Western music

To be fair, I had already learnt that I had an affinity for Western music – serious classical music as well as the light classics. This was far superior to the traditional Chinese music of my youth or much of the Indian vocal music. In the latter, I thought that the females screeched, and the males were not particularly mellifluous. I had little time for country and western music in Australia, with their dogs and horses (couldn’t these men love women?).

But the pops in the Fifties, with lyrics which made some sense, and a melody line, and all forms of jazz, were great. I even like chamber music, much to the disgust of most of the Aussie I have ever known (that’s over forty-five years).

I must have been a European in a previous life. This might explain a couple of related matters: I have always liked the teachings of Christ, and I was never inclined to envy the white man, believing that being white is no big thing. (I do not think he is better equipped either.)

Yet I do not share the love of Italian opera claimed by so many; and I am not sure if it is not a socially-required pose. German opera is more acceptable to me, as it offers deeper voices, less screeching, less exercises to display the human voice, and (I believe) more substance musically.

On the other hand, Greek and French female vocalising is genuinely attractive – perhaps it is because the sounds come from the throat. In my view, the greatest contribution Europe has made to mankind is its music. In this context, I remember an author writing of the “agony of ecstasy” brought on by vibrant music produced on two mandolins.

(The above is an extract from my first memoir ‘Destiny Will Out’)

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