AN INVITATION
PASS IT ON
a small piano recital on teachers & their students
Free Admission (by Invitation Only)
29th December 2013, Sunday, 5pm
(Estimated 1 hour)
  Yamaha Music School
Recital Hall
301 Upper Thomson Road (Thomson Plaza) #03-24 Singapore 574408
How to get there To View the Programme
Andrew Loh & Azmi, piano
| Haydn
Mozart
Beethoven
Czerny
Liszt
& more
 |
Friday, 27 December 2013
The Programme
(Click on the specific song titles to view details)
Joseph Haydn
- I. Allegro (Fast)
- II. Adagio (Slow)
- III. Allegro Molto (Much Fast)
- I. Allegro con brio (Fast with spirit)
- II. Largo e Sostenuto (Slow and sustaining)
- III. Presto ma non troppo (Fast but not too fast)
Wolfgang Amadeus Mozart
Ludwig Van Beethoven
Franz Schubert
4-hand piano: Marche Militaire
(‘Military March’), Op. 51 No. 1
Carl Czerny
Franz Liszt
How to get there:
Other buses to get there: 162, 162M, 163, 167, 980, 410G, 410W, 855
- Alight at Marymount MRT station
- Exit from "Exit A" to the Marymount Road
- Wait at bus station "B06 Marymount Rd" for bus "410G"
- Alight at the forth bus station "B07 Upper Thomson Rd"
- Walk straight up to "Soo Chow Garden Rd" and you should see Thomson Plaza
- The music school is at 2nd level
Other buses to get there: 162, 162M, 163, 167, 980, 410G, 410W, 855
Saturday, 21 December 2013
12 Variations on ‘Ah, vous dirai-je, Maman’ (‘Oh, mama, give me more’),
K265/K300e
Wolfgang Amadeus Mozart
French:
Ah ! Vous dirais-je Maman
Ce qui cause mon tourment ?
Papa veut que je raisonne
Comme une grande personne
Moi je dis que les bonbons
Valent mieux que la raison.
Ah ! Vous dirais-je Maman
Ce qui cause mon tourment ?
Papa veut que je raisonne
Comme une grande personne
Moi je dis que les bonbons
Valent mieux que la raison.
English:
Oh! Shall I tell you, Mommy
What is tormenting me?
Daddy wants me to reason
Like a grown-up person,
Me, I say that sweets
Are worth more than reasoning
Oh! Shall I tell you, Mommy
What is tormenting me?
Daddy wants me to reason
Like a grown-up person,
Me, I say that sweets
Are worth more than reasoning
Here goes the popular nursery tune, which believed to appear in Frech around 1761. It is also believe that Mozart had composed it around 1781/1782, probably catching the tune when he earlier traveled to Paris. It starts with the main introduction to the theme, followed by 12 variations, which includes a minor variation (No. VIII), which is rich in pronounced intensity of feeling. There has been speculation that these
variations may have been composed for a student since there is much use of
scales, arpeggios, and varying touches. Though it appears rather childlike innocent, it could be quite deceiving as some running passage is rather daunting for students. It is considered one of Mozart’s most
charming and popular piece.
Truly angry and full of wrath? Composer and music critics of the 19th century, Robert Schumann wrote of the work that "it would be difficult to find anything merrier than this whim... It is the most amiable, harmless anger, similar to that felt when one cannot pull a shoe from off the foot", citing the work as an instance of Beethoven's earthliness against those fixated upon a transcendental image of the composer.
The Rondo alla ingharese quasi un capriccio in G major, Op. 129, is a piano rondo by Ludwig van Beethoven. It is better known by the title "Rage Over a Lost Penny, Vented in a Caprice" (from German: Die Wut über den verlorenen Groschen, ausgetobt in einer Caprice). This title appears on the autograph manuscript, but not in Beethoven's hand, and has been attributed to his friend Anton Schindler. It is a favourite with audiences and is frequently performed as a show piece. Despite the late opus number, the work is now dated between 1795 and 1798. Beethoven left the piece unpublished and incomplete; it was published in 1828 by Anton Diabelli, who obscured the fact that it had been left unfinished.
