February 22, 1923
MUSICAL COURIER
A SYMPHONIC SYLLABUS
26
Gustav Klemm
by The Musical Courier Company.
Q. What does one need to play the triangle?
A. A restful disposition.
Q. If they call a violin player a violinist, why don’t they call the cymbal player—cymbalist?
A. This is really too obvious. (See A. Gluck.)
Q. Why do most modern composers use the harp?
A. Because it looks pretty.
Q. Why is it the French use saxophones in their orchestras?
A. Because the Germans don’t.
Q. How are programs made?
A. With a ouija board.
Q. What famous phrase is• borne in mind in preparing programs’
A. “The public be d----.”
Q. What is the purpose of program notes?
A. To advertise Grove’s Dictionary.
Q. What essentials are required in a good conductor?
A. A slender figure, a well-made toupe, straight legs and a Dutch name like Eee van Wagontruck.
Q. Where does the conductor stand?
A. Behind the tympani.
Q. Where do some conductors get their training?
A. In front of a mirror.
Q. What should be the aim of every conductor?
A. To get his contract renewed and a raise into the bargain.
Q. Why is it Wales has never produced a great conductor’
A. Because it isn’t in Holland.
Q. What is a “guest conductor”?
A. A conductor out of a job.
Q. Why is it that _most conductors were formerly pianists or violinists? A. Because the neighbors objected to the cornet.
the
By
Copyrighted, 1923,
1.	What is a symphony?
L• -^n unpublished piano sonata, orchestrated.
1S the difference between a symphony and a tone poem? h ifteen or twenty minutes.
!. What is a tone poem?
״ A symphony led astray.
Why are symphonies divided into movements ?
.. So that the ushers may earn their money.
. What separates the movements of a symphony ?
. Coughing.
. When were the best symphonies written ?
. After the fourth bottle.
. What is the first thing to do in writing a symphony?
. Take the conductor out to dinner.
What is the second thing to do?
. Send the town’s most hard-boiled critic a quart of rye.
How many symphonies did Beethoven write?
, Two—the “Eroica” and the one in “C” minor.
How do symphonies ordinarily end?
In a rush for the cloak room. ■
How long are symphonies usually?
Too long.
Where do the bass players stand?
In the way of the tympani player.
What makes .horns “kick” ?
The same thing that makes clarinets squeak.
Give three instances• when a celeste may be used
1.	When the composer is “stuck.”
2.	When a badly sounding gap yawns between the high “F” of
violins and the low “D” of the tuba.	g	*
3.	When the piccolo player cuts his finger.
EDWIN HUGHES
THE EMINENT AMERICAN PIANIST
AGAIN WINS CRITICAL APPROVAL OF NEW YORK PRESS:
hear Edwin Hughes play ari^intpi•* t° ^ Hal! Iast night to the older classics and itl-n0 y varled program of works of Liszt Schumann^ music. Some rarely heard Brahms, Rachmanhioff	and numbers by
positions given.-New York GloSe,	1923 th<־ COm־
AeTonanWHalMastnevening whmh" Hug\ef׳ gave a ™clt.l ence of large size and	2? attended by an audi-
success. His plavina aaPmsn¡*■¡?rou9ht the artist a flattering thoroughness of 5his9 conclotmn־UCthSS throu9t1 the musical prepares his numbers ״,׳ ־,!.״5״*^ care with which he technic. His best effect«?	s.ure*y h,s wel,־Polishea
dynamic sides H S n״mer«,,f red °" the ^Ythmic and enthusiastic apnlaule arm h» hearers rewarded him with fully rendered encore«3ami16 ׳\e*P°״ded with several taste-
sausst®*
№,;״KV^
fEort°h9UeThaji in	which5'wtrim^eseivelyTe?
b?6MCr CH״dg'hef0ni °f if"
py Mr. Hughes.—Brooklyn Daily Eagle, Feb 6 1923
“ect o^enHoUfahberi;,i‘enCche־
Diani«־t	and «®nority, there were times when the
osirnato ” a־?¡ ?״ °ut the Persistent rhythm of its “basso 'n,a*°׳ . and this was encored. There were other extra Feb!b6, 1923r an enthusiastic audience.—New York Tribine
duo-art records
For Concert Dates, address
HARRY and ARTHUR CULBERTSON, Aeolian Hall, New York
4«32 Dorchester Ave., Chicago OR
FULCHER and BOHAN, Standard Trust Bldg., Chicago
aXxKS“־*“«
cm:,«S sSv-1
yet dignified modesty again combfned tn	״ ati?a and
recital a fine ״־ccesi.-^iniT^regriph״ Fel 19^heS
by Dohnanyi, so jubilant^and defiohtfiiihi3[^*1® ^um<>resque was redemanded, Schumann’s Carnavai^ly.h,?lportant that ¡t a fleeting moment of twenty-one	exPureases but
by the dauntless Chopin1 Ah the«1 i,And ? short 9r°uP
and life, not unmixed £ pa״k ׳״,״SieL1’6!0’ vi9°׳• ^9YeorakUS, TJSh 6Wi!,n״ ״"«e applause^.—
and"*Dohna n jd, ׳Schu man׳6^״CarnavaP’mid״׳ "•"׳5»» ^״off
fi״X'dSedan^dr;i,p״tdh9eh4S״ ׳ST*? hS
has seemed addicted to ־ hew5!״ ״' Hughes heretofore
nHie9hsV״h:Sedt0rt’eaSt״frcorr7׳״“	^׳,
d km cei—E ven?n g 3Worm	™"
sraS“
navah'of whici^the’tfo'inckfence	Sch״״.a״n׳s Car-
gests contrasts with the thrice seven6nu™be,rs sug־ rot, heard on the Drlvloui n?״ht c gchoenberg׳s Pier-Harlequin and the rest of them 9iiiLp?®humann s Pierrot, a more musical day. Besides MmiEirh tbe ®.unshine of
.0M,3ST№;iu™
York Times, Feb. 6, 1923. P S Wor,d We L,ve in.—New
STEINWAY PIANO