1 00:00:00,000 --> 00:00:04,460 And you're listening to classical radio ksui in Iowa City 2 00:00:05,100 --> 00:00:08,540 It's six o'clock and Peter. Are you ready? 3 00:00:09,220 --> 00:00:12,620 Ready is as ready does just a second. Here's the theme 4 00:00:12,620 --> 00:00:19,620 Hello there, I'm Peter Shickely and this is Shickely Mix, a program dedicated to the proposition that all musics are created equal. 5 00:00:19,620 --> 00:00:23,620 Or as Duke Ellington put it, if it sounds good, it is good. 6 00:00:23,620 --> 00:00:28,620 Now I don't know much about program funding, but I know a lot about it. 7 00:00:28,620 --> 00:00:31,620 I've been working on it for a long time. 8 00:00:31,620 --> 00:00:34,620 I've been working on it for a long time. 9 00:00:34,620 --> 00:00:37,620 I've been working on it for a long time. 10 00:00:37,620 --> 00:00:43,620 If it sounds good, it is good. Now I don't know much about program funding, but I know what I like. 11 00:00:43,620 --> 00:00:49,620 And I very much like the fact that our bills are paid by this very radio station right here in this very town. 12 00:00:49,620 --> 00:00:57,620 There are two composers that almost all musicians absolutely idolize. Bach and Mozart. 13 00:00:57,620 --> 00:01:05,620 It's interesting, everybody knows what a heavyweight Beethoven was, but he's like an amazing human. 14 00:01:05,620 --> 00:01:10,620 Whereas Bach and Mozart feel like they're just a bit above the human plane. 15 00:01:10,620 --> 00:01:16,620 Anyway, in spite of the tremendous variety of composers who have expressed their great awe of Mozart, 16 00:01:16,620 --> 00:01:23,620 Chopin, Wagner, Elliot Carter, many more, there is something that is unique about Bach. 17 00:01:23,620 --> 00:01:28,620 And that is that almost no matter what you do to him, he shines through. 18 00:01:28,620 --> 00:01:32,620 You can swing him, you can rock him, you can romanticize him, 19 00:01:32,620 --> 00:01:37,620 you can play him on just about any bunch of instruments you can think of, and it always seems to work. 20 00:01:37,620 --> 00:01:44,620 I don't know of any other composer whose work has been used in one way or another by so many other composers and arrangers. 21 00:01:44,620 --> 00:01:49,620 We've got a great variety of pieces based on the old man's music coming up here, 22 00:01:49,620 --> 00:01:54,620 which is why today's program is called the Bach of Gibraltar. 23 00:01:54,620 --> 00:01:58,620 A little play on words there. 24 00:01:58,620 --> 00:02:03,620 But Bach has been the bottom line of Western musical culture in more ways than one. 25 00:02:03,620 --> 00:02:08,620 He is the earliest composer who can be called a staple of our concert halls. 26 00:02:08,620 --> 00:02:14,620 His tonal language has for many, many years been the starting point in the teaching of harmonic analysis. 27 00:02:14,620 --> 00:02:18,620 And he had more children than any other famous composer. 28 00:02:18,620 --> 00:02:24,620 We're going to start out by making a distinction between, or should I say among, three different terms. 29 00:02:24,620 --> 00:02:28,620 Transcription, arrangement, and based upon. 30 00:02:28,620 --> 00:02:33,620 Transcription is the simplest in the sense of involving the least change. 31 00:02:33,620 --> 00:02:39,620 You simply adapt the music as faithfully as possible to different instruments and or voices. 32 00:02:39,620 --> 00:02:44,620 You don't add anything and you don't leave anything out unless you're forced to. 33 00:02:44,620 --> 00:02:52,620 I was once hired to do an arrangement of Yezu Joy of Man's Desiring for an album that the conductor Leopold Stokowski made late in his life. 34 00:02:52,620 --> 00:02:55,620 The original is basically for chorus and strings. 35 00:02:55,620 --> 00:03:02,620 There's a harpsichord in there and some winds doubling the strings, but the constant on the Stokowski album was string orchestra and harpsichord. 36 00:03:02,620 --> 00:03:06,620 I wanted to be as faithful as possible to the original. 37 00:03:06,620 --> 00:03:11,620 I couldn't give the choral lines to string instruments because they wouldn't stand out the way a chorus does. 38 00:03:11,620 --> 00:03:14,620 They would sound too much like the other string parts. 39 00:03:14,620 --> 00:03:19,620 And I couldn't give the choral lines to brass instruments because Bach never used brass instruments that way at all. 40 00:03:19,620 --> 00:03:21,620 It wouldn't sound of the period. 