The piece is Allegro vivace (fast and lively). Here, the influence of some classical-ear greats (notably Haydn, perhaps Mozart) is somewhat conspicuous. Simple melody running in broken chords would be much expanded throughout the whole piece, testing almost any modulation one could have imagined. But the sharp contrast on dynamics, mood and temperament swing is truly Beethoven's. The indication alla ingharese is of interest, as no such word as "ingharese" exists in standard Italian. To people of Beethoven's day, "gypsy music" and "Hungarian music" were synonymous terms. Beethoven seems to have conflated alla zingarese (in the gypsy style) and all'ongarese (in the Hungarian style) to come up with a unique term alla ingharese.
Hungarian Rhapsody No. 6 in D-flat major, S.244
by Franz Liszt
The Hungarian Rhapsodies, S.244 consists of 19 piano pieces, written by Liszt during 1846-1853, and later in 1882 1885. It is a musical gesture Liszt paying homage to his Hungarian root, where most of the pieces' melodies are borrowed from Hungarian folk themes.
They are usually played as a showy piece, though some inspired some poetic moment. Mostly proliferated with loud chords, con bravura cadenzas, fast running passages, daunting leaps, etc.: musical means that seem trying to utilize the more powerful sound of then fortepiano and suggest orchestral sound on the piano. In fact, some the pieces from this collection had been latter transcripted by the composer himself into orchestral score.
The large scale structure of each was influenced by the verbunkos, a Hungarian dance in several parts, each with a different tempo. Within this structure, Liszt preserved the two main structural elements of typical Gypsy improvisation - the lassan ("slow") and the friska ("fast"). At the same time, Liszt incorporated a number of effects unique to the sound of Gypsy bands, especially the pianistic equivalent of the cimbalom. He also makes much use of the Hungarian gypsy scale.
Hungarian Rhapsody No. 6 in D-flat major starts with Tempo Giusto (supposedly in strict pulse), simple melody traverse in chordal form on both hands, and some spiritful gesture aimed at instantly grabbing the attention of the listeners. In the second part, it runs into C# major, enharmonic with D-flat major, adopting a even faster speed and sharp contrast of dynamics. In the third part, the lassan, is in B-flat minor, relative key of D-flat major. It is a passage of some darker moment, perhaps trying to give an impression of semblance seriousness. This won't stay long as the music comes to its last part, the friska, which surprisingly does not go back to its tonic key, but going to B-flat major. And the music will end in this adopted new key, making a stupendous exit laden with octave passage in both hands.
Like the No. 2 or No. 12, No. 6 seems like another favourite for pianists. Though not as overly played as the No. 2, it nevertheless gives a rush of blood.
by Franz Liszt
The Hungarian Rhapsodies, S.244 consists of 19 piano pieces, written by Liszt during 1846-1853, and later in 1882 1885. It is a musical gesture Liszt paying homage to his Hungarian root, where most of the pieces' melodies are borrowed from Hungarian folk themes.
They are usually played as a showy piece, though some inspired some poetic moment. Mostly proliferated with loud chords, con bravura cadenzas, fast running passages, daunting leaps, etc.: musical means that seem trying to utilize the more powerful sound of then fortepiano and suggest orchestral sound on the piano. In fact, some the pieces from this collection had been latter transcripted by the composer himself into orchestral score.
The large scale structure of each was influenced by the verbunkos, a Hungarian dance in several parts, each with a different tempo. Within this structure, Liszt preserved the two main structural elements of typical Gypsy improvisation - the lassan ("slow") and the friska ("fast"). At the same time, Liszt incorporated a number of effects unique to the sound of Gypsy bands, especially the pianistic equivalent of the cimbalom. He also makes much use of the Hungarian gypsy scale.
Hungarian Rhapsody No. 6 in D-flat major starts with Tempo Giusto (supposedly in strict pulse), simple melody traverse in chordal form on both hands, and some spiritful gesture aimed at instantly grabbing the attention of the listeners. In the second part, it runs into C# major, enharmonic with D-flat major, adopting a even faster speed and sharp contrast of dynamics. In the third part, the lassan, is in B-flat minor, relative key of D-flat major. It is a passage of some darker moment, perhaps trying to give an impression of semblance seriousness. This won't stay long as the music comes to its last part, the friska, which surprisingly does not go back to its tonic key, but going to B-flat major. And the music will end in this adopted new key, making a stupendous exit laden with octave passage in both hands.
Like the No. 2 or No. 12, No. 6 seems like another favourite for pianists. Though not as overly played as the No. 2, it nevertheless gives a rush of blood.
