1 00:00:00,000 --> 00:00:10,000 Serving the public radio needs of southeastern Idaho for over six years, this is 91.1 FM, KISU Pocatello. 2 00:00:10,000 --> 00:00:16,000 With a look at the weather for the rest of today, mostly sunny skies with highs reaching the 80s. 3 00:00:16,000 --> 00:00:24,000 Tonight, mostly clear skies with lows near 40s, lows 50s, excuse me, and Monday, sunny and warmer. 4 00:00:24,000 --> 00:00:31,000 Currently outside the studios of KISU, the temperature is 78 degrees. It's 12 o'clock. Coming up is Shickley Mix. 5 00:00:34,000 --> 00:00:37,000 Who wants to know? Okay, here's the theme. 6 00:00:37,000 --> 00:00:39,000 Here's the theme. 7 00:00:52,000 --> 00:00:59,000 Hello there, I'm Peter Shickley, and this is Shickley Mix, a program dedicated to the proposition that all musics are created equal. 8 00:00:59,000 --> 00:01:04,000 Or, as Duke Ellington put it, if it sounds good, it is good. 9 00:01:04,000 --> 00:01:07,000 And it's good to know that you're in good hands. 10 00:01:07,000 --> 00:01:13,000 I refer to the fact that our program is made possible with funds provided by this radio station. 11 00:01:13,000 --> 00:01:20,000 I guess some of my friends think I'm a little bit callous or something because I don't do anything special for Mother's or Father's Day. 12 00:01:20,000 --> 00:01:24,000 But we just never paid any attention to those days in my family. 13 00:01:24,000 --> 00:01:32,000 I don't know if my parents thought that they were simply inventions of the greeting card companies or what, but in any case, it was no special deal. 14 00:01:32,000 --> 00:01:40,000 But that doesn't mean I don't appreciate my parents. Hey, Christmas presents, free tickets to my concerts, discounts on PDQ Bach t-shirts. 15 00:01:40,000 --> 00:01:45,000 No, actually, we've been a very close family of very independent souls. 16 00:01:45,000 --> 00:01:51,000 My mother always enjoyed playing the piano, especially piano four hands, until her arthritis caught up with her. 17 00:01:51,000 --> 00:02:00,000 And she's the kind of person who, when we moved to Fargo, North Dakota, and she was told that the Fargo-Moorhead Community Orchestra was weak in the string bass section, 18 00:02:00,000 --> 00:02:02,000 she took up the string bass. 19 00:02:02,000 --> 00:02:11,000 My father, an agricultural economist who was not especially musical himself, was a great and serious appreciator of music, 20 00:02:11,000 --> 00:02:18,000 and loved the string quartet evenings that took place in various homes, including ours, during my teenage years. 21 00:02:18,000 --> 00:02:25,000 Towards the end of his life, his mind went downhill, but he never lost his enthusiasm for beautiful sights and sounds. 22 00:02:25,000 --> 00:02:33,000 I remember once, late in his life, when the whole family was together, for geographical reasons a rare occasion by then, 23 00:02:33,000 --> 00:02:37,000 and we had a favorite Christmas album on while we were decorating the tree. 24 00:02:37,000 --> 00:02:40,000 He made everybody stop and just listen to the music. 25 00:02:40,000 --> 00:02:49,000 He probably had had the urge to do that many times in earlier years, but until disease weakened his manners, he never acted on it. 26 00:02:49,000 --> 00:02:54,000 Who's the novelist who said there are only two things worth writing about? Blood and money. 27 00:02:54,000 --> 00:03:00,000 When it comes to your parents, there are things for which you're grateful, and there are things you resent, 28 00:03:00,000 --> 00:03:09,000 but when you become a parent yourself, you see how the circle is unbroken, and whether the knot soothes or chafes, it can't be untied. 29 00:03:09,000 --> 00:03:18,000 Talking about parents, today in our first suite is the Parental Song Cycle, whose three numbers look at parents in three very different ways. 30 00:03:18,000 --> 00:03:24,000 Now, unfortunately, for our purposes, I couldn't find a recording of the marriage of Figaro in English. 31 00:03:24,000 --> 00:03:28,000 I'm going to break my usual policy and tell you what the first number is, 32 00:03:28,000 --> 00:03:33,000 so I'll read a translation of the libretto for the excerpt we're going to hear as the first selection. 33 00:03:33,000 --> 00:03:35,000 Not every word, but you'll get the gist. 34 00:03:35,000 --> 00:03:44,000 Figaro, betrothed to Susanna, is about to be forced to marry a much older woman, Marcellina, because he owes her money. 35 00:03:44,000 --> 00:03:49,000 I won't go into all the details of the luxuriant plot of this opera. 36 00:03:49,000 --> 00:03:53,000 In the recitative we'll hear first, the notary says, 37 00:03:53,000 --> 00:03:58,000 The case is settled. Either pay her or marry her. Now be silent. 38 00:03:58,000 --> 00:04:02,000 Marcellina says, I breathe again, Figaro, and I die. 39 00:04:02,000 --> 00:04:06,000 Marcellina, at last I shall marry the man I adore. 40 00:04:06,000 --> 00:04:10,000 Your Excellency, I appeal. The sentence is just. Either pay or marry. 41 00:04:10,000 --> 00:04:14,000 Bravo, Don Corzio. That's the notary. Your Excellency is too good. 42 00:04:14,000 --> 00:04:19,000 What a perfect sentence. How do you mean perfect, says Figaro. We are all avenged. 43 00:04:19,000 --> 00:04:23,000 I won't marry her. You will marry her. Either pay her or marry her. 44 00:04:23,000 --> 00:04:26,000 I lent you two thousand silver crowns. 45 00:04:26,000 --> 00:04:30,000 I am a gentleman, says Figaro, and without the consent of my noble parents. 46 00:04:30,000 --> 00:04:34,000 Where are they? Who are they? Let them be searched for again. 47 00:04:34,000 --> 00:04:36,000 For ten years I've been trying to find them. 48 00:04:36,000 --> 00:04:41,000 A foundling child? No, a lost child, doctor, or rather kidnapped. 