From a certain point of view, Orchesterprobe gives a lively description of the process in which objects become «estranged» from the function for which they were built: a fork is used as a diapason, a violin bow and an orchestra conductor’s wand as foils, a trombone as a megaphone. […] The incredible fight scene between the violin bow and the orchestra conductor’s wand shows precisely how the musician enjoys disturbing the performance however he can: he impeccably imitates the fencing position, putting his free hand on his hip, beginning the fight with a typical attack move. All his movements become an elegant parody, ending with the final deposition of the bow-sword in the imaginary sheath on his belt. Every action must have been carefully studied, but it is also the fruit of lively and spontaneous improvisation. In the end, Valentin seems unable to stop himself, repeating the movements as quick as lightening, once again highlighting his combative and contrasting relationship with the orchestra conductor. We mustn’t forget that Orchesterprobe was made in the same year in which the Nazis came into power: thus the film also deals with an individualist protester, who won’t let his ideas be trampled, and who in the end plays in the orchestra on his own time and wants to get the better of the orchestra conductor’s wand, who exasperates the word «Marsch» [march] until he turns it into «’m Arsch» [up the ass].

Michael Schutte e Peter Syr (eds.) , Karl Valentins Filme, München/Zürich, R.Piper, 1978