Syncopating Saxophones
Cód:
491_9781406772982
SYNCOPATING SAXOPHONES BY ALFRED V. FRANKENSTEIN CHICAGO, ROBERT O. BALLOU, 1925 To the memory of Joseph Schreurs for thirty years first clarinetist of the Chicago Symphony Orchestra, my first real teacher, and the man who opened my eyes to what music really is. INTRODUCTION IN THE beginning is the fact. After the fact come the theorists who explain that fact. The theory crystallizes into a law, and its exposi tors constitute themselves a court, demanding observance of that law. This is art. Meanwhile, there have come into being new facts. And they go over the process again, always well behind the fact and its application likewise there is the same insistence on the observance of the law. This, again, is art. Something is happening in music, said Alexander Russell, and the five w r ords mean much. This something 71 especially touches our Ameri can musical art. It is the spirit of today, of us. It is jazz. Who knows about it That man who is its high priest or its day laborer, as you like its the same thing. It is the fact about which our theorists have no theory the musical lawyers, therefore, also wait. Only he who has squirted its mellifluous subtle ties from a wa-wa muted trumpet, or a gurgling sax, or sneaky tuba can tell you the truth and he rarely looks upon his feat as other than a part of the days ritual. Once in a while he has the gift of interpretation. When he says thus-and-so of the bass clarinet, it is not that tone color of exquisite quality, or a bored stick of wood with a temperamental reed of bamboo to be dandled like a babe with the colic which he recalls it is an art of making beauty, the mechanics so mastered as to be unconscious, the experience of giving and taking and of instant virtuosity become instinct. Syncopating Saxophones blossomed from the soil. Day after day, have I looked across the tops of the six dozen music stands of the Civic Orchestra of Chicago, and there seen its author responsive and responsible, one eye on the printed page, th
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