49 00:04:41,000 --> 00:04:45,000 How's that? What? Your proof, your witnesses. 50 00:04:45,000 --> 00:04:50,000 The gold, gems, and embroidered clothes that the robbers found me wearing, 51 00:04:50,000 --> 00:04:54,000 even at that tender age, are the true indications of my high birth, 52 00:04:54,000 --> 00:04:57,000 and especially this hieroglyphic on my arm. 53 00:04:57,000 --> 00:04:59,000 And Marcellina, without seeing it, says, 54 00:04:59,000 --> 00:05:02,000 A spatula birthmark on your right arm? Figaro says, 55 00:05:02,000 --> 00:05:06,000 And who was it told you? Oh God, it is he. Of course I am he. 56 00:05:06,000 --> 00:05:10,000 Who? Who? Who? Little Raphael. 57 00:05:10,000 --> 00:05:13,000 And the thieves stole you near a castle. 58 00:05:13,000 --> 00:05:17,000 There is your mother. My nursemaid? No, your mother. 59 00:05:17,000 --> 00:05:20,000 His mother? What's this I hear? Marcellina says, 60 00:05:20,000 --> 00:05:23,000 There is your father. 61 00:05:23,000 --> 00:05:25,000 And then we have a sextet. 62 00:05:25,000 --> 00:05:28,000 Recognize in his embrace your mother, beloved son. 63 00:05:28,000 --> 00:05:32,000 My father do the same, and no longer let me be ashamed. 64 00:05:32,000 --> 00:05:34,000 In the midst of all this, Susanna comes in, 65 00:05:34,000 --> 00:05:38,000 and she sees Figaro embracing Marcellina. 66 00:05:38,000 --> 00:05:41,000 And so she is a little bit put out. 67 00:05:41,000 --> 00:05:43,000 And she comes in, as a matter of fact, 68 00:05:43,000 --> 00:05:46,000 to pay the thousand double crowns which she has raised 69 00:05:46,000 --> 00:05:50,000 so that she can marry Figaro as was planned at the beginning of the opera. 70 00:05:50,000 --> 00:05:53,000 Then she sees Figaro hugging Marcellina, and she says, 71 00:05:53,000 --> 00:05:55,000 So, he's reconciled with his bride. 72 00:05:55,000 --> 00:05:58,000 Ye gods, what infidelity! Figaro says, 73 00:05:58,000 --> 00:06:00,000 No, wait. Listen, darling. 74 00:06:00,000 --> 00:06:02,000 Susanna says, Listen to this. 75 00:06:02,000 --> 00:06:06,000 Boxes his ears, which you can hear quite clearly on the recording. 76 00:06:06,000 --> 00:06:09,000 And then there's a little bit of ensemble singing there. 77 00:06:09,000 --> 00:06:11,000 And finally Marcellina says to Susanna, 78 00:06:11,000 --> 00:06:13,000 Calm your anger, my dear daughter. 79 00:06:13,000 --> 00:06:15,000 Embrace his mother, and yours as well. 80 00:06:15,000 --> 00:06:17,000 Now, and Susanna says, 81 00:06:17,000 --> 00:06:19,000 His mother? Bartolo, his mother. 82 00:06:19,000 --> 00:06:20,000 Susanna, his mother. 83 00:06:20,000 --> 00:06:23,000 And you can hear sua madre all over the place there. 84 00:06:23,000 --> 00:06:25,000 And then finally Figaro says, 85 00:06:25,000 --> 00:06:28,000 And that is my father. He'll say so himself. 86 00:06:28,000 --> 00:06:32,000 His father, his father, his father, his father, his father. 87 00:06:32,000 --> 00:06:33,000 And then at the end, 88 00:06:33,000 --> 00:06:35,000 My soul can barely resist any longer 89 00:06:35,000 --> 00:06:37,000 The sweet delight of this moment. 90 00:06:37,000 --> 00:06:39,000 The paternal song cycle. 91 00:06:39,000 --> 00:06:54,000 See you in about sixteen minutes. 92 00:07:10,000 --> 00:07:11,000 La sposerai. 93 00:07:11,000 --> 00:07:13,000 O pagarla o sposarla. 94 00:07:13,000 --> 00:07:16,000 Io t'ho prestati duemila pezzi duri. 95 00:07:16,000 --> 00:07:19,000 Son gentiluomo. E senza l'assenso dei miei nobili parenti? 96 00:07:19,000 --> 00:07:21,000 Dove sono? Chi sono? 97 00:07:21,000 --> 00:07:25,000 Lasciate ancora cercarli. Dopo dieci anni io spero di trovarli. 98 00:07:25,000 --> 00:07:27,000 Qualche mamma introvata? 99 00:07:27,000 --> 00:07:29,000 L'ho perduto, dottor. Anzi, rubato. 100 00:07:29,000 --> 00:07:30,000 Come? 101 00:07:30,000 --> 00:07:31,000 Cosa? 102 00:07:31,000 --> 00:07:32,000 La prova. 103 00:07:32,000 --> 00:07:33,000 Il testimonio. 104 00:07:33,000 --> 00:07:35,000 Loro le gemme e i ricamati panni 105 00:07:35,000 --> 00:07:38,000 Che nei più teneri animi ritrovaro addosso i masnavieri 106 00:07:38,000 --> 00:07:41,000 Sono gli indizi veri di mia nascita illustre. 107 00:07:41,000 --> 00:07:44,000 E soprattutto, questo è il mio braccio impresso, giroglifico. 108 00:07:44,000 --> 00:07:47,000 La spatola è impresso al braccio destro. 109 00:07:47,000 --> 00:07:48,000 E a voi chi l'disse? 110 00:07:48,000 --> 00:07:51,000 Oddio, è desso. 111 00:07:51,000 --> 00:07:52,000 È vero, sono io. 112 00:07:52,000 --> 00:07:53,000 Chi? 113 00:07:53,000 --> 00:07:55,000 Raffaello. 114 00:07:55,000 --> 00:07:57,000 E i ladri ti rapirono? 115 00:07:57,000 --> 00:07:58,000 Ressa un castello. 116 00:07:58,000 --> 00:08:01,000 Ecco tua madre. 117 00:08:01,000 --> 00:08:02,000 Alia. 118 00:08:02,000 --> 00:08:03,000 No, tua madre. 119 00:08:03,000 --> 00:08:06,000 Sua madre. 120 00:08:06,000 --> 00:08:08,000 Cosa sento? 121 00:08:08,000 --> 00:08:15,000 Ecco tua madre. 122 00:08:15,000 --> 00:08:20,000 Riconosci in questo applesso 123 00:08:20,000 --> 00:08:24,000 Una madre e amato figlio? 124 00:08:24,000 --> 00:08:28,000 Padre mio, fate lo stesso. 125 00:08:28,000 --> 00:08:32,000 Non mi fate più arrossir. 126 00:08:32,000 --> 00:08:36,000 L'esistenza e la conoscenza 127 00:08:36,000 --> 00:08:41,000 Pargono la scelta de te. 128 00:08:41,000 --> 00:08:43,000 Questo padre e sua madre 129 00:08:43,000 --> 00:08:45,000 E la sua madre e suo figlio 130 00:08:45,000 --> 00:08:48,000 L'immeneo non so asseguir. 131 00:08:48,000 --> 00:08:49,000 Figlio. 132 00:08:49,000 --> 00:08:52,000 Questo padre e sua madre 133 00:08:52,000 --> 00:08:54,000 E la sua madre e suo figlio 134 00:08:54,000 --> 00:08:56,000 Figlio. 135 00:08:56,000 --> 00:08:59,000 L'immeneo non so asseguir. 136 00:08:59,000 --> 00:09:02,000 Figlio. 