41 00:03:21,620 --> 00:03:24,620 So I gave the parts to four double reeds. 42 00:03:24,620 --> 00:03:33,620 I simply wrote out the soprano part for oboe, the alto part for a second oboe, the tenor part for English horn, and the bass part for bassoon. 43 00:03:33,620 --> 00:03:35,620 That's all I did. 44 00:03:35,620 --> 00:03:40,620 Years later, somebody told me they thought that my arrangement on that album was the best arrangement they'd ever heard. 45 00:03:40,620 --> 00:03:49,620 Now, I love compliments, but I felt a little embarrassed because I didn't think that I'd really done enough to deserve such fulsome praise. 46 00:03:49,620 --> 00:03:56,620 I suppose I can take some credit for leaving well enough alone and choosing four instruments that fit Bach's complexion. 47 00:03:56,620 --> 00:04:05,620 But to let myself get a swelled head over that compliment would be like finding a particularly beautiful stone on the beach and framing it and selling it as a work of art. 48 00:04:05,620 --> 00:04:20,620 Here, why don't I just play a little bit of that cut so you can hear what I'm talking about. 49 00:04:35,620 --> 00:05:03,620 Yeah. 50 00:05:03,620 --> 00:05:32,620 Ooh, hurts to turn it down. 51 00:05:32,620 --> 00:05:42,620 Yesu, Joy of Man's Desiring by Armand Bach, played by Leopold Stokowski and his orchestra, which means New York freelancers. 52 00:05:42,620 --> 00:05:49,620 And although I was paid and credited as an arranger on that cut, I would, strictly speaking, call it a transcription. 53 00:05:49,620 --> 00:05:53,620 It's hard to imagine changing less than I did in that chart. 54 00:05:53,620 --> 00:05:56,620 Our next item, however, I would call a real arrangement. 55 00:05:56,620 --> 00:06:02,620 It's still basically Bach, but a lot more choices have been made and there's been some stuff added. 56 00:06:02,620 --> 00:06:07,620 Before we hear it, we'll hear the original piece of which it's an arrangement. 57 00:06:07,620 --> 00:06:36,620 The second fugue from the well-tempered Clavier. 58 00:06:36,620 --> 00:07:03,620 Yeah. 59 00:07:03,620 --> 00:07:31,620 Yeah. 60 00:07:31,620 --> 00:07:46,620 Yeah. 61 00:07:46,620 --> 00:08:15,620 Yeah. 62 00:08:15,620 --> 00:08:43,620 Yeah. 63 00:08:43,620 --> 00:09:01,620 Yeah. 64 00:09:01,620 --> 00:09:14,620 The second fugue from the well-tempered Clavier, played on the harpsichord by Davit Moroni, followed by the swingle singer's version from, I believe, their first album, Bach's Greatest Hits. 65 00:09:14,620 --> 00:09:18,620 You know, that was a brilliant title in 1963. 66 00:09:18,620 --> 00:09:22,620 Now it's become a complete cliche to use greatest hits with classical composers. 67 00:09:22,620 --> 00:09:31,620 I don't think there's any composer they haven't put out a greatest hits album of, although I don't think I've run across greatest hits of Gregorian chant. 68 00:09:31,620 --> 00:09:40,620 Anyway, those swingle singer's things stay remarkably and charmingly close to the original pieces, but the arranger still had a lot of decisions to make. 69 00:09:40,620 --> 00:09:46,620 How to divide up the parts, since most instruments have wider ranges than most singers. 70 00:09:46,620 --> 00:09:50,620 What syllables to sing, since the original was instrumental. 71 00:09:50,620 --> 00:09:59,620 Whether to change the key of the piece to fit the singers, and of course, in this case, to add drums and a newly composed line for the string bass. 72 00:09:59,620 --> 00:10:03,620 Okay, we've had a transcription and an arrangement. 73 00:10:03,620 --> 00:10:06,620 Now let's hear a song that is based on Bach. 74 00:10:06,620 --> 00:10:08,620 The differences here are enormous. 75 00:10:08,620 --> 00:10:12,620 To start with, the meter, the organization of the beats, is changed. 76 00:10:12,620 --> 00:10:17,620 The original Bach is in 3-4 time, whereas the song is in 4-4 time. 77 00:10:17,620 --> 00:10:24,620 Words have been added to an originally instrumental line, and the accompaniment is completely different. 78 00:10:24,620 --> 00:10:31,620 And Bach's whole melody is not followed, just the first, simplest, supposedly most memorable part. 79 00:10:31,620 --> 00:10:35,620 You know, actually, Bach may not have written the original melody. 80 00:10:35,620 --> 00:10:37,620 Then again, maybe he did. 81 00:10:37,620 --> 00:10:42,620 It's from a collection of pieces, some original and some by unidentified contemporaries, 82 00:10:42,620 --> 00:10:48,620 put together for his wife's use in practicing harpsichord, the little notebook for Anna Magdalena Bach. 83 00:10:48,620 --> 00:11:17,620 Whether or not it's by Bach, we know for sure that it's a minuet. 