SHARPS AND FLATS

New Zealand Times, Volume LIII, Issue 12352, 23 January 1926, Page 14

SHARPS AND FLATS

"What love is to man, that musio is to the arts, for it is love itself. It is the most aesthetic language of the passions." —Weber. * • • * "The concert audience, prepared tp enthuse, will enthuse; preparea to criticise, will criticise. 1 am not asking for the standard of fare provided by the theatres, but surely our higher levels of art can still be reached, even though we become more generally gracious 1 J-hus February-morning-lecture - room feeling l prevalent at so many of our concerts cannot he one of the necessities of culture Harry Farjeon. ' ,

"Pour out not words where there io a musician.”—Ecclesiastes. "We understand but little of mnsic. The greatest masterpiece is but a signpost to that infinite realm of harmony, ,n which music is forever included, and to tlie joy which awaits iu its eternal anfolament." —F. L. Bawson, • • * • hat he can walk out on the stage unffraid is usually complacent and selflatisfied. 'That is not the stuff of which mists arc made."—Mischa Levitski.

The detective made his way tip the stairs of the office building and, presented himself at the door of the musio academy. “Excuse me," he said to the young lady who opened the door, but I hope you’ll give me what information yon have and not make a fuss." "What do you mean?” was the indignant question. "Why, that little affair . . . yon know," said the detective. "I don’t understand yon at all," replied the young lady freezingly. "Why, we gor a tip from the house next door that somebody here has been murdering "Wagner, and I’ve beep sent along to look into the case." *

"Where is Charles Winford, the cor-net-player?" "Studying abroad." "Who advised him to go so far to study?" "Ail his neighbours." •'• ■ • • First Critic—“ Did you see the opening performance last night?" Second Critic—"Tes.’’ First Critic—“ Who played the hero?" Second Critic—"l did. I Bat through the whole show 1"