137 00:09:02,000 --> 00:09:07,000 L'immeneo non so asseguir. 138 00:09:07,000 --> 00:09:11,000 Alto, alto, signor conte. 139 00:09:11,000 --> 00:09:14,000 E mille doppi sono qui pronte 140 00:09:14,000 --> 00:09:18,000 A pagarlo meglio per Figaro 141 00:09:18,000 --> 00:09:21,000 E da farlo in libertà. 142 00:09:21,000 --> 00:09:35,000 Osservate un po' più. 143 00:09:35,000 --> 00:09:38,000 Già d'accordo con la sposa. 144 00:09:38,000 --> 00:09:44,000 Giusti dei, infidelità. 145 00:09:44,000 --> 00:09:46,000 Lasci niente. 146 00:09:46,000 --> 00:09:48,000 No, perresta. 147 00:09:48,000 --> 00:09:50,000 Lasci niente. 148 00:09:50,000 --> 00:09:53,000 No, perresta. 149 00:09:53,000 --> 00:09:57,000 Senti, tua cara. 150 00:09:57,000 --> 00:10:01,000 Senti, senti. 151 00:10:01,000 --> 00:10:04,000 Senti questa. 152 00:10:04,000 --> 00:10:31,000 Senti questa. 153 00:10:31,000 --> 00:10:34,000 Senti questa. 154 00:10:34,000 --> 00:10:37,000 Senti questa. 155 00:10:37,000 --> 00:10:40,000 Senti questa. 156 00:10:40,000 --> 00:10:45,000 Senti questa. 157 00:10:45,000 --> 00:10:49,000 Lo stello, pelvatevi, amaro Figaro. 158 00:10:49,000 --> 00:10:53,000 Sua madre abbracciatevi, al vostro sarà. 159 00:10:53,000 --> 00:10:57,000 Sua madre abbracciatevi, al vostro sarà. 160 00:10:57,000 --> 00:10:58,000 Sua madre. 161 00:10:58,000 --> 00:10:59,000 Sua madre. 162 00:10:59,000 --> 00:11:00,000 Sua madre. 163 00:11:00,000 --> 00:11:01,000 Sua madre. 164 00:11:01,000 --> 00:11:02,000 Sua madre. 165 00:11:02,000 --> 00:11:03,000 Sua madre. 166 00:11:03,000 --> 00:11:04,000 Sua madre. 167 00:11:04,000 --> 00:11:05,000 Sua madre. 168 00:11:05,000 --> 00:11:06,000 Sua madre. 169 00:11:06,000 --> 00:11:07,000 Sua madre. 170 00:11:07,000 --> 00:11:08,000 Tua madre 171 00:11:08,000 --> 00:11:15,000 E quello è mio padre, che a te lo dirà. 172 00:11:15,000 --> 00:11:27,000 suo padre 173 00:11:27,000 --> 00:11:43,000 e quella è mia madre che a te lo dirà 174 00:11:43,000 --> 00:11:55,000 Al fiero tormento di questo momento, al dolce contento di questo momento, 175 00:11:55,000 --> 00:12:03,000 quest'astra bambina che si deve orsare. 176 00:12:03,000 --> 00:12:12,000 Al fiero tormento di questo momento, 177 00:12:12,000 --> 00:12:30,000 quest'anima appena resiste, 178 00:12:30,000 --> 00:12:44,000 quest'anima appena resiste, 179 00:12:44,000 --> 00:12:57,000 quest'anima appena resiste, 180 00:13:15,000 --> 00:13:22,000 in the deep rolling hills of old Virginia 181 00:13:22,000 --> 00:13:28,000 there's a place I love so well 182 00:13:28,000 --> 00:13:35,000 where I spent many days of my childhood 183 00:13:35,000 --> 00:13:41,000 in the cabin where we loved to dwell 184 00:13:41,000 --> 00:13:48,000 white dove will mourn in sorrow 185 00:13:48,000 --> 00:13:54,000 the willows will hang their heads 186 00:13:54,000 --> 00:14:00,000 I'll live my life in sorrow 187 00:14:00,000 --> 00:14:12,000 since mother and daddy are dead 188 00:14:31,000 --> 00:14:39,000 we were all so happy there together 189 00:14:39,000 --> 00:14:46,000 in our peaceful little mountain home 190 00:14:46,000 --> 00:14:52,000 but God made angels up in heaven 191 00:14:52,000 --> 00:14:58,000 now they sing around the great white throne 192 00:14:58,000 --> 00:15:05,000 white dove will mourn in sorrow 193 00:15:05,000 --> 00:15:11,000 the willows will hang their heads 194 00:15:11,000 --> 00:15:18,000 I'll live my life in sorrow 195 00:15:18,000 --> 00:15:28,000 since mother and daddy are dead 196 00:15:49,000 --> 00:15:57,000 as the years roll by I often wonder 197 00:15:57,000 --> 00:16:04,000 if we'll all be together someday 198 00:16:04,000 --> 00:16:10,000 and each night as I wander to the graveyard 199 00:16:10,000 --> 00:16:17,000 darkness finds me where I kneel to pray 200 00:16:17,000 --> 00:16:24,000 white dove will mourn in sorrow 201 00:16:24,000 --> 00:16:30,000 the willows will hang their heads 202 00:16:30,000 --> 00:16:37,000 I'll live my life in sorrow 203 00:16:37,000 --> 00:16:47,000 since mother and daddy are dead 204 00:17:08,000 --> 00:17:13,000 oh 205 00:17:16,000 --> 00:17:21,000 oh 206 00:17:25,000 --> 00:17:30,000 mother you had me 207 00:17:30,000 --> 00:17:38,000 but I never had you 208 00:17:38,000 --> 00:17:45,000 I wanted you 209 00:17:45,000 --> 00:17:52,000 you didn't want me 210 00:17:52,000 --> 00:17:59,000 so I 211 00:17:59,000 --> 00:18:07,000 just gotta tell you 212 00:18:07,000 --> 00:18:14,000 goodbye 213 00:18:14,000 --> 00:18:22,000 goodbye 214 00:18:22,000 --> 00:18:29,000 father you left me 215 00:18:29,000 --> 00:18:37,000 but I never left you 216 00:18:37,000 --> 00:18:43,000 I needed you 217 00:18:43,000 --> 00:18:50,000 you didn't need me 218 00:18:50,000 --> 00:18:57,000 so I 219 00:18:57,000 --> 00:19:05,000 I just gotta tell you 220 00:19:05,000 --> 00:19:12,000 goodbye 221 00:19:12,000 --> 00:19:20,000 goodbye 222 00:19:20,000 --> 00:19:26,000 you ain't gonna do 223 00:19:26,000 --> 00:19:34,000 what I have done 224 00:19:34,000 --> 00:19:41,000 I couldn't warn 225 00:19:41,000 --> 00:19:48,000 and I tried to run 226 00:19:48,000 --> 00:19:55,000 so I 227 00:19:55,000 --> 00:20:02,000 I just gotta tell you 228 00:20:02,000 --> 00:20:09,000 goodbye 229 00:20:09,000 --> 00:20:15,000 goodbye 230 00:20:15,000 --> 00:20:21,000 mama don't go 231 00:20:21,000 --> 00:20:28,000 daddy come home 232 00:20:28,000 --> 00:20:34,000 mama don't go 233 00:20:34,000 --> 00:20:41,000 daddy come home 234 00:20:41,000 --> 00:20:47,000 mama don't go 235 00:20:47,000 --> 00:20:54,000 daddy come home 236 00:20:54,000 --> 00:21:00,000 mama don't go 237 00:21:00,000 --> 00:21:07,000 daddy come home 238 00:21:07,000 --> 00:21:13,000 mama don't go 239 00:21:13,000 --> 00:21:20,000 daddy come home 240 00:21:20,000 --> 00:21:26,000 mama don't go 241 00:21:26,000 --> 00:21:33,000 daddy come home 242 00:21:33,000 --> 00:21:39,000 mama don't go 243 00:21:39,000 --> 00:21:46,000 daddy come home 244 00:21:46,000 --> 00:21:52,000 mama don't go 245 00:21:52,000 --> 00:21:59,000 daddy come home 246 00:21:59,000 --> 00:22:05,000 mama don't go 247 00:22:05,000 --> 00:22:12,000 daddy come home 248 00:22:12,000 --> 00:22:18,000 mama don't go 249 00:22:18,000 --> 00:22:24,000 daddy come home 250 00:22:48,000 --> 00:22:52,000 and Don Curzio was Renato Ercolani. 