84 00:11:17,620 --> 00:11:19,620 Okay, let's hear it. 85 00:11:47,620 --> 00:12:10,620 How gentle is the rain that falls off me on the meadow 86 00:12:10,620 --> 00:12:17,620 Birds high up in the trees Serenade the clouds with their melody 87 00:12:17,620 --> 00:12:26,620 Oh, see, they're beyond the hills The bright colors of the rainbow 88 00:12:26,620 --> 00:12:43,620 The sun set in from above Made this day for us just to fall in love 89 00:12:43,620 --> 00:12:56,620 Love me tenderly and I'll give to you Every part of me Oh, God, never make me cry 90 00:12:56,620 --> 00:13:02,620 Long lonely nights without you See, always true to me 91 00:13:02,620 --> 00:13:23,620 Keep this day in your heart eternally 92 00:13:23,620 --> 00:13:34,620 Come, baby, shall we cry This night upon the meadow We'll walk out in the rain 93 00:13:34,620 --> 00:13:38,620 See the birds above Singing once again 94 00:13:38,620 --> 00:13:43,620 I'll hold you Holy in your arms 95 00:13:43,620 --> 00:13:50,620 Say, once again you love me And with your love too 96 00:13:50,620 --> 00:13:55,620 Everything will be just as wonderful 97 00:13:55,620 --> 00:14:03,620 You'll hold me in your arms And say, once again you love me 98 00:14:03,620 --> 00:14:10,620 And if your love is true Everything will be just as wonderful 99 00:14:10,620 --> 00:14:21,620 You'll hold me in your arms And say, once again you love me And if your love is true 100 00:14:21,620 --> 00:14:23,620 Everything will be just as wonderful 101 00:14:23,620 --> 00:14:26,620 Hey, Johann Sebastian, how do you like them apples? 102 00:14:26,620 --> 00:14:31,620 Gustav Landhart played the minuet from The Little Notebook for Anna Magdalena Bach 103 00:14:31,620 --> 00:14:35,620 and The Toys sang A Lover's Concerto. 104 00:14:35,620 --> 00:14:42,620 Now, I'm not sure that A Lover's Concerto belongs up there in the great pantheon of song. 105 00:14:42,620 --> 00:14:45,620 Now, don't get me wrong, I think it deserves to be heard, 106 00:14:45,620 --> 00:14:50,620 but I'm not sure it's really up there with the songs of Schubert, Brahms, and Debussy. 107 00:14:50,620 --> 00:14:53,620 Our next song, however, is. 108 00:14:53,620 --> 00:14:57,620 It's based on a chorale melody that Bach used many times. 109 00:14:57,620 --> 00:15:00,620 Here again, Bach didn't actually write the melody. 110 00:15:00,620 --> 00:15:04,620 It's one of the hundreds of hymns written by Luther and others after the Reformation. 111 00:15:04,620 --> 00:15:08,620 But most of us know it only through Bach's numerous settings. 112 00:15:08,620 --> 00:15:10,620 No two alike, but all beautiful. 113 00:15:10,620 --> 00:15:12,620 So we think of it as Bach. 114 00:15:12,620 --> 00:15:16,620 There are five settings of this tune in the St. Matthew Passion alone, 115 00:15:16,620 --> 00:15:22,620 of which we'll hear the second, followed by a beautiful song based on the same melody. 116 00:15:22,620 --> 00:15:34,620 Each will hear my dear shame, Fair after each of me, 117 00:15:34,620 --> 00:15:39,620 From near, near, near, near, near, 118 00:15:39,620 --> 00:15:45,620 Then give thy hands to me, 119 00:15:45,620 --> 00:15:57,620 Then thy hands be blest and honest shows, 120 00:15:57,620 --> 00:16:03,620 As then we'll make it faster, 121 00:16:03,620 --> 00:16:18,620 Be mine and our own shows. 122 00:16:18,620 --> 00:16:24,620 Many's the time I've been mistaken, 123 00:16:24,620 --> 00:16:29,620 And many times confused. 124 00:16:29,620 --> 00:16:35,620 Yes, and I've often felt forsaken, 125 00:16:35,620 --> 00:16:41,620 And certainly misused. 126 00:16:41,620 --> 00:16:47,620 Oh, but I'm all right, I'm all right, 127 00:16:47,620 --> 00:16:53,620 I'm just weary to my bones. 128 00:16:53,620 --> 00:16:59,620 Still, you don't expect to be bright and benevolent, 129 00:16:59,620 --> 00:17:04,620 So far away from home, 130 00:17:04,620 --> 00:17:13,620 So far away from home. 131 00:17:13,620 --> 00:17:18,620 I don't know a soul who's not been battered, 132 00:17:18,620 --> 00:17:24,620 I don't have a friend who feels at ease, 133 00:17:24,620 --> 00:17:29,620 I don't know a dream that's not been shattered, 134 00:17:29,620 --> 00:17:35,620 Or driven to its knees. 135 00:17:35,620 --> 00:17:41,620 Oh, but it's all right, it's all right, 136 00:17:41,620 --> 00:17:48,620 For we lived so well, so long. 137 00:17:48,620 --> 00:17:53,620 Still, when I think of the road we're traveling on, 138 00:17:53,620 --> 00:17:58,620 I wonder what's gone wrong. 