"SWINGING" BACK TO THE CLASSICS

New Zealand Listener, Volume 1, Issue 16, 13 October 1939, Page 37

"SWINGING" BACK TO THE CLASSICS

Highbrow Theory for Lowbrows

Here is a testament ofa swing fan who has seen the light. Writing to the BBC’s "World Radio," he tells of his conversion from swing to the classics: My Swing records, which were once regarded as treasures, have all been put in the dustbin. For me, the "fashion" lasted about ten years. Things came to such a pass that I felt I must "express myself" through swing, and in pursuance of this I proceeded to learn the pianoforte. About this time I chanced to. hear broadcast an item. which was announced as the "quartet from Rigoletto." I was struck by the beauty of this work; still, it lacked the exhilaration of a fast swing number. The point I was forced to concede, however, was that this was the first time I had heard anything other than swing which, to me, was worth listening to, and it began slowly to dawn on me that there might be more in this symphony and opera business than met the ear. I decided I would find out, and began to listen. In 1937 Korsakov’s Scheherazade was performed, and the effects produced by swing bands at their most strenuous are puny, to say the least, compared with this avalanche of magnificent sound. The ‘third movement of Beethoven’s Seventh Symphony has more exhilarating swing than anything ever recorded in Harlem. Nothing New About It The more deeply I go into classical ‘music, the more it becomes obvious that swing hasn’t even the saving grace of being technically brilliant, either in conception or execution, as a comparison with many. of the excellent string quartets, trios, etc., soon proves. More than this: there is nothing new or original in the rhythmical sense, since all the "hot licks,’ "hot. breaks,’ and other tricks occur to an enormous extent in classical music. Rhythm is not, however, the be-all and end-all of classical music, but is an aspect of it. Even so, it is vastly superior and intriguing when experienced as an important part of a classical masterpiece. By comparison, the efforts of the swing merchants sound like four-in-a-bar accompanied by a vulgar din. Another important point is that of the development of theme, and here the utter destitution of swing is most marked. In classical music a _ simple, short phrase is, in many cases, developed, in the tonal, instrumental, rhyth-

mical, and musical’ sense, to such great heights that one finds it difficult to believe that it is the work of mere man. Thrills in Store If any swing fan would like to increase his enjoyment of time spent with the wireless set, I would suggest that he or she listen to several classical works to the point of familiarity-that is to say, give them two or three hearings. For his experience of opera I would suggest Italian opera, and if he will listen until familiar with, say, Verdi’s Il Trovatore and La Traviata, he can be truthfully promised plenty of thrills in store. i ) The "fast and furious" of. the swing, merchants is very tame. compared: to» the speed and fury of Verdi, when the dramatic situation demands it. . For a first approach to chamber music, the string quartets, trios, etc., of Haydn, Mozart and Beethoven are about the best, since the general structure ‘is’ easily grasped. A few pointers may not be out of place here. If the listener’s weakness is: for fast swing records, then no opportunity should be missed of listening to Beethoven symphonies. When familiar with the Second Symphony, he may ask himself if he has ever heard anything in swing so effective as the last few bars of the fourth movement, Tschaikovski's " Blues " Many swing fans talk about the coloured man’s sorrows as expressed. in the " blues." Tschaikovski’s major works, particularly the Fifth and Sixth Symphonies, sear the soul. Another work of importance for "blues"-lovers is Grieg’s Pianoforte Concerto in A Minor, The New World Symphony of Dvorak will prove all that is claimed for it — in fact, this work has a very pronounced "way down South" atmosphere, and should be very easily appreciated by the swing fan. When he comes to listen to chamber music, he will begin to ‘un--derstand the real meaning of the word "intonation." . Chamber music is extremely neat, and rhythmically exhilarating; if he likes technical brilliance, virtuosity, etc., it is here that he will find it in abundance. When he is familiar with the main works of this genre, he will realise that technical brilliance is not the reason for their existence, but that they are the intimate expressions of the composers of the great orchestral. masterpieces. It is to be hoped that enough has been said to show some swing fans what they are missing.

T.M.