Saturday, 7 December 2013
Variationen über einen beliebten Wiener-Walzer, (Variations based on a popularViennese Waltz by Franz Schubert), Op. 12
Carl Czerny
If you were to draw the scenery of a Viennese in Schubert's days, you would only have to imagine one immersing himself to the dances. And it goes without saying that it would be the Waltz, the most popular Viennese dance. The couples take their places, the violin gives the signal, the party can begin. In the more intimate surroundings of the salon it is often only a piano that strums the rhythm. It could easily be Franz Schubert at the keyboard, as he did on many occasions in the house of his friend Joseph von Spaun.
Their coming together was for the constantly renewed pleasure of being together- to chat, to smoke, to laugh and drink light wines. In a word, the untranslatable 'Gemuetlichkeit'. But also for the pleasure of listening and even dancing, because music was not a separable part of these merry 'Schubertiads'.
It is unsurprising in the fact that Schubert had such an affection for these short pieces which many have not hesitated in disparaging as minor or even, indeed, as functional. Bach, Mozart and Beethoven, not to mention Haydn, were fond of them before him. The dance was to be a part of Schubert's output throughout his life, which some of them has been speculated as improvisation by the composer himself. In 1812 he composed the Twelve German Dances D. 128. Three years later some of the Waltzes D. 146. Between 1818 and 1821 more Waltzes, bearing the number D. 365. Among these Waltzes, is Opus 9 no. 2, which the publisher Diabelli was to dub with the odd nick-name Trauer-Waltz (Mournful Waltz).
The Thirty Four Valzes Sentimentales D. 779, seem to have been written in 1823-24, three years before the Twelve Graz Waltzes, D. 924. The last Waltzes were composed in September 1827, preceded only a few months by the Valses Nobles, D. 969. All these fancy titles were given to them by publishers putting together collections of scattered pieces, in order to appeal to the buyers. The problem of dating them remains in almost every case. But the inspiration is the same, whether they are called Laendler, German Dances or Waltzer. It is always simplicity that dominates, in the choice of key, in the melodic gracefulness, in the good-natured mood.
These miniature pieces had indeed inspired other composers to further expand them in a more elaborate style. Especially those with catchy tunes. Here, Czerny adopted one of Schubert's simple waltz (the original composition consists barely around 16 bars) and make it into an unashamedly showy and virtuosic pianistic gesture. Written in variation form, Czerny added an elaborate intro before the main theme, and another well-stretched coda at the end of the last variation. In fact, I personally feel it is a bit over the top, but this is the maximalist at best. Just sit back and enjoy the roller-coaster ride!
Carl Czerny
If you were to draw the scenery of a Viennese in Schubert's days, you would only have to imagine one immersing himself to the dances. And it goes without saying that it would be the Waltz, the most popular Viennese dance. The couples take their places, the violin gives the signal, the party can begin. In the more intimate surroundings of the salon it is often only a piano that strums the rhythm. It could easily be Franz Schubert at the keyboard, as he did on many occasions in the house of his friend Joseph von Spaun.
Their coming together was for the constantly renewed pleasure of being together- to chat, to smoke, to laugh and drink light wines. In a word, the untranslatable 'Gemuetlichkeit'. But also for the pleasure of listening and even dancing, because music was not a separable part of these merry 'Schubertiads'.
It is unsurprising in the fact that Schubert had such an affection for these short pieces which many have not hesitated in disparaging as minor or even, indeed, as functional. Bach, Mozart and Beethoven, not to mention Haydn, were fond of them before him. The dance was to be a part of Schubert's output throughout his life, which some of them has been speculated as improvisation by the composer himself. In 1812 he composed the Twelve German Dances D. 128. Three years later some of the Waltzes D. 146. Between 1818 and 1821 more Waltzes, bearing the number D. 365. Among these Waltzes, is Opus 9 no. 2, which the publisher Diabelli was to dub with the odd nick-name Trauer-Waltz (Mournful Waltz).
The Thirty Four Valzes Sentimentales D. 779, seem to have been written in 1823-24, three years before the Twelve Graz Waltzes, D. 924. The last Waltzes were composed in September 1827, preceded only a few months by the Valses Nobles, D. 969. All these fancy titles were given to them by publishers putting together collections of scattered pieces, in order to appeal to the buyers. The problem of dating them remains in almost every case. But the inspiration is the same, whether they are called Laendler, German Dances or Waltzer. It is always simplicity that dominates, in the choice of key, in the melodic gracefulness, in the good-natured mood.
