1
00:00:00,000 --> 00:00:04,000
And now, Shickly Mix. Ready, Mr. Shickly?

2
00:00:04,000 --> 00:00:08,000
I am more than ready. I'm willing. Here's the theme.

3
00:00:22,000 --> 00:00:26,000
Hello there, I'm Peter Shickly, and this is Shickly Mix,

4
00:00:26,000 --> 00:00:30,000
a program dedicated to the proposition that all musics are created equal.

5
00:00:30,000 --> 00:00:32,000
Or, as Duke Ellington put it,

6
00:00:32,000 --> 00:00:35,000
if it sounds good, it is good.

7
00:00:35,000 --> 00:00:38,000
Three. Now there's an interesting number.

8
00:00:38,000 --> 00:00:41,000
Because of the Trinity, for instance, medieval music theorists,

9
00:00:41,000 --> 00:00:46,000
who tended to be clerics, regarded three beats as the ideal musical measure.

10
00:00:46,000 --> 00:00:48,000
Which is particularly interesting, by the way,

11
00:00:48,000 --> 00:00:50,000
when you think of all the dances in triple time,

12
00:00:50,000 --> 00:00:52,000
from the Sarabande to the Waltz,

13
00:00:52,000 --> 00:00:55,000
upon which the Church has frowned throughout the ages.

14
00:00:55,000 --> 00:00:59,000
But be that as it may, and one of the basic forms in western music,

15
00:00:59,000 --> 00:01:03,000
sometimes called the song form, is tripartite, ABA.

16
00:01:03,000 --> 00:01:05,000
That is, you do something, you do something different,

17
00:01:05,000 --> 00:01:07,000
and then you do the first something again.

18
00:01:07,000 --> 00:01:12,000
And of course, three is the number of musicians playing in a trio.

19
00:01:12,000 --> 00:01:14,000
Or is it?

20
00:01:14,000 --> 00:01:17,000
We're going to be talking about that today, but before we do,

21
00:01:17,000 --> 00:01:20,000
let me point out that the fact that we're talking about anything

22
00:01:20,000 --> 00:01:24,000
is due to the generosity of this radio station.

23
00:01:24,000 --> 00:01:27,000
Now, I'm going to play Andy Landers here,

24
00:01:27,000 --> 00:01:32,000
and answer a question that I'm sure has many a listener hot and bothered.

25
00:01:32,000 --> 00:01:34,000
Those of you who go to classical music concerts,

26
00:01:34,000 --> 00:01:36,000
but aren't exactly certified musicologists,

27
00:01:36,000 --> 00:01:38,000
may have wondered now and again

28
00:01:38,000 --> 00:01:42,000
why the trio of a minuet and trio is called trio.

29
00:01:42,000 --> 00:01:45,000
I mean, there you are listening to a Mozart string quartet,

30
00:01:45,000 --> 00:01:47,000
and they play the minuet, and then there's a trio,

31
00:01:47,000 --> 00:01:50,000
which is always the middle section, and then the minuet again.

32
00:01:50,000 --> 00:01:53,000
But all four members of the quartet are playing in the trio,

33
00:01:53,000 --> 00:01:55,000
just as they were in the minuet.

34
00:01:55,000 --> 00:01:59,000
Or it's a solo piano sonata with a scherzo and trio,

35
00:01:59,000 --> 00:02:01,000
and you look up at the stage during the trio,

36
00:02:01,000 --> 00:02:05,000
and sure enough, there's still only one pianist there.

37
00:02:05,000 --> 00:02:07,000
Why is it called a trio?

38
00:02:07,000 --> 00:02:09,000
Well, I'm glad you asked.

39
00:02:09,000 --> 00:02:12,000
Like many details of nomenclature and notation in music,

40
00:02:12,000 --> 00:02:15,000
the term was originally an accurate description,

41
00:02:15,000 --> 00:02:19,000
but was kept around long after its accuracy became defunct.

42
00:02:19,000 --> 00:02:23,000
Let's listen to the fourth movement, or at least part of it,

43
00:02:23,000 --> 00:02:26,000
of Bach's Brandenburg Concerto No. 1.

44
00:02:26,000 --> 00:02:30,000
We'll hear the minuet, a trio, and then the minuet again,

45
00:02:30,000 --> 00:02:33,000
and you'll notice that the full ensemble plays in the minuet,

46
00:02:33,000 --> 00:02:37,000
but just two oboes and a bassoon in the trio.

47
00:02:37,000 --> 00:02:49,000
ORCHESTRA PLAYS

48
00:03:07,000 --> 00:03:10,000
ORCHESTRA CONTINUES

49
00:03:37,000 --> 00:03:40,000
ORCHESTRA CONTINUES

50
00:04:07,000 --> 00:04:10,000
ORCHESTRA CONTINUES

51
00:04:37,000 --> 00:04:40,000
ORCHESTRA CONTINUES

52
00:05:08,000 --> 00:05:11,000
ORCHESTRA CONTINUES

53
00:05:11,000 --> 00:05:39,000
ORCHESTRA CONTINUES

54
00:05:39,000 --> 00:05:42,000
ORCHESTRA CONTINUES

55
00:05:42,000 --> 00:05:45,000
ORCHESTRA CONTINUES

56
00:05:45,000 --> 00:05:48,000
ORCHESTRA CONTINUES

57
00:05:48,000 --> 00:05:52,000
That thinning of the texture to two melody instruments

58
00:05:52,000 --> 00:05:55,000
over an independently moving bass,

59
00:05:55,000 --> 00:05:58,000
that's what gave rise to the term trio.

60
00:05:58,000 --> 00:06:01,000
And even though the three-voice texture was abandoned,

61
00:06:01,000 --> 00:06:04,000
really before the end of the 18th century,

62
00:06:04,000 --> 00:06:07,000
it's interesting that the trio section

63
00:06:07,000 --> 00:06:10,000
was usually softer and more sparsely orchestrated

64
00:06:10,000 --> 00:06:13,000
than the minuet, at least in orchestral pieces.

65
00:06:13,000 --> 00:06:16,000
Now, you may have noticed that there was a harpsichord

66
00:06:16,000 --> 00:06:19,000
playing in the minuet, but he dropped out for the trio,

67
00:06:19,000 --> 00:06:22,000
leaving only literally three instruments playing.

68
00:06:22,000 --> 00:06:25,000
Well, that was the recording of Johannes Sommarie.

69
00:06:25,000 --> 00:06:27,000
Uh, Sommarie?

70
00:06:27,000 --> 00:06:30,000
You know, I've often made the guarantee on this show

71
00:06:30,000 --> 00:06:32,000
that the choice of music played

72
00:06:32,000 --> 00:06:34,000
will not be determined by brow height.

73
00:06:34,000 --> 00:06:37,000
I think I can also make a guarantee that I will mispronounce

74
00:06:37,000 --> 00:06:39,000
somebody's name during the program.

