Twentieth Century Culture and Deportment / Or the Lady and Gentleman at Home and Abroad; Containing Rules of Etiquette for All Occasions, Including Calls; Invitations; Parties; Weddings; Receptions; Dinners and Teas; Etiquette of the Street; Public Places, Etc., Etc. Forming a Complete Guide to Self-Culture; the Art of Dressing Well; Conversation; Courtship; Etiquette for Children; Letter-Writing; Artistic Home and Interior Decorations, Etc.

by Maud C. Cooke

MUSICALES.

A musicale, or a musical reception, is a difficult entertainment. A program must be arranged, and sufficient amateur performers secured to make a success of the affair. Herein comes the difficulty, amateurs, after a very unwilling consent has been wrung from them and their name and selection placed upon the program, are so little to be depended upon. Would that there could be found some way of oiling the machinery at a musical entertainment and of soothing the ruffled feelings of a hostess when those most depended upon to render assistance withdraw at the last moment for some vague reason. When one firmly refuses at the first to appear upon the program, no offence can be taken, but to withdraw for any but the most urgent reason is an actual breach of etiquette.

For this reason, those hostesses whose purses are of sufficient length, are driven to employ professional assistance upon these occasions. Another objection to amateur performers is the semi-professional jealousy existing between them as to precedence on the program.

Performers should arrive punctually, and while the order of the program should be followed as far as possible, no one should be offended at being asked, when it is necessary to play or sing out of the order agreed upon.

Arranging the Program.

If the musicale is to be entirely professional, much trouble will be saved by seeking some prominent musician, and with him arrange the program, and letting him act for the hostess in the matter.

A professional artist should not be kept beyond the time agreed for, neither should he be urged to render selections entirely different, or largely in excess of those arranged for. The hostess should express her pleasure, and may request some little favor. Applause is allowable, but it must be within limits.

A courteous reception must be accorded to all performers by those who desire their talents. The hostess should see that the piano is carefully tuned and not keyed too high.

It is customary to commence with a piece of instrumental music, followed by solos, duets, quartets, etc., with instrumental music between.

A successful musicale can be held with the piano alone for music, an accompanist, and a tenor and soprano of note, but very often a violin is added, and sometimes a mandolin orchestra and four or more singers vary the program. Professional singers and musicians usually leave when their numbers are over, in order to protect their throats from night air and the strain of conversing.

Guests should arrive early so that the confusion of entrance and taking seats will be over before the music begins. If late, they should wait until the number then in progress is finished before taking their places. The singular impression, so common everywhere, that at all society gatherings it is much more genteel to appear late upon the scene than at the time appointed, has less reason to justify it when a musicale is the entertainment than at any other entertainment or society event, except a dinner. Music, interrupted by noise, is a failure. The cards of invitation are after this fashion:

The programs are usually written instead of printed, and are sometimes hand-painted and ribbon-bedecked, and again they are engraved on dainty cards. They are frequently enclosed with the invitations.

If dancing is included, this is the formula:

If the musicale is for afternoon, it partakes of the nature of the matinée. Bonnets are to be worn. Refreshments are not necessarily served. The afternoon is often selected when noted stars are to sing, since their time is taken up in the evening. The evening musicale, however, is a more brilliant affair.

Replies are to be sent to these invitations, since for any entertainment when all are to be seated, it is a convenience to know the number of the guests.

The drawing-room is cleared of the greater part of its furniture, and, if dancing is to follow, the carpet is covered with canvas, or removed, if there is a hard wood floor. Camp chairs are provided for the guests.

Arrangement of Performers and Guests.

The seating arrangements should present a clear space for the performers. Too close proximity is not conducive to tranquility on the part of the singer, and also spoils the tone effect. Professional singers insist upon sufficient space. Remove all ornaments of breakable china and bric-a-brac from the vicinity of the piano, which should be bare of cover, and admit of the lid being easily raised and lowered. A bowl of cracked ice, some tumblers, and a pretty jug of water should be placed upon a table near the piano. Good ventilation should be ensured. A reading or recitation can be introduced into a musical program with good effect, and a long program should be divided by a recess for conversation, and to permit those to retire who do not wish to remain to the end.

If dancing follows, the camp chairs are removed, or placed where they can be used. Supper is also served before the dancing. Cigars, matches and ash trays are usually found in the library by the gentlemen, or the cigars are placed in the cloak room to be smoked on the journey home. Either plan, or their omission altogether, is eminently proper.

A day musicale calls for morning dress for men, and a visiting or walking toilet for women. An evening affair, with dancing, calls for evening dress for both.