind which
will seem no more 'modern' nor 'old-
fashioned' in ten or twenty years from
now than it does now."It is possible that my contact with
Indian music has permanently influenced
my musical speech--I have been told so;
but if this is the case it is wholly unsought for by me and quite unconscious.
I do not at the present moment look on
Indian music as a particularly fructifying
element for the American composer.
Or, to be more exact, I am not planning
to use any of this material myself in the
immediate future."As for his musical preferences, they
are "at the present moment, Weber, Verdi and Mozart. The former two I
consider far greater than I formerly did
and than, I believe, is generally considered to be the case. This of course
does not mean than I have any lack of
love and adoration for Bach and Beethoven, Schubert, Schumann, etc. I
believe that the Wagner-Strauss school
will not appear in history to be so important as it appeared to us to be in but
recent years. Of the more recent composers Debussy seems to me by far the
greatest. Of contemporaries I admire
most Stravinsky and Ernest Bloch.
Among my American contemporaries I
admire most Louis Gruenberg, Aaron
Copland and Roger Sessions, tho I
have a great respect for some of our
composers of the past ( Rubin Goldmark
for his technical mastery and Arthur
Foote for his unusual purity of style).
I am also a tremendous admirer of good
jazz and of George Gershwin in particular--tho I think the latter is far
superior in his avowedly 'light' music
than he is in his works which are more
|Principal works by Frederick Jacobi:|
ORCHESTRA: Eve of St. Agnes; Symphony; Indian Dances; Two Assyrian Prayers (for
voice and orchestra); Concerto for Violoncello and Orchestra.
|CHORAL: The Poet in the Desert; Sabbath
|CHAMBER MUSIC: String Quartet on Indian
Themes; Nocturne; Second String Quartet.|
About Frederick Jacobi:
Saminsky Lazare. Music of Our Day.
Musical America 49:30 April 25, 1929; Musical Courier 98:28 May 1929.
Leoš Janáček 1854-1928
LEOŠ JANÁČEK was born in Hukvaldy, Moravia, on July 3, 1854. He
was the ninth of fourteen children. His
father, a violinist, earned a very meagre
livelihood and the family knew only the
most abject poverty. Leoš' childhood and
early youth were not unhappy. He lived
in a charming country in the company
of chickens and ducks, his friends, and
with music, which he loved. In his tenth
year, he became a chorister in the community of the Austin Friars in Brünn;
studies were pursued at the College. At
the same time, Janáček developed himself
musically, becoming an excellent pianist
and organist, and a capable choir leader.
In 1874, Janáček went to Prague in
order to perfect his musical knowledge
at the College of Organ Playing (which
is the equivalent of a Conservatory),
studying organ and theory. That was a
trying year for the young musician. He
literally starved, and much of the time
he studied in a half-frozen condition.
But he adored music to such an extent
that these discomforts did not depress
him. During this period he wrote
articles on music for a review, Cecilia.
His integrity and honesty soon brought
him sharply into conflict with the Con-
Leoš Janáček: lā'ŭsh yŏn'ŭ-chĕk