75
00:06:39,000 --> 00:06:41,000
Anyway, that was Johannes Sommarie

76
00:06:41,000 --> 00:06:43,000
conducting the English Chamber Orchestra.

77
00:06:43,000 --> 00:06:46,000
Let's check out another recording of the trio,

78
00:06:46,000 --> 00:06:48,000
just the trio of that movement.

79
00:06:48,000 --> 00:06:50,000
This is Toon Koopman.

80
00:06:50,000 --> 00:06:52,000
I hope again I'm pronouncing that correctly.

81
00:06:52,000 --> 00:06:55,000
Toon Koopman leading the Amsterdam Baroque Orchestra.

82
00:06:55,000 --> 00:06:58,000
ORCHESTRA PLAYS

83
00:06:58,000 --> 00:07:01,000
Now, you hear that?

84
00:07:01,000 --> 00:07:04,000
In this performance, the harpsichordist

85
00:07:04,000 --> 00:07:07,000
plays during the trio.

86
00:07:07,000 --> 00:07:10,000
Does this mean, here, let me fade this out here.

87
00:07:10,000 --> 00:07:13,000
Does this mean that there's a line or two of music

88
00:07:13,000 --> 00:07:16,000
in the score that the previous recording ignored?

89
00:07:16,000 --> 00:07:19,000
No, in the Baroque era, the keyboard player

90
00:07:19,000 --> 00:07:22,000
read off the same line of music as the bass instrument player.

91
00:07:22,000 --> 00:07:24,000
But what the keyboard guy did

92
00:07:24,000 --> 00:07:27,000
was he played the written bass line with his left hand

93
00:07:27,000 --> 00:07:31,000
and improvised with his right, filling out the texture.

94
00:07:31,000 --> 00:07:33,000
And things were not as standardized then

95
00:07:33,000 --> 00:07:35,000
as they are now in classical music,

96
00:07:35,000 --> 00:07:38,000
so this becomes something for the individual musician

97
00:07:38,000 --> 00:07:40,000
or group to call.

98
00:07:40,000 --> 00:07:42,000
Now, I've listened in the last couple days,

99
00:07:42,000 --> 00:07:45,000
I've listened to over a dozen recordings of this movement,

100
00:07:45,000 --> 00:07:47,000
and Koopman's is the only one

101
00:07:47,000 --> 00:07:49,000
to use the harpsichord in the trio.

102
00:07:49,000 --> 00:07:51,000
Maybe that's because he's the harpsichordist.

103
00:07:51,000 --> 00:07:53,000
Hey, just kidding, Toon.

104
00:07:53,000 --> 00:07:56,000
The point is that the real meaning of the trio texture

105
00:07:56,000 --> 00:07:58,000
in the Baroque and Rococo periods

106
00:07:58,000 --> 00:08:02,000
lies in the fact that the composer wrote 3 lines of music.

107
00:08:02,000 --> 00:08:04,000
Take a listen to this.

108
00:08:11,000 --> 00:08:13,000
Sounds like a symphony, right?

109
00:08:16,000 --> 00:08:19,000
Well, it is. Here, let's fade that out.

110
00:08:19,000 --> 00:08:23,000
It is a symphony, but Johann Stamitz, who wrote it,

111
00:08:23,000 --> 00:08:26,000
calls it orchestra trio in B-flat, opus 1, No. 5.

112
00:08:26,000 --> 00:08:28,000
And that's because, you guessed it,

113
00:08:28,000 --> 00:08:31,000
even though a lot of musicians were playing there,

114
00:08:31,000 --> 00:08:33,000
Stamitz only wrote 3 lines of music,

115
00:08:33,000 --> 00:08:36,000
1st violin, 2nd violin, and bass,

116
00:08:36,000 --> 00:08:40,000
the latter line being played by cellos, basses, and harpsichord.

117
00:08:40,000 --> 00:08:44,000
The same is true with the term trio sonata in chamber music,

118
00:08:44,000 --> 00:08:49,000
3 lines of music usually played by at least 4 instrumentalists.

119
00:08:49,000 --> 00:08:52,000
Now, in some of my PDQ Bach concerts,

120
00:08:52,000 --> 00:08:55,000
I've read the entrance exam for the music department

121
00:08:55,000 --> 00:08:58,000
of the University of Southern North Dakota at Hoople,

122
00:08:58,000 --> 00:09:00,000
and one of the questions is,

123
00:09:00,000 --> 00:09:04,000
how many Californians does it take to play a trio sonata?

124
00:09:04,000 --> 00:09:07,000
Now, I'll admit, that joke is a bit arcane,

125
00:09:07,000 --> 00:09:10,000
especially since it doesn't really have a punchline,

126
00:09:10,000 --> 00:09:12,000
but if you heard that show and didn't laugh

127
00:09:12,000 --> 00:09:15,000
and you thought it was because you didn't get it,

128
00:09:15,000 --> 00:09:18,000
now you'll be able to say, I get it, it just isn't funny.

129
00:09:18,000 --> 00:09:21,000
Hey, this show is supposed to be about sweets and mixing it up.

130
00:09:21,000 --> 00:09:23,000
Let's get some sustained music going here.

131
00:09:23,000 --> 00:09:26,000
I've put together a trio sonata in my own fashion,

132
00:09:26,000 --> 00:09:29,000
but I want to warn you, anybody out there

133
00:09:29,000 --> 00:09:32,000
who is maybe taking notes for an upcoming music exam,

134
00:09:32,000 --> 00:09:34,000
2 of the movements of this trio sonata

135
00:09:34,000 --> 00:09:38,000
are not what people in the know would call trio sonata movements,

136
00:09:38,000 --> 00:09:42,000
and one of them is even an excerpt from a longer movement.

137
00:09:42,000 --> 00:09:47,000
What I want to do is show how diverse the basic texture can be,

138
00:09:47,000 --> 00:09:50,000
2 higher melody lines, an independent bass line,

139
00:09:50,000 --> 00:09:52,000
and something else filling in.

140
00:09:52,000 --> 00:09:57,000
The inter-era trio sonata is in the standard 4 movements,

141
00:09:57,000 --> 00:09:59,000
slow, fast, slow, fast.

142
00:09:59,000 --> 00:10:02,000
I'll be back in about 11 1⁄2 minutes.