139 00:17:58,620 --> 00:18:07,620 I can't help it, I wonder what's gone wrong. 140 00:18:07,620 --> 00:18:12,620 And I dreamed I was dying, 141 00:18:12,620 --> 00:18:18,620 I dreamed that my soul grows unexpectedly, 142 00:18:18,620 --> 00:18:21,620 And looking back down at me, 143 00:18:21,620 --> 00:18:24,620 I smiled emotionally, 144 00:18:24,620 --> 00:18:29,620 And I dreamed I was flying. 145 00:18:29,620 --> 00:18:35,620 And high up above, my eyes could clearly see, 146 00:18:35,620 --> 00:18:41,620 The Statue of Liberty sailing away to sea, 147 00:18:41,620 --> 00:18:46,620 And I dreamed I was flying. 148 00:18:46,620 --> 00:18:52,620 Oh, we come on a ship they call the Mayflower, 149 00:18:52,620 --> 00:18:57,620 We come on a ship that sails the moon, 150 00:18:57,620 --> 00:19:03,620 We come in the ages most uncertain hours, 151 00:19:03,620 --> 00:19:08,620 And sing that American tune. 152 00:19:08,620 --> 00:19:14,620 Oh, and it's all right, it's all right, it's all right, 153 00:19:14,620 --> 00:19:21,620 You can be forever blessed. 154 00:19:21,620 --> 00:19:27,620 Still, tomorrow's gonna be another working day, 155 00:19:27,620 --> 00:19:33,620 And I'm trying to get some rest, 156 00:19:33,620 --> 00:19:57,620 That's all I'm trying to get some rest. 157 00:19:57,620 --> 00:20:03,620 The Chorale Ich Wil here by Dear Steen from the St. Matthew Passion 158 00:20:03,620 --> 00:20:08,620 with John Elliott Gardiner conducting the English Baroque soloists in the Monteverdi Choir 159 00:20:08,620 --> 00:20:12,620 followed by an American tune by Paul Simon. 160 00:20:12,620 --> 00:20:16,620 And I've always loved that song and I must say I'm a little embarrassed 161 00:20:16,620 --> 00:20:19,620 that I never made the connection to the Bach Chorale 162 00:20:19,620 --> 00:20:23,620 until I saw Jimmy Carter's inaugural concert on TV 163 00:20:23,620 --> 00:20:29,620 and Simon, in introducing the song, mentioned that he wrote it with a little help from Bach. 164 00:20:29,620 --> 00:20:36,620 He goes beyond the chorale melody himself, but the debt to the Bach is obvious and moving. 165 00:20:36,620 --> 00:20:43,620 I'm Peter Shickely. The show is Shickely Mix from PRI, Public Radio International. 166 00:20:43,620 --> 00:20:48,620 And it's tidbit time on the old stream. 167 00:20:48,620 --> 00:20:53,620 You get it? Stream. Bach. Bach means stream in German. 168 00:20:53,620 --> 00:20:57,620 I don't know what it is. I'm just hooked on wordplay today. 169 00:20:57,620 --> 00:21:00,620 Well, there are worse things to be hooked on. 170 00:21:00,620 --> 00:21:06,620 At any rate, our tidbit is entitled Potato Song Slash Bach Prelude 171 00:21:06,620 --> 00:21:09,620 and it's off an album by Dan Arthurs. 172 00:21:09,620 --> 00:21:15,620 I think it's safe to say that this is one of the most unusual cuts I've ever run across 173 00:21:15,620 --> 00:21:18,620 or has ever run across me. 174 00:21:45,620 --> 00:21:49,620 Potato blossoms to bloom 175 00:21:58,620 --> 00:22:01,620 I'm in love with you 176 00:22:01,620 --> 00:22:05,620 You know how I feel 177 00:22:05,620 --> 00:22:15,620 When we're frolicking through the potato field 178 00:22:20,620 --> 00:22:27,620 There'll be enough potatoes for the little ones 179 00:22:27,620 --> 00:22:36,620 To make big, strong potato man 180 00:22:58,620 --> 00:23:02,620 The harvest is here 181 00:23:02,620 --> 00:23:06,620 The potato dance will start 182 00:23:06,620 --> 00:23:09,620 All the boys and girls 183 00:23:09,620 --> 00:23:13,620 Dancing hard to hard 184 00:23:13,620 --> 00:23:32,620 Ah 185 00:23:43,620 --> 00:23:54,620 Ah 186 00:23:54,620 --> 00:24:08,620 Ah 187 00:24:08,620 --> 00:24:12,620 Ah 188 00:24:12,620 --> 00:24:22,620 Ah 189 00:24:22,620 --> 00:24:32,620 Ah 190 00:24:32,620 --> 00:24:42,620 Ah 191 00:24:42,620 --> 00:24:52,620 Ah 192 00:24:52,620 --> 00:25:02,620 Ah 193 00:25:02,620 --> 00:25:12,620 Ah 194 00:25:12,620 --> 00:25:22,620 Ah 195 00:25:22,620 --> 00:25:32,620 Ah 196 00:25:32,620 --> 00:25:42,620 Ah 197 00:25:42,620 --> 00:25:52,620 Ah 198 00:25:52,620 --> 00:26:02,620 Ah 199 00:26:02,620 --> 00:26:10,620 Okay, Dan Arthurs, Don't Say I Didn't Warn You, Potato Song, 200 00:26:10,620 --> 00:26:16,620 followed by a rendition of the prelude from the first unaccompanied cello suite by Bach. 201 00:26:16,620 --> 00:26:21,620 Before we go on, I'd like to talk a little bit about Bach's place in history. 