251 00:22:52,000 --> 00:22:57,000 Cellini was conducting the Philharmonia Orchestra and Chorus. 252 00:22:57,000 --> 00:23:02,000 Then we heard another one from Folk Songs from the Bluegrass, 253 00:23:02,000 --> 00:23:06,000 Earl Taylor and his Stony Mountain Boys, White Dove. 254 00:23:06,000 --> 00:23:10,000 A funky record, don't blame it on your radio station, it's my fault. 255 00:23:10,000 --> 00:23:14,000 I was introduced to this album about 32 years ago. 256 00:23:14,000 --> 00:23:19,000 If they would reissue it, I would gladly pick it up, but it's my favorite Bluegrass album. 257 00:23:19,000 --> 00:23:22,000 I think it's got tremendous energy. 258 00:23:22,000 --> 00:23:29,000 Those of you who are regular listeners to the show will probably end up hearing every cut on it eventually. 259 00:23:29,000 --> 00:23:35,000 And then finally, John Lennon from the album Plastic Ono Band. 260 00:23:35,000 --> 00:23:39,000 Very direct song, if I remember correctly, 261 00:23:39,000 --> 00:23:44,000 I think he wrote this song while he was in primal scream therapy. 262 00:23:44,000 --> 00:23:51,000 And John Lennon was always somebody whose personal experiences went very directly into his songs. 263 00:23:51,000 --> 00:23:55,000 Paul McCartney, his personal experiences also went into his songs, 264 00:23:55,000 --> 00:23:57,000 but there was always more of a restraint there. 265 00:23:57,000 --> 00:24:01,000 They were filtered through more of a third person type story. 266 00:24:01,000 --> 00:24:03,000 Paul is more of a patrician. 267 00:24:03,000 --> 00:24:06,000 John Lennon wore his agony on his sleeve. 268 00:24:06,000 --> 00:24:11,000 Real chamber music there, John Lennon on the piano and singing, 269 00:24:11,000 --> 00:24:16,000 Klaus Fuhrman on bass, and Ringo on the drums. 270 00:24:16,000 --> 00:24:19,000 And my name is Peter Shickley. 271 00:24:19,000 --> 00:24:26,000 The show you're listening to is Shickley Mix from PRI, Public Radio International. 272 00:24:26,000 --> 00:24:31,000 M-O-T-H-E-R, the wellspring, the fount. 273 00:24:31,000 --> 00:24:34,000 You don't find an awful lot of negative songs about mothers, 274 00:24:34,000 --> 00:24:37,000 or apple pie either, for that matter. 275 00:24:37,000 --> 00:24:39,000 The bonds are strong, that's certainly true, 276 00:24:39,000 --> 00:24:42,000 but I think it also has to do with the pedestal. 277 00:24:42,000 --> 00:24:45,000 Women are supposed to be naturally perfect mothers, 278 00:24:45,000 --> 00:24:49,000 but that and cooking and sewing are about the only things you're supposed to be good at. 279 00:24:49,000 --> 00:24:53,000 When Felix Mendelssohn had an audience with Queen Victoria, 280 00:24:53,000 --> 00:24:56,000 the Queen said she'd like to sing one of his songs and suggested one. 281 00:24:56,000 --> 00:24:58,000 She sang from memory. 282 00:24:58,000 --> 00:25:02,000 Mendelssohn accompanied her and afterwards complimented her very sincerely, 283 00:25:02,000 --> 00:25:05,000 but had to inform her that the song was not his. 284 00:25:05,000 --> 00:25:07,000 It had been written by his sister, Fanny, 285 00:25:07,000 --> 00:25:12,000 but their father did not approve of music as anything more than a pastime for women 286 00:25:12,000 --> 00:25:14,000 and forbade her to publish her songs. 287 00:25:14,000 --> 00:25:19,000 So Felix published some under his own name just to get them in print. 288 00:25:19,000 --> 00:25:21,000 It's two sides of the same coin. 289 00:25:21,000 --> 00:25:25,000 Women are supposed to be incapable of doing anything outside the home, 290 00:25:25,000 --> 00:25:30,000 but, or because, their souls are purer than men's. 291 00:25:30,000 --> 00:25:34,000 The maternal song cycle has four numbers, the second of which is in German. 292 00:25:34,000 --> 00:25:37,000 It's from an opera, and we hear a mother and her two children, 293 00:25:37,000 --> 00:25:41,000 the mother bemoaning the fact that her innocent husband is soon to be executed. 294 00:25:41,000 --> 00:25:44,000 Her children try to assuage her grief. 295 00:25:44,000 --> 00:25:47,000 I'll be back in about 13 minutes. 296 00:25:47,000 --> 00:26:05,000 I'm not in your town to stay Said a lady old and brave To the warden of the penitentiary 297 00:26:05,000 --> 00:26:13,000 I'm not in your town to stay And I'll soon be on my way 298 00:26:13,000 --> 00:26:27,000 I'm just here to get my baby out of jail Oh, warden, I'm just here to get my baby out of jail 299 00:26:27,000 --> 00:26:36,000 I tried to raise my baby right I have prayed both day and night 300 00:26:36,000 --> 00:26:43,000 That he wouldn't follow the footsteps of his dad 301 00:26:43,000 --> 00:26:50,000 I have searched both far and wide And I feared that he had died 302 00:26:50,000 --> 00:27:05,000 But at last I found my baby here in jail Oh, warden, at last I found my baby here in jail 303 00:27:05,000 --> 00:27:13,000 It was just five years today When his daddy passed away 304 00:27:13,000 --> 00:27:20,000 He was found beneath the snow so cold and white 305 00:27:20,000 --> 00:27:28,000 T'was then I vowed to take his ring And his gold watch and his chain 306 00:27:28,000 --> 00:27:34,000 Then the county laid his daddy in the grave 307 00:27:34,000 --> 00:27:43,000 Yes, warden, the county