143
00:10:02,000 --> 00:10:31,000
¦

144
00:10:31,000 --> 00:11:00,000
¦

145
00:11:00,000 --> 00:11:29,000
¦

146
00:11:29,000 --> 00:11:58,000
¦

147
00:11:58,000 --> 00:12:27,000
¦

148
00:12:27,000 --> 00:12:56,000
¦

149
00:12:56,000 --> 00:13:25,000
¦

150
00:13:25,000 --> 00:13:26,000
¦

151
00:13:55,000 --> 00:14:24,000
¦

152
00:14:24,000 --> 00:14:53,000
¦

153
00:14:53,000 --> 00:15:22,000
¦

154
00:15:22,000 --> 00:15:51,000
¦

155
00:15:51,000 --> 00:16:20,000
¦

156
00:16:20,000 --> 00:16:39,000
¦

157
00:16:39,000 --> 00:17:08,000
¦

158
00:17:08,000 --> 00:17:37,000
¦

159
00:17:37,000 --> 00:18:06,000
¦

160
00:18:06,000 --> 00:18:07,000
¦

161
00:18:36,000 --> 00:19:05,000
¦

162
00:19:05,000 --> 00:19:34,000
¦

163
00:19:34,000 --> 00:20:03,000
¦

164
00:20:03,000 --> 00:20:32,000
¦

165
00:20:32,000 --> 00:21:01,000
¦

166
00:21:01,000 --> 00:21:28,000
¦

167
00:21:28,000 --> 00:21:33,000
The inter-era trio sonata began with the first movement

168
00:21:33,000 --> 00:21:39,000
of a sonata by Jan Zelenka, who died in 1745,

169
00:21:39,000 --> 00:21:43,000
a composer who was completely ignored for a couple centuries,

170
00:21:43,000 --> 00:21:46,000
been sort of rediscovered in the last few decades.

171
00:21:46,000 --> 00:21:49,000
Part of the reason he was ignored was that apparently

172
00:21:49,000 --> 00:21:54,000
the prints that he worked for forbade the printing of his music.

173
00:21:54,000 --> 00:22:00,000
This is a sonata No. 3 in B-flat for violin, oboe, and continuo,

174
00:22:00,000 --> 00:22:03,000
the people reading off the bass line.

175
00:22:03,000 --> 00:22:09,000
The violin was, let me see, the violin was, here it is,

176
00:22:09,000 --> 00:22:15,000
Sashko Grolilov, and the oboe was Heinz Holliger,

177
00:22:15,000 --> 00:22:18,000
the bassoon was Klaus Thunemann,

178
00:22:18,000 --> 00:22:23,000
and the harpsichord was Christiane Jacotet,

179
00:22:23,000 --> 00:22:26,000
and there was also a bass playing,

180
00:22:26,000 --> 00:22:29,000
and that was Lucio Buccarella.

181
00:22:29,000 --> 00:22:31,000
So in that case, the trio sonata had not four,

182
00:22:31,000 --> 00:22:33,000
but five people playing in it,

183
00:22:33,000 --> 00:22:35,000
one each on the two top melody lines

184
00:22:35,000 --> 00:22:39,000
and three reading off the bottom line.

185
00:22:39,000 --> 00:22:43,000
And the second cut in our inter-era trio sonata

186
00:22:43,000 --> 00:22:46,000
was from one of my favorite jazz groups of all time,

187
00:22:46,000 --> 00:22:50,000
the Jerry Mulligan Quartet from the 50s.

188
00:22:50,000 --> 00:22:53,000
It was a tune called Frenesy, and here,

189
00:22:53,000 --> 00:22:55,000
and I'm being a little tricky here, I admit,

190
00:22:55,000 --> 00:22:58,000
we've got a continuo consisting of bass and drums.

191
00:22:58,000 --> 00:23:01,000
In other words, we've got trumpet and baritone sax,

192
00:23:01,000 --> 00:23:04,000
and the continuo is the bass and drums.

193
00:23:04,000 --> 00:23:06,000
The bass part is playing an independent part

194
00:23:06,000 --> 00:23:09,000
from the other two, moving differently, in other words.

195
00:23:09,000 --> 00:23:12,000
Now, instead of a keyboard filling out the harmonies,

196
00:23:12,000 --> 00:23:15,000
what you've got is the rhythm being filled out by the drums.

197
00:23:15,000 --> 00:23:18,000
I should say that the keyboard filling out the harmonies

198
00:23:18,000 --> 00:23:21,000
in this tradition is completely standard in jazz too,

199
00:23:21,000 --> 00:23:23,000
but I thought it'd be fun to just show

200
00:23:23,000 --> 00:23:25,000
that the filler doesn't have to be harmonic.

201
00:23:25,000 --> 00:23:28,000
It could be drums filling in the beats.

202
00:23:28,000 --> 00:23:32,000
And just between you and me, I've got to say I love that sound.

203
00:23:32,000 --> 00:23:35,000
I have to admit, and this is real heresy in the classical world,

204
00:23:35,000 --> 00:23:37,000
I have to admit that I don't really care

205
00:23:37,000 --> 00:23:41,000
for the harmonic filling in that you get with a typical continuo,

206
00:23:41,000 --> 00:23:45,000
whether it's the harpsichord banging away there in the Baroque music

207
00:23:45,000 --> 00:23:48,000
or the piano comping, as they call it in jazz.

208
00:23:48,000 --> 00:23:52,000
I love that clean air sound of the three-part counterpoint

209
00:23:52,000 --> 00:23:54,000
in Jerry Mulligan's Pianoless Quartet.

210
00:23:54,000 --> 00:23:57,000
Pianos, as a matter of fact, were so standard in jazz those days

211
00:23:57,000 --> 00:23:59,000
that that was known as the Pianoless Quartet.

212
00:23:59,000 --> 00:24:02,000
Chet Baker on trumpet, Mulligan on baritone sax,

213
00:24:02,000 --> 00:24:06,000
Bobby Whitlock on bass, and Chico Hamilton on drums.

214
00:24:06,000 --> 00:24:08,000
That's Pacific jazz.

215
00:24:08,000 --> 00:24:11,000
I mean, it is Pacific jazz, but that's also the label.

216
00:24:11,000 --> 00:24:13,000
Reissued on mosaic.

217
00:24:13,000 --> 00:24:16,000
Then the third movement was an excerpt from a longer movement.

218
00:24:16,000 --> 00:24:20,000
I hate to do that, but that's the way it had to be in this case.

219
00:24:20,000 --> 00:24:22,000
One of the most beautiful themes ever written

220
00:24:22,000 --> 00:24:25,000
from one of the most beautiful pieces ever written,

221
00:24:25,000 --> 00:24:27,000
the Schubert Cello Quintet,

222
00:24:27,000 --> 00:24:30,000
that means string quartet with an extra cello.