202 00:26:21,620 --> 00:26:27,620 The standard picture is that Bach was forgotten as a composer soon after he died, if not even before, 203 00:26:27,620 --> 00:26:33,620 and that it wasn't until almost 80 years later when Mendelssohn conducted a performance of the St. Matthew Passion 204 00:26:33,620 --> 00:26:40,620 that his music became known again, and since then, interest in it has continued unabated to the present day. 205 00:26:40,620 --> 00:26:45,620 And that's true, although there were certain cognoscenti during that interim period 206 00:26:45,620 --> 00:26:51,620 Haydn, Mozart, and Beethoven among them, who knew some of Bach's music and were greatly influenced by it. 207 00:26:51,620 --> 00:26:58,620 But the implication of that picture is that here was this great composer who was unfairly ignored by posterity 208 00:26:58,620 --> 00:27:04,620 until Mendelssohn came along and restored him to his rightful place in music lovers' affections. 209 00:27:04,620 --> 00:27:10,620 Well, the trouble with that is that until the 19th century, that's the way it was for everybody. 210 00:27:10,620 --> 00:27:17,620 It's not much of an exaggeration to say that until Beethoven's time, nobody listened to the music of dead composers. 211 00:27:17,620 --> 00:27:21,620 People wanted the latest stuff. They wanted something new. 212 00:27:21,620 --> 00:27:27,620 Any classical musician today who isn't intimately familiar with the music of Bach will not be considered educated. 213 00:27:27,620 --> 00:27:34,620 But do you think Bach was intimately familiar with the music of Josquin de Pré, who lived 250 years before Bach? 214 00:27:34,620 --> 00:27:41,620 No way, Jose de Pré! It was in the 19th century that people got obsessed with the past. 215 00:27:41,620 --> 00:27:46,620 Okay, okay, it started rolling in the 18th century in some fields, although not in music. 216 00:27:46,620 --> 00:27:54,620 But the 19th century saw the flowering of the worship of the past, digging up Egyptian tombs, studying fossils, 217 00:27:54,620 --> 00:28:01,620 reveling in ruins, passing off new poetry as old, and performing the works of dead composers. 218 00:28:01,620 --> 00:28:07,620 Also, the perfection of mass printing techniques made more material available to more people, 219 00:28:07,620 --> 00:28:10,620 and the concept of complete editions became popular. 220 00:28:10,620 --> 00:28:14,620 Music was published immediately, sometimes even before it was performed, 221 00:28:14,620 --> 00:28:18,620 and then it had to be printed again after the composer made corrections. 222 00:28:18,620 --> 00:28:24,620 Music engraving, you know, was the license plates of the 19th century, right? 223 00:28:24,620 --> 00:28:28,620 If you said right, you're either extremely quick and knowledgeable, 224 00:28:28,620 --> 00:28:32,620 or you're one of those people who says right even though they didn't understand what was said. 225 00:28:32,620 --> 00:28:38,620 The thing is, a lot of the music engraving in the 19th century was done by inmates in prisons. 226 00:28:38,620 --> 00:28:41,620 You know, just like in the century they made the license plate. 227 00:28:41,620 --> 00:28:44,620 Okay, well anyway, Bach wasn't given a raw deal. 228 00:28:44,620 --> 00:28:47,620 He was given the normal deal of his day. 229 00:28:47,620 --> 00:28:50,620 But listen, I'm glad he's still with us now. 230 00:28:50,620 --> 00:28:55,620 And now is when we're going to experience the Haven't I Heard You Somewhere Before Suite, 231 00:28:55,620 --> 00:28:59,620 featuring one of the most famous pieces in the history of Western music. 232 00:28:59,620 --> 00:29:04,620 We'll hear it first as Bach wrote it, then as the accompaniment for a song, 233 00:29:04,620 --> 00:29:07,620 then as a framework for an improvisation, 234 00:29:07,620 --> 00:29:12,620 and finally as the basis for a parody of minimalist music. 235 00:29:12,620 --> 00:29:18,620 The Haven't I Heard You Somewhere Before Suite lasts about 13 and a half minutes, 236 00:29:18,620 --> 00:29:25,620 after which, like Bach and General MacArthur, I shall return. 