laid his daddy in the grave 308 00:27:43,000 --> 00:27:50,000 I will pawn you his watch I will pawn you his chain 309 00:27:50,000 --> 00:27:58,000 I will pawn you my diamond wedding ring 310 00:27:58,000 --> 00:28:06,000 I will wash all your clothes I will scrub all your floors 311 00:28:06,000 --> 00:28:20,000 If that will get my baby out of jail Yes, warden, if that will get my baby out of jail 312 00:28:20,000 --> 00:28:28,000 Then I heard the warden say To the lady old and gray 313 00:28:28,000 --> 00:28:35,000 I'll go bring your darling baby to your side 314 00:28:35,000 --> 00:28:43,000 Two iron gates swang wide apart She held her darling to her heart 315 00:28:43,000 --> 00:28:57,000 She kissed her baby boy and then she died Both smiling, she kissed her baby boy and then she died 316 00:28:57,000 --> 00:29:05,000 I'm not in your town to stay Said the lady old and gray 317 00:29:05,000 --> 00:29:19,000 I'm just here to get my baby out of jail Yes, warden, I'm just here to get my baby out of jail 318 00:29:35,000 --> 00:29:48,000 Mutter, Mutter, ach verstehe die Mutter, Mutter 319 00:29:48,000 --> 00:30:07,000 Verstehe, Schmerzen von der leidenden Natur Verhält mir mit dem Zeichen Mutterfarbe durch 320 00:30:07,000 --> 00:30:18,000 Es ist traurig, dass der Herr und das Herr selbst in das Haus entstehen zu sollten 321 00:30:18,000 --> 00:30:25,000 Nun bricht mir für das Herz Mutterfarbe durch 322 00:30:25,000 --> 00:30:40,000 Spiegelt ihn ja als liebe Mutter Wir wahren Kinder, wir wahren Kinder 323 00:30:40,000 --> 00:30:56,000 Sie will nicht zu dir aus Weisen auf die zarten Kinder Doch dort unten schlägt kein Herz 324 00:30:56,000 --> 00:31:12,000 Und sehr wenig aus der Nasse Seh'n die braunen, süßen Hasen Und mein Geist bricht wieder her Zu meiner Opfer zweifelst 325 00:31:12,000 --> 00:31:28,000 Sei nicht traurig, liebe Mutter Ach, er braucht ein leuchtendes Blut Sei nicht traurig, liebe Mutter Und dem Vater lebt er nie 326 00:31:28,000 --> 00:31:53,000 Ach, er wird nicht wiederkehren Mir aus Blut ihn nicht erlösen 327 00:31:58,000 --> 00:32:14,000 Also sind wir ganz gelassen Statt eines Freiras muss ich sterben 328 00:32:14,000 --> 00:32:39,000 Herzlich muss ich nun das Hassen Da wir alle nun verderben 329 00:32:44,000 --> 00:33:06,000 I'm alone, all alone My friends have all fled 330 00:33:06,000 --> 00:33:20,000 My father, he's a drunkard My mother, she is dead I'm a poor little old child And I wander and weep 331 00:33:20,000 --> 00:33:28,000 For the voice of my mother To sing me to sleep 332 00:33:28,000 --> 00:33:42,000 I'm alone, all alone In this cold world so wild God looked down in pity A drunkard's lone child 333 00:33:42,000 --> 00:33:56,000 He in pity looked down And paid his son to me And take me to dwell With mother and thee 334 00:33:56,000 --> 00:34:10,000 She sleeps on a hill In a bed of cold clay How sad it did seem To lay mother away 335 00:34:10,000 --> 00:34:25,000 She is gone with the angels And none do I see So dear is the face Of my mother to me 336 00:34:25,000 --> 00:34:38,000 I'm alone, all alone In this cold world so wild God looked down in pity A drunkard's lone child 337 00:34:38,000 --> 00:34:51,000 He in pity looked down And paid his son to me And take me to dwell With mother and thee 338 00:34:51,000 --> 00:35:05,000 It is springtime on earth And the birds are so glad I listen and I wonder My heart is so sad 339 00:35:05,000 --> 00:35:17,000 Sweet flowers around And strangers pass by But the farm of my mother No longer is nigh 340 00:35:17,000 --> 00:35:31,000 I'm alone, all alone In this cold world so wild God looked down in pity A drunkard's lone child 341 00:35:31,000 --> 00:35:47,000 He in pity looked down And paid his son to me And take me to dwell With mother and thee 342 00:36:02,000 --> 00:36:17,000 Last night in my dream She seemed to draw near She kissed me as sweetly As when she was here 343 00:36:17,000 --> 00:36:32,000 She smiled on me too And fondled my brow And she whispered, sleep on I'm a-watching you now 344 00:36:32,000 --> 00:36:45,000 I'm alone, all alone In this cold world so wild God looked down in pity A drunkard's lone child 345 00:36:45,000 --> 00:36:55,000 He in pity looked down And paid his son to me And take me to dwell With mother and thee 346 00:36:55,000 --> 00:37:05,000 Blue Lies the Mist 347 00:37:05,000 --> 00:37:26,000 Blue lies the mist They hide each hill and dale 348 00:37:26,000 --> 00:37:42,000 The blue skies weep with us Who bid farewell 349 00:37:42,000 --> 00:37:53,000 The blue skies weep with us Who bid farewell 350 00:37:53,000 --> 00:38:14,000 But have your days from memory Leave us fair 351 00:38:14,000 --> 00:38:43,000 And bring you home To hearts who bid farewell 352 00:38:45,000 --> 00:38:49,000 The Maternal Song Cycle 353 00:38:49,000 --> 00:38:52,000 The first number in it, of course, was the Everly Brothers. 354 00:38:52,000 --> 00:38:56,000 From another favorite album of mine, Songs Our Daddy Taught Us. 355 00:38:56,000 --> 00:39:01,000 This is an album obviously made before they had their big pop hits. 356 00:39:01,000 --> 00:39:08,000 And this is the songs that they used to sing on the radio on their father's radio show, Ike Everly. 357 00:39:08,000 --> 00:39:14,000 Beautiful songs, some of them old, obviously from old English folk songs like Barbara Allen, 358 00:39:14,000 --> 00:39:18,000 and others much more modern vintage. 359 00:39:18,000 --> 00:39:22,000 I think I mentioned maybe in another program that it always gives you a little pleasure 360 00:39:22,000 --> 00:39:26,000 when something that isn't well known, you find out that somebody else is a particular fan. 361 00:39:26,000 --> 00:39:32,000 I read in an interview once that Paul Simon loves this album too, Songs Our Daddy Taught Us. 362 00:39:32,000 --> 00:39:37,000 The tune was I'm Here to Get My Baby Out of Jail. 363 00:39:37,000 --> 00:39:43,000 Those two words, but smiling, they've got to be two of the best words in any lyric. 