223
00:24:30,000 --> 00:24:32,000
A very late piece written by Schubert,

224
00:24:32,000 --> 00:24:35,000
and that second theme from the first movement,

225
00:24:35,000 --> 00:24:37,000
here again has nothing to do

226
00:24:37,000 --> 00:24:39,000
with what technically is called a trio sonata,

227
00:24:39,000 --> 00:24:41,000
but it does have to do with it in the sense

228
00:24:41,000 --> 00:24:44,000
that you've got a two-part melody in that case,

229
00:24:44,000 --> 00:24:46,000
first played by the two cellos,

230
00:24:46,000 --> 00:24:48,000
and the continuo, as I'm calling it,

231
00:24:48,000 --> 00:24:51,000
is the bass line played at the beginning by the viola,

232
00:24:51,000 --> 00:24:53,000
and then the filler, in this case,

233
00:24:53,000 --> 00:24:55,000
is the two violins playing chords.

234
00:24:55,000 --> 00:24:57,000
It's all written out.

235
00:24:57,000 --> 00:24:59,000
There's no improvisation, but the effect is the same.

236
00:24:59,000 --> 00:25:02,000
The violins are doing what the right hand of the harpsichord

237
00:25:02,000 --> 00:25:04,000
might do in a Baroque piece.

238
00:25:04,000 --> 00:25:07,000
Then the last movement was back to a real trio sonata,

239
00:25:07,000 --> 00:25:10,000
the trio sonata from Bach's musical offering.

240
00:25:10,000 --> 00:25:12,000
And you could hear in there,

241
00:25:12,000 --> 00:25:15,000
that's for flute and violin and continuo,

242
00:25:15,000 --> 00:25:18,000
and you could hear how the bass

243
00:25:18,000 --> 00:25:20,000
sometimes shares melodic material,

244
00:25:20,000 --> 00:25:22,000
the flute and violin's melodic material occasionally,

245
00:25:22,000 --> 00:25:24,000
but it is different.

246
00:25:24,000 --> 00:25:26,000
It moves differently from the melody parts.

247
00:25:26,000 --> 00:25:28,000
By the way, I have to backtrack here.

248
00:25:28,000 --> 00:25:30,000
Organization was never my strong point.

249
00:25:30,000 --> 00:25:33,000
The Schubert was played by the Cleveland Quartet

250
00:25:33,000 --> 00:25:35,000
with Yo-Yo Ma on the extra cello,

251
00:25:35,000 --> 00:25:37,000
and this musical offering

252
00:25:37,000 --> 00:25:40,000
is by the Academy of St. Martin's in the Field,

253
00:25:40,000 --> 00:25:42,000
conducted by Neville Mariner,

254
00:25:42,000 --> 00:25:44,000
although I don't know if he actually conducted

255
00:25:44,000 --> 00:25:46,000
this particular piece,

256
00:25:46,000 --> 00:25:48,000
since it only had 4 people playing,

257
00:25:48,000 --> 00:25:50,000
Iona Brown on violin,

258
00:25:50,000 --> 00:25:52,000
and William Bennett on flute,

259
00:25:52,000 --> 00:25:54,000
Dennis Viguet on cello,

260
00:25:54,000 --> 00:25:56,000
and Nicholas Kramer on the harpsichord.

261
00:25:56,000 --> 00:25:58,000
Peter Schickele is the name.

262
00:25:58,000 --> 00:26:00,000
Schickele Mix is my game,

263
00:26:00,000 --> 00:26:02,000
from PRI, Public Radio International.

264
00:26:02,000 --> 00:26:04,000
Now, just to make sure

265
00:26:04,000 --> 00:26:07,000
that we've nailed the trio sonata concept,

266
00:26:07,000 --> 00:26:09,000
let's talk about what it isn't.

267
00:26:09,000 --> 00:26:11,000
It isn't 3 integrated parts

268
00:26:11,000 --> 00:26:13,000
all sharing the same material,

269
00:26:13,000 --> 00:26:15,000
as in a fugue or a round.

270
00:26:15,000 --> 00:26:17,000
It isn't a situation with a melody on top,

271
00:26:17,000 --> 00:26:19,000
a bass line on the bottom,

272
00:26:19,000 --> 00:26:21,000
and the middle part doing an accompaniment

273
00:26:21,000 --> 00:26:23,000
kind of thing, as in a waltz.

274
00:26:23,000 --> 00:26:25,000
Bop bop, bop bop, bop bop.

275
00:26:25,000 --> 00:26:27,000
And of course, a trio sonata

276
00:26:27,000 --> 00:26:29,000
isn't a piece for 3 players.

277
00:26:29,000 --> 00:26:31,000
It just about has to have somebody extra

278
00:26:31,000 --> 00:26:33,000
to add the cornstarch.

279
00:26:33,000 --> 00:26:35,000
Here, by way of illustration,

280
00:26:35,000 --> 00:26:37,000
is the non-trio sonata trio suite.

281
00:26:37,000 --> 00:26:39,000
It too covers several centuries,

282
00:26:39,000 --> 00:26:41,000
but does so in less than 5 minutes.

283
00:26:41,000 --> 00:26:43,000
The non-trio sonata trio suite

284
00:26:43,000 --> 00:26:45,000
is scored for wind instruments

285
00:26:45,000 --> 00:26:47,000
and has 3 movements.

286
00:26:47,000 --> 00:26:49,000
See you soon.

287
00:26:49,000 --> 00:27:04,000
♪

288
00:27:04,000 --> 00:27:24,000
♪

289
00:27:24,000 --> 00:27:34,000
♪

290
00:27:34,000 --> 00:27:44,000
♪

291
00:27:44,000 --> 00:27:54,000
♪

292
00:27:54,000 --> 00:28:04,000
♪

293
00:28:04,000 --> 00:28:14,000
♪

294
00:28:14,000 --> 00:28:34,000
♪

295
00:28:34,000 --> 00:28:44,000
♪

296
00:28:44,000 --> 00:28:54,000
♪

297
00:28:54,000 --> 00:29:04,000
♪

298
00:29:04,000 --> 00:29:14,000
♪

299
00:29:14,000 --> 00:29:24,000
♪

300
00:29:24,000 --> 00:29:34,000
♪

301
00:29:34,000 --> 00:29:44,000
♪

302
00:29:44,000 --> 00:30:04,000
♪

303
00:30:04,000 --> 00:30:14,000
♪

304
00:30:14,000 --> 00:30:24,000
♪

305
00:30:24,000 --> 00:30:34,000
♪

306
00:30:34,000 --> 00:30:54,000
♪

307
00:30:54,000 --> 00:31:04,000
♪

308
00:31:04,000 --> 00:31:24,000
♪

309
00:31:24,000 --> 00:31:34,000
Okay, that was the non-trio sonata trio suite.

310
00:31:34,000 --> 00:31:38,000
And it began with a piece by Adrien Villert,

311
00:31:38,000 --> 00:31:41,000
a composer who died in 1562.

312
00:31:41,000 --> 00:31:44,000
And that was a piece for 3 recorders,

313
00:31:44,000 --> 00:31:46,000
at least played by 3 recorders here,

314
00:31:46,000 --> 00:31:48,000
Richard Carr, Atré.