237 00:29:48,620 --> 00:29:54,620 The Haven't I Heard You Somewhere Before Suite 238 00:30:18,620 --> 00:30:24,620 The Haven't I Heard You Somewhere Before Suite 239 00:30:48,620 --> 00:30:54,620 The Haven't I Heard You Somewhere Before Suite 240 00:31:18,620 --> 00:31:24,620 The Haven't I Heard You Somewhere Before Suite 241 00:31:48,620 --> 00:31:54,620 The Haven't I Heard You Somewhere Before Suite 242 00:32:18,620 --> 00:32:24,620 The Haven't I Heard You Somewhere Before Suite 243 00:32:48,620 --> 00:32:54,620 The Haven't I Heard You Somewhere Before Suite 244 00:33:18,620 --> 00:33:24,620 The Haven't I Heard You Somewhere Before Suite 245 00:33:48,620 --> 00:33:54,620 The Haven't I Heard You Somewhere Before Suite 246 00:34:18,620 --> 00:34:24,620 The Haven't I Heard You Somewhere Before Suite 247 00:34:48,620 --> 00:34:54,620 The Haven't I Heard You Somewhere Before Suite 248 00:35:18,620 --> 00:35:24,620 The Haven't I Heard You Somewhere Before Suite 249 00:35:48,620 --> 00:35:54,620 The Haven't I Heard You Somewhere Before Suite 250 00:36:18,620 --> 00:36:24,620 The Haven't I Heard You Somewhere Before Suite 251 00:36:48,620 --> 00:36:54,620 The Haven't I Heard You Somewhere Before Suite 252 00:37:18,620 --> 00:37:24,620 The Haven't I Heard You Somewhere Before Suite 253 00:37:48,620 --> 00:37:54,620 The Haven't I Heard You Somewhere Before Suite 254 00:38:18,620 --> 00:38:24,620 The Haven't I Heard You Somewhere Before Suite 255 00:38:48,620 --> 00:38:54,620 The Haven't I Heard You Somewhere Before Suite 256 00:39:18,620 --> 00:39:24,620 The Haven't I Heard You Somewhere Before Suite 257 00:39:48,620 --> 00:39:54,620 Koi hatzi tatsi 258 00:39:54,620 --> 00:40:00,620 Koi hatzi tatsi 259 00:40:00,620 --> 00:40:06,620 Koi hatzi tatsi 260 00:40:06,620 --> 00:40:12,620 Koi hatzi tatsi 261 00:40:12,620 --> 00:40:18,620 Koi hatzi tatsi 262 00:40:18,620 --> 00:40:24,620 Koi hatzi tatsi 263 00:40:24,620 --> 00:40:42,620 Koi hatzi tatsi 264 00:40:42,620 --> 00:40:48,620 Koi hatzi tatsi 265 00:40:48,620 --> 00:40:56,620 Koi hatzi tatsi 266 00:40:56,620 --> 00:41:04,620 Koi hatzi tatsi 267 00:41:04,620 --> 00:41:10,620 Koi hatzi tatsi 268 00:41:10,620 --> 00:41:18,620 Koi hatzi tatsi 269 00:41:18,620 --> 00:41:24,620 Koi hatzi tatsi 270 00:41:24,620 --> 00:41:30,620 Koi hatzi tatsi 271 00:41:30,620 --> 00:41:36,620 Koi hatzi tatsi 272 00:41:36,620 --> 00:41:42,620 Koi hatzi tatsi 273 00:41:42,620 --> 00:41:48,620 Koi hatzi tatsi 274 00:41:48,620 --> 00:41:54,620 Koi hatzi tatsi 275 00:41:54,620 --> 00:42:00,620 Koi hatzi tatsi 276 00:42:00,620 --> 00:42:06,620 Koi hatzi tatsi 277 00:42:06,620 --> 00:42:12,620 Koi hatzi tatsi 278 00:42:12,620 --> 00:42:18,620 Koi hatzi tatsi 279 00:42:18,620 --> 00:42:24,620 Koi hatzi tatsi 280 00:42:24,620 --> 00:42:30,620 Koi hatzi tatsi 281 00:42:30,620 --> 00:42:36,620 Koi hatzi tatsi 282 00:42:36,620 --> 00:42:38,620 Kind of gets you in the gut, doesn't it? 283 00:42:38,620 --> 00:42:42,620 The Haven't I Heard You Before Somewhere Suite 284 00:42:42,620 --> 00:42:46,620 started off with the first prelude from the well-tempered Clavier 285 00:42:46,620 --> 00:42:48,620 played on the harpsichord by Davit Moroni. 286 00:42:48,620 --> 00:42:52,620 Then we had Kathleen Battle and Christopher Parkining on the guitar. 287 00:42:52,620 --> 00:42:56,620 She's singing the famous Ave Maria, written by Gounod 288 00:42:56,620 --> 00:43:01,620 over the prelude by Bach, using the prelude as an accompaniment. 289 00:43:01,620 --> 00:43:05,620 Then we have a nice album called Unsquare Dance by Bill Crowfoot 290 00:43:05,620 --> 00:43:08,620 with Chris Brubeck and Joel Brown. 291 00:43:08,620 --> 00:43:12,620 And they do an improvisation based on the prelude. 292 00:43:12,620 --> 00:43:15,620 Some of you, by the way, who maybe know the prelude very well 293 00:43:15,620 --> 00:43:17,620 might have noticed that some of the chords are a little bit different 294 00:43:17,620 --> 00:43:19,620 and apparently, according to the liner notes here, 295 00:43:19,620 --> 00:43:23,620 they have based it on a version of this prelude that appears 296 00:43:23,620 --> 00:43:26,620 in the little notebook for Wilhelm Friedman Bach, 297 00:43:26,620 --> 00:43:29,620 another little didactic book that Bach put together, 298 00:43:29,620 --> 00:43:32,620 and apparently he had a different version of it going at one time 299 00:43:32,620 --> 00:43:35,620 and then changed it for the well-tempered Clavier. 300 00:43:35,620 --> 00:43:40,620 And then finally, we closed off with PDQ Bach's epic and classic 301 00:43:40,620 --> 00:43:43,620 prelude to the opera Einstein on the Fritz, 302 00:43:43,620 --> 00:43:46,620 Schickly number E equals MT squared. 303 00:43:46,620 --> 00:43:50,620 And this, of course, is remarkably prescient 304 00:43:50,620 --> 00:43:54,620 of the minimalist music of this century. 