These miniature pieces had indeed inspired other composers to further expand them in a more elaborate style. Especially those with catchy tunes. Here, Czerny adopted one of Schubert's simple waltz (the original composition consists barely around 16 bars) and make it into an unashamedly showy and virtuosic pianistic gesture. Written in variation form, Czerny added an elaborate intro before the main theme, and another well-stretched coda at the end of the last variation. In fact, I personally feel it is a bit over the top, but this is the maximalist at best. Just sit back and enjoy the roller-coaster ride!
Piano Sonata in D major, Hob. XVI/37
by Joseph Haydn
I. Allegro con brio
II. Largo e sostenuto
III. Presto ma non troppo
This particular sonata comes from the set of six sonatas (sechs sonaten, Hob. 35 - 39, 20), which published in 1780 by Artaria, titled [1st edition]: 'Sei sonate per il Clavicembalo o Forte Piano'. The works should have been composed long before, but published as a collection by the publisher. Artaria & company was one the important publishing companies during the 18th and 19th century of Vienna. Founded by Carlo Artaria in 18th century, this company also responsible in publishing works by Mozart and early works of Beethoven.
This collection was dedicated to the Auenbrugger sisters: namely Caterina and Marianna Auenbrugger, daughters of Leopold von Auenbrugger, a physician and scholar, probably friend of Haydn. Both Haydn and Antonio Salieri had been teachers to these sisters. In Haydn's own words: The sisters possessed 'genuine insight into music equal to that of the great masters.' In fact Marianna herself was an accomplished composer and highly regarded pianist in then Vienna. When she passed away in 1782, Salieri, at his own expenses, published some of her keyboard works.
Despite this fact, the sonatas vary enormously in technical and interpretative demands. For example, Hob. 35 in C is considered rather easy and has been a favourite among students; Hob. 36, 37, 38, & 20 are considered much more demanding; whilst Hob. 39 in G appears to be composed in a rush, perhaps Haydn just wanted to make it a complete six in this collection. There are two in minor keys, Hob. 36 in c# and Hob. 20 in c. With their in-depth musical sense, both boast a significant place among Haydn piano sonatas.
This sonata starts with Allegro con brio (fast with spirit). It is in ternary form (ABA). Boasting exuberant vigour, the first movement perpetually throwing musical exhilaration to its listener, unwilling to stop until the very end of the movement.
But the second movement (Largo e sostenuto - slow and sustaining), which is in D minor (parellel minor), instantly change the mood into a darker and more serious realm. Written in binary form. Though relatively short and concise, it is perhaps the composer wanted to set the audience on their edge. With some standard harmony progression, which includes a Neapolitan sixth (it is a favourite in Haydn's minor-key music during the 1760's and 1770's), the music keeps the listener interested with some contrapuntal texture, almost like dialogues between upper voice versus lower voice. It 'ends' with an imperfect cadence, which actually gives an unsettled feel, tricking the listener to yearn for more.
In fact the music should instantly continue with third movement, which is back to D major. With this, the music swing back to its initial playfulness, hence gives the listener some relieve. This habit of instant continuation among the movements had been inherited til Beethoven's time. In fact, Beethoven had written a lot his works which had no intention to stop in between movements, hence give the listener a 'whole' experience.
The third movement is in Rondo form (ABACA), and it is in Presto ma non troppo (fast, but not too fast). This movement also bears the instruction innocentemente, an apt indication of the principal theme.Section A in tonic key; section B modulates to D minor (again!) but it is much different from the second movement; and section C in subdominant key of G major. Whilst the writing is challenging, it is clourful and sunstantive to the listener. In another words: simply delightful!
by Joseph Haydn
I. Allegro con brio
II. Largo e sostenuto
III. Presto ma non troppo
This particular sonata comes from the set of six sonatas (sechs sonaten, Hob. 35 - 39, 20), which published in 1780 by Artaria, titled [1st edition]: 'Sei sonate per il Clavicembalo o Forte Piano'. The works should have been composed long before, but published as a collection by the publisher. Artaria & company was one the important publishing companies during the 18th and 19th century of Vienna. Founded by Carlo Artaria in 18th century, this company also responsible in publishing works by Mozart and early works of Beethoven.