315
00:31:48,000 --> 00:31:51,000
Richard Carr is a form similar to a fugue,

316
00:31:51,000 --> 00:31:53,000
a precursor of the fugue,

317
00:31:53,000 --> 00:31:55,000
and very often in music of that period,

318
00:31:55,000 --> 00:31:56,000
of the Renaissance,

319
00:31:56,000 --> 00:31:58,000
the specific instruments were not indicated.

320
00:31:58,000 --> 00:32:00,000
So it's played here by 3 recorders,

321
00:32:00,000 --> 00:32:04,000
performed by the Wiener Blockflöten Ensemble,

322
00:32:04,000 --> 00:32:06,000
the old Wiener Blockflöten gang.

323
00:32:06,000 --> 00:32:08,000
And there are a bunch of them there.

324
00:32:08,000 --> 00:32:11,000
I don't know which 3 are playing this particular piece.

325
00:32:11,000 --> 00:32:13,000
And that is like a fugue I mentioned before,

326
00:32:13,000 --> 00:32:16,000
or a round, which is a similar kind of thing,

327
00:32:16,000 --> 00:32:17,000
in that there is no differentiation

328
00:32:17,000 --> 00:32:19,000
among the 3 parts whatsoever.

329
00:32:19,000 --> 00:32:21,000
They're all playing the same melodic material

330
00:32:21,000 --> 00:32:23,000
in various ways.

331
00:32:23,000 --> 00:32:26,000
Then we had quite a beautiful piece by Mozart,

332
00:32:26,000 --> 00:32:30,000
a little trio, a separate little adagio in F,

333
00:32:30,000 --> 00:32:34,000
that's K410, or 484D,

334
00:32:34,000 --> 00:32:36,000
for 2 basset horns and bassoon.

335
00:32:36,000 --> 00:32:38,000
Basset horn is a clarinet-ish sort of instrument.

336
00:32:38,000 --> 00:32:41,000
And in that one you can sort of hear an in-between.

337
00:32:41,000 --> 00:32:43,000
Sometimes the bass is moving separately,

338
00:32:43,000 --> 00:32:44,000
as in a trio sonata,

339
00:32:44,000 --> 00:32:47,000
and sometimes it's completely participating

340
00:32:47,000 --> 00:32:49,000
in the same kind of material,

341
00:32:49,000 --> 00:32:52,000
but even when it's moving as a bass instrument separately,

342
00:32:52,000 --> 00:32:54,000
there is no continuo filling in,

343
00:32:54,000 --> 00:32:56,000
which can also be said of the Poulenc piece,

344
00:32:56,000 --> 00:32:58,000
with which we ended,

345
00:32:58,000 --> 00:33:00,000
the last movement of his sonata

346
00:33:00,000 --> 00:33:02,000
for horn, trumpet, and trombone,

347
00:33:02,000 --> 00:33:04,000
written in 1922.

348
00:33:04,000 --> 00:33:06,000
And here again, we sometimes have the trombone

349
00:33:06,000 --> 00:33:08,000
doing independent stuff from the 2 top instruments,

350
00:33:08,000 --> 00:33:11,000
but in one place the horn is being independent,

351
00:33:11,000 --> 00:33:12,000
as it were, in the middle,

352
00:33:12,000 --> 00:33:14,000
and the trombone and trumpet

353
00:33:14,000 --> 00:33:16,000
on the outer ends of the spectrum

354
00:33:16,000 --> 00:33:18,000
are moving together.

355
00:33:18,000 --> 00:33:21,000
That was performed by a...

356
00:33:21,000 --> 00:33:25,000
It's an album called German Brass on Adite,

357
00:33:25,000 --> 00:33:29,000
and the players there were Conrad and Groth,

358
00:33:29,000 --> 00:33:31,000
I assume was the trumpet player,

359
00:33:31,000 --> 00:33:33,000
Wolfgang Gang on horn,

360
00:33:33,000 --> 00:33:39,000
and Enric Crespo on posaune, trombone.

361
00:33:39,000 --> 00:33:42,000
Okay, let's bring some voices in here

362
00:33:42,000 --> 00:33:44,000
and listen to some vocal trios,

363
00:33:44,000 --> 00:33:45,000
accompanied by instruments.

364
00:33:45,000 --> 00:33:47,000
The first 3 numbers we're going to hear

365
00:33:47,000 --> 00:33:49,000
involve all treble voices.

366
00:33:49,000 --> 00:33:51,000
Now, in general, you're more likely

367
00:33:51,000 --> 00:33:53,000
to hear trios for 3 sopranos

368
00:33:53,000 --> 00:33:55,000
than you are for 3 basses.

369
00:33:55,000 --> 00:33:58,000
And there's a very basic reason for that,

370
00:33:58,000 --> 00:34:00,000
because the lower you get,

371
00:34:00,000 --> 00:34:02,000
the muddier close harmony sounds.

372
00:34:02,000 --> 00:34:04,000
But we're not leaving the men out.

373
00:34:04,000 --> 00:34:06,000
There's one piece with 3 men singing,

374
00:34:06,000 --> 00:34:08,000
doing some great singing,

375
00:34:08,000 --> 00:34:09,000
although high in their voices,

376
00:34:09,000 --> 00:34:10,000
even using falsetto,

377
00:34:10,000 --> 00:34:12,000
and one with 2 women and 1 man.

378
00:34:12,000 --> 00:34:16,000
So the Intergender Vocal Trio Suite

379
00:34:16,000 --> 00:34:17,000
consists of 5 numbers,

380
00:34:17,000 --> 00:34:19,000
and when you and I meet again,

381
00:34:19,000 --> 00:34:22,000
we'll both be about 11 minutes older.