305 00:43:54,620 --> 00:43:55,620 A little story about that. 306 00:43:55,620 --> 00:43:58,620 Philip Glass, one of the prime minimalists, 307 00:43:58,620 --> 00:43:59,620 is an old friend of mine. 308 00:43:59,620 --> 00:44:01,620 We went to Juilliard together. 309 00:44:01,620 --> 00:44:04,620 And I called him up in September, several years ago, 310 00:44:04,620 --> 00:44:08,620 before premiering this piece, and I talked to his lady friend 311 00:44:08,620 --> 00:44:10,620 and I said, I'm going to do a take-off on Philip 312 00:44:10,620 --> 00:44:13,620 at the Christmas concerts this year in New York, 313 00:44:13,620 --> 00:44:14,620 and I hope you two can come. 314 00:44:14,620 --> 00:44:16,620 And she said, well, he's in San Francisco, 315 00:44:16,620 --> 00:44:18,620 and he can call you tomorrow at 7. 316 00:44:18,620 --> 00:44:20,620 I said, great. 317 00:44:20,620 --> 00:44:22,620 7 o'clock the next night, the phone rings, I pick it up, 318 00:44:22,620 --> 00:44:26,620 and it's Philip saying, et tu, Brute? 319 00:44:26,620 --> 00:44:27,620 But he liked it. 320 00:44:27,620 --> 00:44:29,620 He came back and had it signed. 321 00:44:29,620 --> 00:44:31,620 As a matter of fact, while the piece was being copied, 322 00:44:31,620 --> 00:44:33,620 he and I used the same copyist there for a while. 323 00:44:33,620 --> 00:44:36,620 He came along, and she said, I'm working on the take-off on you. 324 00:44:36,620 --> 00:44:39,620 And he took a look at the parts, and he said, well, looks right. 325 00:44:39,620 --> 00:44:41,620 I'm Peter Schickly. 326 00:44:41,620 --> 00:44:48,620 The program is Schickly Mix from PRI, Public Radio International. 327 00:44:48,620 --> 00:44:52,620 We're going to end up with a song that isn't based on Bach. 328 00:44:52,620 --> 00:44:53,620 Why? 329 00:44:53,620 --> 00:44:56,620 Because a lot of folks, and I must say that included myself 330 00:44:56,620 --> 00:45:00,620 until I researched this show, think that it is based on Bach. 331 00:45:00,620 --> 00:45:03,620 It has a bass line that sounds very much like that 332 00:45:03,620 --> 00:45:06,620 of the famous so-called air for the G string, 333 00:45:06,620 --> 00:45:09,620 and the melody line above it sounds very Bach-y, 334 00:45:09,620 --> 00:45:13,620 and lots of people have told me it's based on Bach. 335 00:45:13,620 --> 00:45:16,620 But after looking through lots of the old guy's music 336 00:45:16,620 --> 00:45:20,620 and consulting with the highly knowledgeable Michael Barone, 337 00:45:20,620 --> 00:45:23,620 whose organ program is on a lot of public radio stations, 338 00:45:23,620 --> 00:45:26,620 and reading in a book called Rockin' the Classics 339 00:45:26,620 --> 00:45:30,620 and Classicizin' the Rock by Janelle R. Duxbury 340 00:45:30,620 --> 00:45:33,620 that the band that does the song doesn't say it's based on Bach, 341 00:45:33,620 --> 00:45:37,620 I've come to the conclusion that it's not based on Bach. 342 00:45:37,620 --> 00:45:41,620 We'll hear a little of the air from Bach's third orchestral suite first, 343 00:45:41,620 --> 00:45:44,620 and then some Bach that isn't Bach. 344 00:45:44,620 --> 00:46:09,620 But it's good Bach. 345 00:46:14,620 --> 00:46:42,620 orchestra only, 346 00:46:42,620 --> 00:47:10,620 We skip the light fandango 347 00:47:10,620 --> 00:47:24,620 I was feeling kind of seasick 348 00:47:24,620 --> 00:47:31,620 The crowd called out for more 349 00:47:31,620 --> 00:47:37,620 The room was humming harder 350 00:47:37,620 --> 00:47:44,620 As the ceiling flew away 351 00:47:44,620 --> 00:47:50,620 When we called out for another drink 352 00:47:50,620 --> 00:47:54,620 The wager brought a train 353 00:47:54,620 --> 00:48:07,620 And so it was that later 354 00:48:07,620 --> 00:48:10,620 As the miller told his tale 355 00:48:10,620 --> 00:48:15,620 Let her face a burst just go steep 356 00:48:15,620 --> 00:48:21,620 Turn the wider shade of air 357 00:48:21,620 --> 00:48:48,620 orchestra only, 358 00:48:48,620 --> 00:48:55,620 She said there is no reason 359 00:48:55,620 --> 00:49:01,620 And the truth is plain to see 360 00:49:01,620 --> 00:49:08,620 But I wandered through my playing cards 361 00:49:08,620 --> 00:49:14,620 Would not let her be 362 00:49:14,620 --> 00:49:20,620 One of sixteen vessel virgins 363 00:49:20,620 --> 00:49:27,620 Believing for the coast 364 00:49:27,620 --> 00:49:33,620 Although my eyes were open 365 00:49:33,620 --> 00:49:37,620 