Humorous Songs
With a mixed company humorous songs are usually appreciated, and one may be very well introduced at this point. The greatest care must be exercised in avoiding anything that the most squeamish person might think objectionable. The number of perfectly harmless and refined comic songs is great, but unfortunately the number of vulgar songs is greater. Accept nothing, therefore, that you have not heard yourself and know to be perfectly suitable.
A good piano solo may now be very serviceable, or even a piano and violin duet. A piece of Chopin or Schumann, a short piece of Godard, or the like, is sure to be appreciated. The most carping of critics will be unable to find fault with the execution of Paderewski, Hoffman, or other great pianists, all of whose records are easily obtainable.
A popular item from one of the current operas or musical comedies will then be acceptable. If the works of Sullivan are too antiquated, records of the more recent pieces recently running at the theaters can easily be had. “Our Miss Gibbs,” “The Dollar Princess,” or the “Arcadians”—all will help to furnish you with some variety in the programme. Choose a favorite that will bring up pleasant recollections to all who have seen the original play.
A tenor and bass duet may follow the above admirably, something rather pathetic—a love song or the like. The task of making a choice amongst so many songs of this class would be invidious, and it is left to the taste and opportunities of the entertainer to select what seems best for the occasion.
It is now time for another piece of orchestral music, and a good waltz is suggested—“The Merry Widow,” or something of that kind, played by a good band, and of a rather catchy nature.
If you divide the entertainment into two parts, the familiar intermezzo of the “Cavalleria Rusticana” makes a very suitable overture for the second part. Obtain it on a good orchestra, and not as a piano or violin solo. Failing this any of Puccini’s overtures are good for such an occasion.
The second part of the programme should be constructed on very much the same principles as the first. A few classical pieces can be introduced—Wagner and Grieg, Schubert and Elgar, and similar contrasts.
Tenor, bass, soprano and contralto solos should be fitted in between the heavier items, whilst instrumental solos are generally highly appreciated amongst really musical audiences. Do not let the selections be too long, however.
Before closing the entertainment with “The Star Spangled Banner,” have a good orchestral waltz to put every one in good humor.