382
00:34:22,000 --> 00:34:50,000
♫

383
00:34:50,000 --> 00:35:10,000
♫

384
00:35:10,000 --> 00:35:36,000
♫

385
00:35:36,000 --> 00:35:45,000
♫

386
00:35:47,000 --> 00:35:53,000
♫

387
00:35:53,000 --> 00:35:59,000
Oh, the pain of loving you

388
00:35:59,000 --> 00:36:04,000
Oh, the misery I go through

389
00:36:04,000 --> 00:36:10,000
Never knowing what to do

390
00:36:10,000 --> 00:36:15,000
Oh, the pain of loving you

391
00:36:15,000 --> 00:36:21,000
You just can't stand to see me happy

392
00:36:21,000 --> 00:36:26,000
Seem to hurt me all you can

393
00:36:26,000 --> 00:36:32,000
Still I go on loving you

394
00:36:32,000 --> 00:36:38,000
But I never understand

395
00:36:38,000 --> 00:36:43,000
Oh, the pain of loving you

396
00:36:43,000 --> 00:36:49,000
Oh, the misery I go through

397
00:36:49,000 --> 00:36:54,000
Never knowing what to do

398
00:36:54,000 --> 00:37:00,000
Oh, the pain of loving you

399
00:37:00,000 --> 00:37:22,000
♫

400
00:37:22,000 --> 00:37:28,000
To love and hate at the same time

401
00:37:28,000 --> 00:37:34,000
The line between the two is fine

402
00:37:34,000 --> 00:37:39,000
The two has bound me heart and soul

403
00:37:39,000 --> 00:37:45,000
So strong that I can't let you go

404
00:37:45,000 --> 00:37:51,000
Oh, the pain of loving you

405
00:37:51,000 --> 00:37:56,000
Oh, the misery I go through

406
00:37:56,000 --> 00:38:01,000
Never knowing what to do

407
00:38:01,000 --> 00:38:07,000
Oh, the pain of loving you

408
00:38:07,000 --> 00:38:14,000
Oh, the pain of loving you

409
00:38:14,000 --> 00:38:19,000
♫

410
00:38:21,000 --> 00:38:29,000
♫

411
00:38:29,000 --> 00:38:31,000
Three little maids from school are we

412
00:38:31,000 --> 00:38:33,000
But a schoolgirl well can be

413
00:38:33,000 --> 00:38:35,000
Filled to the brim with girlish glee

414
00:38:35,000 --> 00:38:37,000
Three little maids from school

415
00:38:37,000 --> 00:38:40,000
Everything is a so-so

416
00:38:40,000 --> 00:38:44,000
Nobody's safe or we care for none

417
00:38:44,000 --> 00:38:48,000
Life is a joke that's just begun

418
00:38:48,000 --> 00:38:53,000
Three little maids from school

419
00:38:53,000 --> 00:38:55,000
Three little maids who all are merry

420
00:38:55,000 --> 00:38:57,000
Come from a lady's seminary

421
00:38:57,000 --> 00:38:59,000
Free from a genius tutelary

422
00:38:59,000 --> 00:39:01,000
Three little maids from school

423
00:39:01,000 --> 00:39:05,000
Three little maids from school

424
00:39:05,000 --> 00:39:09,000
♫

425
00:39:09,000 --> 00:39:11,000
One little maid is a bride-yum-yum

426
00:39:11,000 --> 00:39:13,000
Two little maids are attendants-car

427
00:39:13,000 --> 00:39:15,000
Three little maids is a tutel-some

428
00:39:15,000 --> 00:39:18,000
Three little maids from school

429
00:39:18,000 --> 00:39:21,000
From three little maids take one away

430
00:39:21,000 --> 00:39:23,000
Two little maids remain and they

431
00:39:23,000 --> 00:39:25,000
Won't have to wait very long they say

432
00:39:25,000 --> 00:39:27,000
Three little maids from school

433
00:39:27,000 --> 00:39:29,000
Three little maids from school

434
00:39:29,000 --> 00:39:31,000
Three little maids who all are merry

435
00:39:31,000 --> 00:39:33,000
Come from a lady's seminary

436
00:39:33,000 --> 00:39:35,000
Free from a genius tutelary

437
00:39:35,000 --> 00:39:37,000
Three little maids from school

438
00:39:37,000 --> 00:39:40,000
Three little maids from school

439
00:39:40,000 --> 00:39:44,000
♫

440
00:39:47,000 --> 00:40:01,000
♫

441
00:40:01,000 --> 00:40:07,000
The longest train I ever saw

442
00:40:07,000 --> 00:40:13,000
Went down that Georgia line

443
00:40:13,000 --> 00:40:20,000
The engine passed at six o'clock

444
00:40:20,000 --> 00:40:26,000
And the cab passed by at nine

445
00:40:26,000 --> 00:40:29,000
In the pines, in the pines

446
00:40:29,000 --> 00:40:32,000
Where the sun never shines

447
00:40:32,000 --> 00:40:37,000
And we shiver when the cold wind blows

448
00:40:37,000 --> 00:41:00,000
♫

449
00:41:00,000 --> 00:41:17,000
♫

450
00:41:17,000 --> 00:41:20,000
Little girl, little girl

451
00:41:20,000 --> 00:41:23,000
What have I done

452
00:41:23,000 --> 00:41:29,000
That makes you treat me so

453
00:41:29,000 --> 00:41:33,000
You've caused me to weep

454
00:41:33,000 --> 00:41:36,000
And you've caused me to moan

455
00:41:36,000 --> 00:41:42,000
You've caused me to leave my home

456
00:41:42,000 --> 00:41:45,000
In the pines, in the pines

457
00:41:45,000 --> 00:41:49,000
Where the sun never shines

458
00:41:49,000 --> 00:41:55,000
And we shiver when the cold wind blows

459
00:41:55,000 --> 00:42:09,000
♫

460
00:42:09,000 --> 00:42:21,000
♫

461
00:42:21,000 --> 00:42:40,000
♫

462
00:42:40,000 --> 00:43:09,000
♫

463
00:43:09,000 --> 00:43:19,000
♫

464
00:43:19,000 --> 00:43:39,000
♫

465
00:43:39,000 --> 00:43:49,000
♫

466
00:43:49,000 --> 00:44:18,000
♫

467
00:44:18,000 --> 00:44:26,000
♫

468
00:44:26,000 --> 00:44:48,000
♫

469
00:44:48,000 --> 00:44:58,000
♫

470
00:44:58,000 --> 00:45:18,000
♫

471
00:45:18,000 --> 00:45:32,000
♫

472
00:45:36,000 --> 00:45:41,000
The Intergender Vocal Trio Suite

473
00:45:41,000 --> 00:45:44,000
began and ended with Mozart.

474
00:45:44,000 --> 00:45:48,000
It began with the trio from the Magic Flute,

475
00:45:48,000 --> 00:45:50,000
the three little boys singing

476
00:45:50,000 --> 00:45:54,000
Welcome for the Second Time, You Men in Sarastro's Kingdom.

477
00:45:54,000 --> 00:45:58,000
This was the Teldec recording, Nicholas Harnoncourt,

478
00:45:58,000 --> 00:46:02,000
and the three boys were Marcus Bauer, Stefan Ginger,

479
00:46:02,000 --> 00:46:06,000
and Andreas Fischer, Terzetto.

480
00:46:06,000 --> 00:46:10,000
Seid uns zum zweiten Mal willkommen.

481
00:46:10,000 --> 00:46:13,000
Then we went in, of course, to the trio that's called Trio,

482
00:46:13,000 --> 00:46:19,000
the album trio with Dolly Parton, Linda Ronstadt, and Emmylou Harris.

483
00:46:19,000 --> 00:46:23,000
I first cut The Pain of Loving You.