This collection was dedicated to the Auenbrugger sisters: namely Caterina and Marianna Auenbrugger, daughters of Leopold von Auenbrugger, a physician and scholar, probably friend of Haydn. Both Haydn and Antonio Salieri had been teachers to these sisters. In Haydn's own words: The sisters possessed 'genuine insight into music equal to that of the great masters.' In fact Marianna herself was an accomplished composer and highly regarded pianist in then Vienna. When she passed away in 1782, Salieri, at his own expenses, published some of her keyboard works.
Despite this fact, the sonatas vary enormously in technical and interpretative demands. For example, Hob. 35 in C is considered rather easy and has been a favourite among students; Hob. 36, 37, 38, & 20 are considered much more demanding; whilst Hob. 39 in G appears to be composed in a rush, perhaps Haydn just wanted to make it a complete six in this collection. There are two in minor keys, Hob. 36 in c# and Hob. 20 in c. With their in-depth musical sense, both boast a significant place among Haydn piano sonatas.
This sonata starts with Allegro con brio (fast with spirit). It is in ternary form (ABA). Boasting exuberant vigour, the first movement perpetually throwing musical exhilaration to its listener, unwilling to stop until the very end of the movement.
But the second movement (Largo e sostenuto - slow and sustaining), which is in D minor (parellel minor), instantly change the mood into a darker and more serious realm. Written in binary form. Though relatively short and concise, it is perhaps the composer wanted to set the audience on their edge. With some standard harmony progression, which includes a Neapolitan sixth (it is a favourite in Haydn's minor-key music during the 1760's and 1770's), the music keeps the listener interested with some contrapuntal texture, almost like dialogues between upper voice versus lower voice. It 'ends' with an imperfect cadence, which actually gives an unsettled feel, tricking the listener to yearn for more.
In fact the music should instantly continue with third movement, which is back to D major. With this, the music swing back to its initial playfulness, hence gives the listener some relieve. This habit of instant continuation among the movements had been inherited til Beethoven's time. In fact, Beethoven had written a lot his works which had no intention to stop in between movements, hence give the listener a 'whole' experience.
The third movement is in Rondo form (ABACA), and it is in Presto ma non troppo (fast, but not too fast). This movement also bears the instruction innocentemente, an apt indication of the principal theme.Section A in tonic key; section B modulates to D minor (again!) but it is much different from the second movement; and section C in subdominant key of G major. Whilst the writing is challenging, it is clourful and sunstantive to the listener. In another words: simply delightful!
Friday, 6 December 2013
Piano Sonata in C major, Hob. XVI/50
by Joseph Haydn
I. Allegro
II. Adagio
III. Allegro Molto
In 16th May, 1795, Haydn witnessed the marriage of Therese Jansen and Gaetano Bartolozzi. at Saint James Church, Piccadilly, London. Other witnesses include Charlotte Jansen, Gaetano's father, Francessco Bartolozzi, the famous engraver, Maria Adelaide de la Heras.
This was the second visit of Haydn to London, a then well-known composer of Austrian. Before that, in 4th May, Haydn had hold a benefit concert in London to much success. The programme includes: Symphony no. 104, nicknamed "London Symphony"; Cantata "Scena di Berenice" for Brigida Giorgi Banti, a work which latter being used as a model for Beethoven's own work. In fact, both visits to London had brought great success and financial benefits to Haydn.
Haydn most probably had been fiddling with some English pianos (namely Broadwood/Longman/Broderip, which is generally larger, louder, more robustly constructed, and boasting wider range of notes; compare with then Austrian fortepianos, namely Walter/Schanzt), and befriended with some good pianists or musicians there, as Therese Jansen is likely one of them. Therese Jansen was an uprising pianist in the then London scene, a famous students of well-known pianist, Muzio Clementi. With her secured technique on the piano, probably rather virtousic, these probably had inspired Haydn to "composed expressively" for her some "grand concert sonatas", a subgenre of piano sonata that Haydn had never attempted before. Hence, Haydn had dedicated the last three of his piano sonata to Therese Jansen (Hob. 50 - 52), and subsequently composed another three piano trios for her.