364 00:39:43,000 --> 00:39:47,000 She kissed her baby boy and then she died, but smiling. 365 00:39:47,000 --> 00:39:50,000 Imagine having the nerve to write that lyric. 366 00:39:50,000 --> 00:39:53,000 I envy it, I really do, I'm not kidding. 367 00:39:53,000 --> 00:39:55,000 I think it has something to do with being Southern. 368 00:39:55,000 --> 00:39:58,000 Southerners seem to have a limitless tolerance for sentimentality, 369 00:39:58,000 --> 00:40:01,000 and I must say I get more and more like that. 370 00:40:01,000 --> 00:40:05,000 The second one is Schubert from Schubert Opera. 371 00:40:05,000 --> 00:40:08,000 Well, Schubert always wanted to have a big hit in opera. 372 00:40:08,000 --> 00:40:13,000 Opera in Schubert's day was a little bit like musicals of the last generation. 373 00:40:13,000 --> 00:40:16,000 It was the way to make it big. 374 00:40:16,000 --> 00:40:19,000 And he kept trying to write operas, and he never had a hit. 375 00:40:19,000 --> 00:40:21,000 Most of them were unfinished. 376 00:40:21,000 --> 00:40:27,000 This is from an opera called Die Bergschaft, which had a text by Schiller, 377 00:40:27,000 --> 00:40:30,000 or was based, rather, on a Schiller ballad. 378 00:40:30,000 --> 00:40:36,000 And we heard Ellie Ameling singing the part of the mother and two boy sopranos 379 00:40:36,000 --> 00:40:40,000 from the Helmond Concert Choir, being her two children. 380 00:40:40,000 --> 00:40:47,000 This is from a nice album, Schubert on Stage, various excerpts from Schubert's operas. 381 00:40:47,000 --> 00:40:53,000 Then we heard a very unique singer, Doc Boggs, an old Appalachian singer, 382 00:40:53,000 --> 00:40:58,000 old Folkways album, another favorite album. 383 00:40:58,000 --> 00:41:03,000 There's something about Doc Boggs singing that it's about as grisly as you can get, 384 00:41:03,000 --> 00:41:06,000 and yet there's also sort of a joy in the grisliness. 385 00:41:06,000 --> 00:41:11,000 And one of the things that makes his sound so unique 386 00:41:11,000 --> 00:41:14,000 is that he often does what he does in this tune. 387 00:41:14,000 --> 00:41:17,000 The tune is called, by the way, Drunkard's Lone Son. 388 00:41:17,000 --> 00:41:20,000 What he does is that the banjo tuning is in the major. 389 00:41:20,000 --> 00:41:24,000 You've got a major third up there, major chord kind of banjo tuning, 390 00:41:24,000 --> 00:41:28,000 and yet the tune itself is in the minor, uses a minor third, 391 00:41:28,000 --> 00:41:30,000 so you get a nice frequency there. 392 00:41:30,000 --> 00:41:35,000 And then finally, a song by Charles Ives called Mists, 393 00:41:35,000 --> 00:41:40,000 sung by Helen Boatwright, accompanied at the piano by John Kirkpatrick. 394 00:41:40,000 --> 00:41:45,000 Mists is a song set to a text by Ives' wife, Harmony. 395 00:41:45,000 --> 00:41:47,000 I think that was her name, or was it Counterpoint? 396 00:41:47,000 --> 00:41:49,000 Just kidding, folks, no, her name was Harmony. 397 00:41:49,000 --> 00:41:53,000 She wrote this as an elegy for her mother. 398 00:41:53,000 --> 00:41:56,000 And my name is Peter Shickley, still, 399 00:41:56,000 --> 00:42:02,000 and this is Still Shickley Mix from PRI, Public Radio International. 400 00:42:02,000 --> 00:42:05,000 Speaking of Mendelssohn, as we were a while ago, 401 00:42:05,000 --> 00:42:08,000 his grandfather was a very famous philosopher, 402 00:42:08,000 --> 00:42:11,000 and the composer's father, the one in the middle, 403 00:42:11,000 --> 00:42:15,000 used to complain that he grew up being called Mendelssohn's son, 404 00:42:15,000 --> 00:42:18,000 and now he's called Mendelssohn's father. 405 00:42:18,000 --> 00:42:21,000 On a lesser scale, my own father was in that position. 406 00:42:21,000 --> 00:42:26,000 His father, René Shickley, was an Alsatian novelist, poet, and playwright 407 00:42:26,000 --> 00:42:29,000 who was active and quite well known in European literary circles 408 00:42:29,000 --> 00:42:32,000 from about 1910 to 1940. 409 00:42:32,000 --> 00:42:34,000 He was a friend of Thomas Mann, 410 00:42:34,000 --> 00:42:37,000 he was translated into several other languages, 411 00:42:37,000 --> 00:42:42,000 and he had the sad distinction of having a play closed by the Kaiser in 1914 412 00:42:42,000 --> 00:42:46,000 because of its pacifistic leanings and sympathy for France, 413 00:42:46,000 --> 00:42:48,000 and then, although he wasn't Jewish, 414 00:42:48,000 --> 00:42:52,000 having his books burned by Hitler for the same reasons two decades later. 415 00:42:52,000 --> 00:42:56,000 Now, as a young man, my father hated being a vicarious celebrity 416 00:42:56,000 --> 00:43:00,000 and would often, when asked if he were related to René Shickley, 417 00:43:00,000 --> 00:43:03,000 reply, yes, distantly. 418 00:43:03,000 --> 00:43:07,000 Now, he used to say that he didn't feel the same about my celebrity, such as it is, 419 00:43:07,000 --> 00:43:10,000 but I was never completely convinced about that, 420 00:43:10,000 --> 00:43:12,000 and I also think that it made him uncomfortable 421 00:43:12,000 --> 00:43:15,000 that what prominence I have is based primarily on comedy. 422 00:43:15,000 --> 00:43:20,000 He was a friendly, and jolly even, but basically serious man. 423 00:43:20,000 --> 00:43:24,000 Whatever the case, I did take great pleasure years ago in reporting to him 424 00:43:24,000 --> 00:43:27,000 that when I wrote to the University of Nebraska Press 425 00:43:27,000 --> 00:43:31,000 asking for permission to use some poetry they published for one of my compositions, 426 00:43:31,000 --> 00:43:34,000 I got a letter back with a P.S. on it that said, 427 00:43:34,000 --> 00:43:37,000 Are you by any chance related to Rainer Shickley, 428 00:43:37,000 --> 00:43:40,000 whose book Agricultural Policy we publish? 