484
00:46:23,000 --> 00:46:25,000
Then we had the Mikado,

485
00:46:25,000 --> 00:46:28,000
and I think hearing the Mikado practically after the Mozart,

486
00:46:28,000 --> 00:46:31,000
the Magic Flute, makes you realize something I've always felt,

487
00:46:31,000 --> 00:46:35,000
which is that Sullivan just comes right out of the lighter part of Mozart,

488
00:46:35,000 --> 00:46:37,000
maybe via Rossini.

489
00:46:37,000 --> 00:46:39,000
But aside from Rossini,

490
00:46:39,000 --> 00:46:42,000
all that happened between Mozart and Sullivan,

491
00:46:42,000 --> 00:46:47,000
I mean Beethoven and Berlioz and Wagner and Liszt,

492
00:46:47,000 --> 00:46:50,000
just about might not as well have happened.

493
00:46:50,000 --> 00:46:52,000
The little Terzetto for the three boys

494
00:46:52,000 --> 00:46:55,000
could just about come out of one of Gilbert and Sullivan's operas

495
00:46:55,000 --> 00:46:57,000
or vice versa.

496
00:46:57,000 --> 00:47:01,000
I'm talking about texture here, not necessarily sophistication.

497
00:47:01,000 --> 00:47:05,000
And then we had Earl Taylor and his Stony Mountain Boys.

498
00:47:05,000 --> 00:47:08,000
Those of you who listen to this program regularly

499
00:47:08,000 --> 00:47:11,000
have heard cuts from this album before, and you're going to hear them again.

500
00:47:11,000 --> 00:47:13,000
Yes, I did it again!

501
00:47:13,000 --> 00:47:16,000
I forgot to give the singers in the Mikado.

502
00:47:16,000 --> 00:47:21,000
The singers were Leslie Garrett, Gene Rigby, and Susan Bullock.

503
00:47:21,000 --> 00:47:25,000
That is the English National Opera Orchestra and Chorus,

504
00:47:25,000 --> 00:47:28,000
conducted by Peter Robinson.

505
00:47:28,000 --> 00:47:33,000
A Jonathan Miller production that had Eric Idle as Coco.

506
00:47:33,000 --> 00:47:35,000
That would be interesting to have seen.

507
00:47:35,000 --> 00:47:38,000
Then we're back now to Earl Taylor and his Stony Mountain Boys

508
00:47:38,000 --> 00:47:40,000
doing In the Pines,

509
00:47:40,000 --> 00:47:42,000
great, great tunes of that repertoire.

510
00:47:42,000 --> 00:47:44,000
One of the high points in my life was

511
00:47:44,000 --> 00:47:47,000
I wrote a piece for Bluegrass Band and Orchestra once

512
00:47:47,000 --> 00:47:49,000
for the McLean Family Band,

513
00:47:49,000 --> 00:47:51,000
and we got together in a hotel suite

514
00:47:51,000 --> 00:47:56,000
near the Museum of Natural History in New York.

515
00:47:56,000 --> 00:47:59,000
We were in the room, and we were talking, getting to know each other.

516
00:47:59,000 --> 00:48:02,000
I said, you know, something that would just give me the greatest pleasure,

517
00:48:02,000 --> 00:48:06,000
because all I've always wanted to do is to be able to sing In the Pines live.

518
00:48:06,000 --> 00:48:09,000
So they got their instruments out, and I got to sing In the Pines.

519
00:48:09,000 --> 00:48:13,000
By the way, that texture there is interesting, the same in trio.

520
00:48:13,000 --> 00:48:15,000
The melody is in the middle.

521
00:48:15,000 --> 00:48:18,000
It's very common in that kind of country harmonization.

522
00:48:18,000 --> 00:48:21,000
The melody is in the middle. One of the harmony parts is on the top.

523
00:48:21,000 --> 00:48:23,000
The other harmony part is below.

524
00:48:23,000 --> 00:48:26,000
That is unlike the Mozart and the Gilbert and Sullivan,

525
00:48:26,000 --> 00:48:29,000
in which the melody is on top.

526
00:48:29,000 --> 00:48:33,000
Then finally, we had one of the few pieces of music

527
00:48:33,000 --> 00:48:36,000
that just about makes me cry every time I hear it.

528
00:48:36,000 --> 00:48:40,000
The trio from Così fan tutte,

529
00:48:40,000 --> 00:48:45,000
after the men have gone off supposedly to war,

530
00:48:45,000 --> 00:48:50,000
and the two women are commiserating with Don Alfonso.

531
00:48:50,000 --> 00:48:53,000
That was Kiritikanoa and Murray,

532
00:48:53,000 --> 00:48:57,000
and Ferruccio Ferlanetto, James Levine,

533
00:48:57,000 --> 00:49:03,000
conducting the Vienna Philharmonic Così fan tutte of Mozart.

534
00:49:03,000 --> 00:49:06,000
I'm Peter Shickley. The program is Shickley Mix

535
00:49:06,000 --> 00:49:10,000
from PRI, Public Radio International.

536
00:49:10,000 --> 00:49:15,000
Okay, we began this program being very educational,

537
00:49:15,000 --> 00:49:18,000
so we're going to have a little bonus at the end.

538
00:49:18,000 --> 00:49:21,000
It's not only tidbit time, it's double tidbit time.

539
00:49:21,000 --> 00:49:23,000
You hit the jackpot.

540
00:49:23,000 --> 00:49:25,000
We're going to end up with two tidbits,

541
00:49:25,000 --> 00:49:27,000
and they're both pretty amazing in their way.

542
00:49:27,000 --> 00:49:30,000
I'm going to tell you what they are beforehand.

543
00:49:30,000 --> 00:49:33,000
The first one is a reprise of a number

544
00:49:33,000 --> 00:49:35,000
we had earlier on the program,

545
00:49:35,000 --> 00:49:37,000
the Three Little Maids from School

546
00:49:37,000 --> 00:49:39,000
from the Mikado, Gilbert and Sullivan.

547
00:49:39,000 --> 00:49:41,000
This time, however, you're going to hear it

548
00:49:41,000 --> 00:49:43,000
performed by Joan Sutherland, Dinah Shore,

549
00:49:43,000 --> 00:49:45,000
and Ella Fitzgerald.

550
00:49:45,000 --> 00:49:48,000
This is from a live performance in 1963.

551
00:49:48,000 --> 00:49:52,000
It's from an album called Opera Stars in a Silly Mood,

552
00:49:52,000 --> 00:49:55,000
which has got some fairly amazing stuff on it.

553
00:49:55,000 --> 00:49:58,000
It's called Legendary Recordings,

554
00:49:58,000 --> 00:50:04,000
and it's got Helen Traubel

555
00:50:04,000 --> 00:50:07,000
and Jimmy Durante, for instance,

556
00:50:07,000 --> 00:50:12,000
and Armand Toketian and Mae West.