Therese Jansen's bravura on the piano can be seen in these three sonata, as these works boast abundance of technical and musical demands from the player: fast running notes; quick turns; or double-thirds turns and passage; tonality contrasts, etc.
Hob. 50 is in C major, for both outer movements; and adopted a more serene F major for the middle movement. The fast movements boasting lavishly of musical humours, and intriguing tonal progression. These features make this piece a favourite among pianists' programme until nowadays.
by Joseph Haydn
I. Allegro
II. Adagio
III. Allegro Molto
In 16th May, 1795, Haydn witnessed the marriage of Therese Jansen and Gaetano Bartolozzi. at Saint James Church, Piccadilly, London. Other witnesses include Charlotte Jansen, Gaetano's father, Francessco Bartolozzi, the famous engraver, Maria Adelaide de la Heras.
This was the second visit of Haydn to London, a then well-known composer of Austrian. Before that, in 4th May, Haydn had hold a benefit concert in London to much success. The programme includes: Symphony no. 104, nicknamed "London Symphony"; Cantata "Scena di Berenice" for Brigida Giorgi Banti, a work which latter being used as a model for Beethoven's own work. In fact, both visits to London had brought great success and financial benefits to Haydn.
Haydn most probably had been fiddling with some English pianos (namely Broadwood/Longman/Broderip, which is generally larger, louder, more robustly constructed, and boasting wider range of notes; compare with then Austrian fortepianos, namely Walter/Schanzt), and befriended with some good pianists or musicians there, as Therese Jansen is likely one of them. Therese Jansen was an uprising pianist in the then London scene, a famous students of well-known pianist, Muzio Clementi. With her secured technique on the piano, probably rather virtousic, these probably had inspired Haydn to "composed expressively" for her some "grand concert sonatas", a subgenre of piano sonata that Haydn had never attempted before. Hence, Haydn had dedicated the last three of his piano sonata to Therese Jansen (Hob. 50 - 52), and subsequently composed another three piano trios for her.
Therese Jansen's bravura on the piano can be seen in these three sonata, as these works boast abundance of technical and musical demands from the player: fast running notes; quick turns; or double-thirds turns and passage; tonality contrasts, etc.
Hob. 50 is in C major, for both outer movements; and adopted a more serene F major for the middle movement. The fast movements boasting lavishly of musical humours, and intriguing tonal progression. These features make this piece a favourite among pianists' programme until nowadays.
In this sonata, the first movement is in sonata
form and the longest. Instead of starting the piece with grand chords in arpeggiations (a cliche most composers adopted at that time for the genre of 'grand sonatas'), it starts the main theme with a quiter, simple broken chord. This opening theme, though harmonically stays put in tonic chord, the melody runs rather freely, eschewing the dissonance it creates against the harmony; seems already in the mood of pushing the envelope of then 'musical rules'. The theme end with a prolonged appoggiatura, also a rather unusual musical gesture, then it succumbs into 'grand' chords, which is a standard expectation in 'grand sonata' genre. Then music is then continued running wild, throwing much technical challenges to the player: quick running passage, double-thirds turns, etc.
Through out this whole movement, the same opening theme would be kept re-emerging. In fact the whole movement almost seem being proliferated with this single theme. But the music is kept interesting with the theme being be put through adventurous harmonic progression, further developed, and varied, and modulated to much remote keys.
Through out this whole movement, the same opening theme would be kept re-emerging. In fact the whole movement almost seem being proliferated with this single theme. But the music is kept interesting with the theme being be put through adventurous harmonic progression, further developed, and varied, and modulated to much remote keys.
The second movement is in F major,
ternary form. It can roughly divide into three parts. The outer parts bear the
same theme, which the second time with some variation. The middle part is in
minor key, and contrapuntal in feature. This expressive movement gives a rather calm
and thoughtful experience.
The third movement is more
lighthearted and scherzando (playfully) in
feature, also in ternary form. Most of the melody is in bouncy staccatissimo, with some abrupt halt, perhaps suggest a
game between silence and sound (a much reminder of Haydn's 'Surprise Symphony').
Overall, this sonata offers a pleasant ride for both the listener and performer, with its sunny disposition and abandon of musical wit which never fails to tickle.
Overall, this sonata offers a pleasant ride for both the listener and performer, with its sunny disposition and abandon of musical wit which never fails to tickle.
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