429 00:43:40,000 --> 00:43:43,000 Well, things aren't always fair, you know. 430 00:43:43,000 --> 00:43:46,000 My father loved music, but I feel about agricultural economics 431 00:43:46,000 --> 00:43:49,000 about the same way I feel about electric eels. 432 00:43:49,000 --> 00:43:53,000 I don't have anything against them, but I don't want to get involved with them either. 433 00:43:53,000 --> 00:43:58,000 The paternal song cycle is ten minutes long and has three numbers in it. 434 00:43:58,000 --> 00:44:01,000 Pay particular attention to the words, which are a little hard to understand, 435 00:44:01,000 --> 00:44:04,000 in the third song. They're really nice. 436 00:44:04,000 --> 00:44:07,000 We'll start off with the Everlys again. 437 00:44:07,000 --> 00:44:21,000 In a vine-covered shack in the mountains 438 00:44:21,000 --> 00:44:28,000 Bravely fighting the battle of time 439 00:44:28,000 --> 00:44:36,000 Is a dear one who's weathered my sorrows 440 00:44:36,000 --> 00:44:44,000 Is that silver-haired daddy of mine 441 00:44:44,000 --> 00:44:51,000 If I could recall all the hard days 442 00:44:51,000 --> 00:44:59,000 Dear old daddy, I've caused you to bear 443 00:44:59,000 --> 00:45:06,000 If I could erase those lines from your face 444 00:45:06,000 --> 00:45:13,000 And bring back the gold to your hair 445 00:45:13,000 --> 00:45:20,000 If God would but grant me the power 446 00:45:20,000 --> 00:45:28,000 Just to turn back the pages of time 447 00:45:28,000 --> 00:45:35,000 I'd give all I owned if I could but atone 448 00:45:35,000 --> 00:45:43,000 To that silver-haired daddy of mine 449 00:45:43,000 --> 00:45:50,000 I know it's too late, dear old daddy 450 00:45:50,000 --> 00:45:57,000 To repay for those sorrows and cares 451 00:45:57,000 --> 00:46:04,000 Though dear mother is waiting in heaven 452 00:46:04,000 --> 00:46:12,000 Just to comfort and solace you there 453 00:46:12,000 --> 00:46:19,000 If I could recall all the hard days 454 00:46:19,000 --> 00:46:27,000 Dear old daddy, I've caused you to bear 455 00:46:27,000 --> 00:46:34,000 If I could erase those lines from your face 456 00:46:34,000 --> 00:46:42,000 And bring back the gold to your hair 457 00:46:42,000 --> 00:46:49,000 If God would but grant me the power 458 00:46:49,000 --> 00:46:57,000 Just to turn back the pages of time 459 00:46:57,000 --> 00:47:04,000 I'd give all I owned if I could but atone 460 00:47:04,000 --> 00:47:12,000 To that silver-haired daddy of mine 461 00:47:35,000 --> 00:47:40,000 Father, dear father, come home with me now 462 00:47:40,000 --> 00:47:44,000 The clock in the steeple strikes one 463 00:47:44,000 --> 00:47:48,000 You said you were coming right home from the shop 464 00:47:48,000 --> 00:47:53,000 As soon as your day's work was done 465 00:47:53,000 --> 00:47:58,000 Our fire has gone out, our house is all dark 466 00:47:58,000 --> 00:48:03,000 And mother's been watching since tea 467 00:48:03,000 --> 00:48:08,000 With poor brother Benny so sick in her arms 468 00:48:08,000 --> 00:48:13,000 And no one to help her but me 469 00:48:13,000 --> 00:48:19,000 Come home, come home, come home 470 00:48:19,000 --> 00:48:28,000 Please, father, dear father, come home 471 00:48:28,000 --> 00:48:33,000 Father, dear father, come home with me now 472 00:48:33,000 --> 00:48:37,000 The clock in the steeple strikes two 473 00:48:37,000 --> 00:48:42,000 The night has grown colder and Benny is worse 474 00:48:42,000 --> 00:48:47,000 But he has been calling for you 475 00:48:47,000 --> 00:48:52,000 Indeed he is worse, ma says he will die 476 00:48:52,000 --> 00:48:58,000 Perhaps before morning shall dawn 477 00:48:58,000 --> 00:49:03,000 And this is the message she sent me to bring 478 00:49:03,000 --> 00:49:08,000 Come quickly or he will be gone 479 00:49:08,000 --> 00:49:14,000 Come home, come home, come home 480 00:49:14,000 --> 00:49:23,000 Please, father, dear father, come home 481 00:49:23,000 --> 00:49:28,000 Father, dear father, come home with me now 482 00:49:28,000 --> 00:49:32,000 The clock in the steeple strikes three 483 00:49:32,000 --> 00:49:37,000 The house is so lonely, the hours are so long 484 00:49:37,000 --> 00:49:42,000 For poor weeping mother and me 485 00:49:42,000 --> 00:49:48,000 Yes, we are alone, poor Benny is dead 486 00:49:48,000 --> 00:49:57,000 And gone with the angels of light 487 00:49:57,000 --> 00:50:03,000 And these are the very last words that he said 488 00:50:03,000 --> 00:50:09,000 I want to kiss papa goodnight 489 00:50:09,000 --> 00:50:16,000 Come home, come home, come home 490 00:50:16,000 --> 00:50:27,000 Please, father, dear father, come home 491 00:50:27,000 --> 00:50:32,000 Hear the sweet voice of the child 492 00:50:32,000 --> 00:50:39,000 Push the night winds with heat as they roll 493 00:50:39,000 --> 00:50:45,000 Oh, who could resist this most plaintive of prayers 494 00:50:45,000 --> 00:51:04,000 Please, father, dear father, come home 495 00:51:15,000 --> 00:51:22,000 Oh, daddy, when you gonna write that big, big play 496 00:51:22,000 --> 00:51:28,000 Oh, daddy, when you gonna get it real big, real big 497 00:51:28,000 --> 00:51:32,000 Well, now that's a tall request 498 00:51:32,000 --> 00:51:36,000 For such a small little girl 499 00:51:36,000 --> 00:51:40,000 But I'll try, I'll try till I get it just right 500 00:51:40,000 --> 00:51:51,000 Cause I'm gonna make it, maybe even twice, yeah 501 00:51:51,000 --> 00:51:58,000 Oh, daddy, when you gonna make it to the big time, yeah 502 00:51:58,000 --> 00:52:04,000 Oh, daddy, when you gonna blow up the big play 503 00:52:04,000 --> 00:52:08,000 Well, it's