557
00:50:12,000 --> 00:50:14,000
And what we're going to hear

558
00:50:14,000 --> 00:50:17,000
is the Three Little Maids from School from the Mikado,

559
00:50:17,000 --> 00:50:19,000
Joan Sutherland, Dinah Shore, and Ella Fitzgerald.

560
00:50:19,000 --> 00:50:22,000
I warn you, the fi is extremely low,

561
00:50:22,000 --> 00:50:25,000
and it's really pretty hard to tell who's doing what.

562
00:50:25,000 --> 00:50:28,000
And then after that, we'll hear another amazing

563
00:50:28,000 --> 00:50:30,000
kind of instrumental voice.

564
00:50:30,000 --> 00:50:34,000
This is a number played by the London Serpent Trio.

565
00:50:34,000 --> 00:50:36,000
The serpent, according to the liner notes,

566
00:50:36,000 --> 00:50:38,000
and it is quite an instrument.

567
00:50:38,000 --> 00:50:41,000
It's coiled around like a great big python.

568
00:50:41,000 --> 00:50:44,000
No, a python lying on the ground, though, going along,

569
00:50:44,000 --> 00:50:46,000
not coiled around something.

570
00:50:46,000 --> 00:50:49,000
The liner notes say it better than I can.

571
00:50:49,000 --> 00:50:51,000
The serpent passed out of general circulation

572
00:50:51,000 --> 00:50:53,000
between 1850 and 1900

573
00:50:53,000 --> 00:50:56,000
after 2 1⁄2 centuries of continuous use.

574
00:50:56,000 --> 00:50:58,000
It is carved from wood,

575
00:50:58,000 --> 00:51:01,000
sounded by means of the lips in a cup mouthpiece,

576
00:51:01,000 --> 00:51:03,000
not unlike that of some brass instruments,

577
00:51:03,000 --> 00:51:06,000
and provided with 6 large finger holes,

578
00:51:06,000 --> 00:51:09,000
sometimes supplemented by others controlled with keys.

579
00:51:09,000 --> 00:51:12,000
The wooden body is covered with leather, vellum,

580
00:51:12,000 --> 00:51:15,000
or heavily painted fabric, virtually always black.

581
00:51:15,000 --> 00:51:19,000
The church serpent was lightly built with sweeping curves.

582
00:51:19,000 --> 00:51:22,000
The military serpent was often twice the weight,

583
00:51:22,000 --> 00:51:24,000
and had metal reinforcements and struts

584
00:51:24,000 --> 00:51:27,000
to help it survive a less sheltered life.

585
00:51:27,000 --> 00:51:30,000
I think after hearing this, it isn't such a great mystery

586
00:51:30,000 --> 00:51:32,000
why the serpent fell out of use,

587
00:51:32,000 --> 00:51:35,000
but it is a great sound in its own right.

588
00:51:35,000 --> 00:51:38,000
We're going to hear a piece by Franz Anton Hofmeister,

589
00:51:38,000 --> 00:51:41,000
who died in 1812 and is the composer

590
00:51:41,000 --> 00:51:45,000
that some people suspect wrote a famous Haydn piece,

591
00:51:45,000 --> 00:51:48,000
that famous Andante Cantabile

592
00:51:48,000 --> 00:51:51,000
from one of his early string quartets.

593
00:51:51,000 --> 00:51:53,000
dee-da-da-da-da-da

594
00:51:53,000 --> 00:51:55,000
dee-da-dee-dee-dee

595
00:51:55,000 --> 00:51:58,000
Some people think that Hofmeister actually wrote that.

596
00:51:58,000 --> 00:52:01,000
This is a piece called The Hen, the Cuckoo, and the Donkey.

597
00:52:01,000 --> 00:52:04,000
So first we hear Three Little Maids from School,

598
00:52:04,000 --> 00:52:07,000
and then The Hen, the Cuckoo, and the Donkey.

599
00:52:07,000 --> 00:52:23,000
Three little maids from school are we, four little maids from school are we.

600
00:52:23,000 --> 00:52:31,000
Nobody thinks we care for none.

601
00:52:31,000 --> 00:52:35,000
Three little maids from school.

602
00:52:35,000 --> 00:52:47,000
Three little maids from school.

603
00:52:47,000 --> 00:52:54,160
Three little maids who all were wearing couple ladies,

604
00:52:54,160 --> 00:52:57,920
seven ladies, three little things, a suit and many.

605
00:52:57,920 --> 00:53:01,720
Three little maids in suits, three little maids in suits.

606
00:53:01,720 --> 00:53:30,720
Three little maids in suits, three little maids in suits.

607
00:53:30,720 --> 00:53:54,720
Three little maids in suits, three little maids in suits.

608
00:53:54,720 --> 00:54:18,720
Three little maids in suits, three little maids in suits.

609
00:54:18,720 --> 00:54:42,720
Three little maids in suits, three little maids in suits.

610
00:54:42,720 --> 00:55:08,720
Three little maids in suits, three little maids in suits.

611
00:55:08,720 --> 00:55:22,720
Three little maids in suits, three little maids in suits.

612
00:55:22,720 --> 00:55:29,720
And so the voices of Joan Sutherland, Dinah Shore, Ella Fitzgerald and Three Serpents

613
00:55:29,720 --> 00:55:32,720
bring Shickly Mix to a close for another week.

614
00:55:32,720 --> 00:55:37,720
Our program is made possible with funds provided by this radio station.

615
00:55:37,720 --> 00:55:41,720
We'll tell you in a moment how you can get an official playlist of all the music on today's program

616
00:55:41,720 --> 00:55:43,720
with record numbers and everything.

617
00:55:43,720 --> 00:55:45,720
Just refer to the program number when you write.

618
00:55:45,720 --> 00:55:47,720
This is program number 10.

619
00:55:47,720 --> 00:55:51,720
This is Peter Shickly saying goodbye and reminding you that it don't mean a thing

620
00:55:51,720 --> 00:55:54,720
if it ain't got that certain je ne sais quoi.

621
00:55:54,720 --> 00:56:09,720
Be good. See you next week.

622
00:56:24,720 --> 00:56:49,720
See you next week.

623
00:56:49,720 --> 00:57:18,720
See you next week.

624
00:57:19,720 --> 00:57:47,720
See you next week.

625
00:57:50,720 --> 00:57:53,720
If you'd like a copy of that playlist I mentioned,

626
00:57:53,720 --> 00:57:56,720
send a stamped self-addressed envelope to Shickly Mix.

627
00:57:56,720 --> 00:58:01,720
That's S-C-H-I-C-K-E-L-E, Shickly Mix.

628
00:58:01,720 --> 00:58:03,720
Care of Public Radio International.

629
00:58:03,720 --> 00:58:11,720
100 North 6th Street, Suite 900A, Minneapolis, Minnesota 55403.

630
00:58:11,720 --> 00:58:19,720
P-R-I, Public Radio International.