contemporary music, Jacobs himself said this: 'I feel absolutely perplexed at times why performers don't feel at home with the music of their own century. The music that hit me first when I was an adolescent was the music of the beginning of the century, all the way up through Stravinsky, even in his later years. It just doesn't pose any stylistic problems, it's as easy to speak as if you were reading the newspaper, I just know what to do with it.' Perhaps the composer with whom he is now most closely associated is Debussy, most of whose major piano works he recorded, including the Préludes, Etudes, Images and Estampes. His was one of the first recordings of Debussy's three 1894 Images, which had only recently been published. Writing of a reissue of one of these recordings in 2002, the Gramophone commented: 'Hearing Paul Jacobs ... is a sharp and salutary reminder of a novel‚ vigorous and superbly uncluttered view of Debussy ... one which stresses the composer’s revolutionary fervour. The power and focus of these performances remain astonishing with opalescent mists and hazes burnt away to reveal a corruscating wit and vitality. There is absolutely nothing here of the decadent and lethargic man of popular imagination. Throughout‚ Jacobs' commitment to every note of Debussy’s phantasmagoric visions is total. All his recordings should be reissued.' Discography Early recordings Jacobs began his recording career in Europe in the 1950s. One of his first records (in 1953) was of Beethoven's Second Piano Concerto with the Paris Radio Symphony Orchestra conducted by René Leibowitz, coupled with Leibowitz's own realisation of Beethoven's Piano Concerto in E flat major of 1784, written when Beethoven was 14 and of which only the piano part survives. In Paris in 1956 he gave the first complete performance in a single concert of all of Schoenberg's piano music, going on to record it for the Véga label. He also acted as producer on recordings conducted by René Leibowitz, including the first LP recording of Schoenberg's Gurrelieder. He was the harpsichord soloist in the 1968 Columbia recording of the Carter Double Concerto with Charles Rosen (piano) and the English Chamber Orchestra, conducted by Frederick Prausnitz. and played on the 1970 CRI recording of Morton Feldman's The Viola in My Life. Nonesuch LPs His reputation as a recording artist rests largely on a series of LPs he made for the