like a backstage pass 504 00:52:08,000 --> 00:52:12,000 Into paradise 505 00:52:12,000 --> 00:52:16,000 There's a long, lonely waiting list 506 00:52:16,000 --> 00:52:21,000 But I'm gonna give it everything I got to give, yeah 507 00:52:21,000 --> 00:52:24,000 Oh, daddy, when you gonna be a big star 508 00:52:24,000 --> 00:52:28,000 I got a suit and a pink guitar 509 00:52:28,000 --> 00:52:31,000 Oh, daddy, when you gonna break it wide open 510 00:52:31,000 --> 00:52:35,000 I don't know, but I still keep hoping 511 00:52:35,000 --> 00:52:38,000 Oh, daddy, are you gonna make a million bucks 512 00:52:38,000 --> 00:52:57,000 All it takes is a whole lot of luck, yeah 513 00:52:57,000 --> 00:53:02,000 Oh, daddy, when you gonna have that, that, have that 514 00:53:02,000 --> 00:53:05,000 Like you always say 515 00:53:05,000 --> 00:53:10,000 Oh, daddy, when you gonna put on some stretch pants, yeah 516 00:53:10,000 --> 00:53:14,000 Well, don't hold your breath 517 00:53:14,000 --> 00:53:18,000 Cause it'll make you blue 518 00:53:18,000 --> 00:53:22,000 But the whole lot was not over yet 519 00:53:22,000 --> 00:53:26,000 And I aim to make the fat lady sweat, yeah 520 00:53:26,000 --> 00:53:29,000 Oh, daddy, when you gonna make it to the top 521 00:53:29,000 --> 00:53:33,000 All I know is I'm not gonna stop 522 00:53:33,000 --> 00:53:37,000 Oh, daddy, what are you gonna buy your little girl 523 00:53:37,000 --> 00:53:41,000 Hey, I'm gonna get you Disney World 524 00:53:41,000 --> 00:53:44,000 Oh, daddy, you can hit the jackpot, yeah 525 00:53:44,000 --> 00:53:49,000 Like I told you, now don't hold your breath, yeah 526 00:53:49,000 --> 00:53:59,000 Oh, daddy, daddy 527 00:53:59,000 --> 00:54:02,000 Oh, daddy 528 00:54:02,000 --> 00:54:06,000 Hey, I'm gonna buy you Disney World 529 00:54:09,000 --> 00:54:12,000 The Paternal Song Cycle 530 00:54:12,000 --> 00:54:15,000 The first number was the Everly Brothers from that same album, 531 00:54:15,000 --> 00:54:17,000 Songs Our Daddy Taught Us. 532 00:54:17,000 --> 00:54:21,000 This tune, That Silver-Haired Daddy of Mine, a Gene Autry tune. 533 00:54:21,000 --> 00:54:23,000 And, you know, a lot of people, when they think about angels, 534 00:54:23,000 --> 00:54:24,000 how would angels sound? 535 00:54:24,000 --> 00:54:27,000 They think of these little cherubs, boy sopranos. 536 00:54:27,000 --> 00:54:31,000 Seems to me that angels sound like this, like the Everly Brothers. 537 00:54:31,000 --> 00:54:33,000 Something about the way their two voices together, 538 00:54:33,000 --> 00:54:35,000 the lack of vibrato, it's just, 539 00:54:35,000 --> 00:54:39,000 it's just the music of paradise, as far as I'm concerned. 540 00:54:39,000 --> 00:54:42,000 Then the second number was from a nice album called 541 00:54:42,000 --> 00:54:45,000 Sentimental Songs of the Mid-Nineteenth Century. 542 00:54:45,000 --> 00:54:49,000 Come Home Father by Henry Clay Work, 543 00:54:49,000 --> 00:54:54,000 who was a rabid anti-alcohol person, 544 00:54:54,000 --> 00:54:56,000 as well as anti-slavery. 545 00:54:56,000 --> 00:55:02,000 And that, too, I think is a brilliantly shameless song. 546 00:55:02,000 --> 00:55:07,000 It was sung by Sue Harmon, if it was a soprano, 547 00:55:07,000 --> 00:55:09,000 and Nancy Bliss, if it was a mezzo-soprano. 548 00:55:09,000 --> 00:55:12,000 It's hard to tell from the line of notes in this album. 549 00:55:12,000 --> 00:55:15,000 My vote goes for Sue Harmon, soprano. 550 00:55:15,000 --> 00:55:19,000 Lee Unger was playing the piano, and Erica Sharp, the violin. 551 00:55:19,000 --> 00:55:21,000 That's a Tacoma record. 552 00:55:21,000 --> 00:55:25,000 And then finally, a really nice tune by Adrian Ballew, 553 00:55:25,000 --> 00:55:29,000 called Oh Daddy, and that was his daughter, 554 00:55:29,000 --> 00:55:34,000 what is her name, Audie Ballew, singing with him on that. 555 00:55:34,000 --> 00:55:37,000 And When You Gonna Make It to the Top. 556 00:55:37,000 --> 00:55:40,000 That's a wonderful song, and it's a wonderful idea. 557 00:55:40,000 --> 00:55:42,000 By the way, do you have kids? 558 00:55:42,000 --> 00:55:44,000 Yeah, I'm talking to you. 559 00:55:44,000 --> 00:55:46,000 Do you have kids, or do you have parents? 560 00:55:46,000 --> 00:55:48,000 Sing with them. 561 00:55:48,000 --> 00:55:53,000 Let me tell you, the family that sings together, sings together. 562 00:56:07,000 --> 00:56:09,000 And that's Chickaly Mix for this week. 563 00:56:09,000 --> 00:56:14,000 Our program is made possible with funds provided by this radio station. 564 00:56:14,000 --> 00:56:17,000 We'll tell you in a moment how you can get an official playlist 565 00:56:17,000 --> 00:56:21,000 of all the music on today's program, with record numbers and everything. 566 00:56:21,000 --> 00:56:25,000 Just refer to the program number, which is 24. 567 00:56:25,000 --> 00:56:27,000 This is Peter Chickaly saying goodbye, 568 00:56:27,000 --> 00:56:29,000 and reminding you that it don't mean a thing 569 00:56:29,000 --> 00:56:32,000 if it ain't got that certain je ne sais quoi. 570 00:56:32,000 --> 00:56:39,000 Be good. See you next week. 571 00:57:02,000 --> 00:57:05,000 ¶. 572 00:57:32,000 --> 00:57:35,000 ¶. 573 00:58:02,000 --> 00:58:05,000 ¶. 574 00:58:05,000 --> 00:58:12,000 ¶. 575 00:58:12,000 --> 00:58:22,000 ¶. 576 00:58:22,000 --> 00:58:25,000 If you'd like a copy of that playlist I mentioned, 577 00:58:25,000 --> 00:58:28,000 send a stamped, self-addressed envelope to Chickaly Mix. 578 00:58:28,000 --> 00:58:32,240 C-H-I-C-K-E-L-E, Shickily Mix. 579 00:58:32,240 --> 00:58:34,360 Care of Public Radio International. 580 00:58:34,360 --> 00:58:43,080 100 North 6th Street, Suite 900A, Minneapolis, Minnesota, 55403. 581 00:58:43,080 --> 00:58:59,280 P-R-I, Public Radio International.