They might just as well be closed 366 00:49:37,620 --> 00:49:46,620 And so it was that later 367 00:49:46,620 --> 00:49:53,620 As the miller told his tale 368 00:49:53,620 --> 00:49:58,620 Let her face a burst just go steep 369 00:49:58,620 --> 00:50:04,620 Turn the wider shade of air 370 00:50:04,620 --> 00:50:29,620 orchestra only, 371 00:50:29,620 --> 00:50:37,620 And so it was that later 372 00:50:37,620 --> 00:50:42,620 Procol harem, 373 00:50:37,620 --> 00:50:41,620 a wider shade of pale. 374 00:50:41,620 --> 00:50:45,620 The entry in Rockin' the Classics 375 00:50:45,620 --> 00:50:48,620 and classicizing the rock says, 376 00:50:48,620 --> 00:50:51,620 Source, J.S. Bach, Suite No. 3 in D major for Orchestra, 377 00:50:51,620 --> 00:50:53,620 which we heard a little of, 378 00:50:53,620 --> 00:50:54,620 Wachet auf, a cantata, 379 00:50:54,620 --> 00:50:56,620 Sleepers Awake. 380 00:50:56,620 --> 00:51:00,620 Then it says this famous song is often attributed to either of the Bach pieces above. 381 00:51:00,620 --> 00:51:03,620 However, the band itself lays claim to neither. 382 00:51:03,620 --> 00:51:07,620 The tune is closest to the first, but contains some elements of both. 383 00:51:07,620 --> 00:51:09,620 I listened to Wachet auf again. 384 00:51:09,620 --> 00:51:12,620 It doesn't seem to me to contain many elements of that, 385 00:51:12,620 --> 00:51:13,620 but it's a great song, 386 00:51:13,620 --> 00:51:16,620 and the album says on the back, 387 00:51:16,620 --> 00:51:19,620 To be listened to in the spirit in which it was made. 388 00:51:19,620 --> 00:51:22,620 That's good advice for listening to any album. 389 00:51:22,620 --> 00:51:24,620 Eugene Normandy and the Philadelphia Orchestra 390 00:51:24,620 --> 00:51:28,620 were performing that excerpt from the air that we heard first. 391 00:51:28,620 --> 00:51:31,620 And I guess that about wraps it up for this week. 392 00:51:31,620 --> 00:51:36,620 We'll... 393 00:51:36,620 --> 00:51:39,620 This phone is not supposed to be... 394 00:51:39,620 --> 00:51:42,620 Hello? 395 00:51:42,620 --> 00:51:43,620 Yes. 396 00:51:43,620 --> 00:51:44,620 Yeah, it is a beautiful... 397 00:51:44,620 --> 00:51:48,620 Yeah, Yezu, Joy of Man's Desiring by Bach. 398 00:51:48,620 --> 00:51:49,620 Yeah. 399 00:51:49,620 --> 00:51:50,620 And you're right. 400 00:51:50,620 --> 00:51:54,620 Yes, Stokowski does it beautifully. 401 00:51:54,620 --> 00:51:56,620 Oh, thank you. 402 00:51:56,620 --> 00:51:58,620 I guess the arrangement does help. 403 00:51:58,620 --> 00:51:59,620 Thank you very much. 404 00:51:59,620 --> 00:52:00,620 I appreciate that. 405 00:52:00,620 --> 00:52:03,620 Well, yeah, I think we could probably play that, 406 00:52:03,620 --> 00:52:06,620 and we'll do it instead of the theme that we usually do. 407 00:52:06,620 --> 00:52:08,620 We'll put it on at the end and play it all the way through. 408 00:52:08,620 --> 00:52:09,620 Okay? 409 00:52:09,620 --> 00:52:11,620 Thanks for calling. 410 00:52:11,620 --> 00:52:14,620 Well, that's Chick-Alee Mix for this week. 411 00:52:14,620 --> 00:52:18,620 Our program is made possible with funds provided by this radio station. 412 00:52:18,620 --> 00:52:21,620 I just want to get through this fast so we can play the whole thing, you know. 413 00:52:21,620 --> 00:52:24,620 We'll tell you in a moment how you can get an official playlist 414 00:52:24,620 --> 00:52:27,620 of all the music on today's program with record numbers and everything. 415 00:52:27,620 --> 00:52:29,620 Just refer to the program number. 416 00:52:29,620 --> 00:52:32,620 This is program number 34. 417 00:52:32,620 --> 00:52:34,620 I'm going to get this ready here. 418 00:52:34,620 --> 00:52:36,620 This is Peter Chick-Alee saying goodbye 419 00:52:36,620 --> 00:52:38,620 and reminding you that it don't mean a thing 420 00:52:38,620 --> 00:52:41,620 if it ain't got that certain je ne sais quoi. 421 00:52:41,620 --> 00:52:42,620 You're looking good. 422 00:52:42,620 --> 00:52:49,620 See you next week. 423 00:53:12,620 --> 00:53:20,620 Thank you. 424 00:53:42,620 --> 00:53:48,620 Thank you. 425 00:54:12,620 --> 00:54:18,620 Thank you. 426 00:54:42,620 --> 00:54:48,620 Thank you. 427 00:55:12,620 --> 00:55:18,620 Thank you. 428 00:55:42,620 --> 00:55:48,620 Thank you. 429 00:56:12,620 --> 00:56:18,620 Thank you. 430 00:56:42,620 --> 00:56:48,620 Thank you. 431 00:57:12,620 --> 00:57:18,620 Thank you. 432 00:57:42,620 --> 00:57:58,620 If you'd like a copy of that playlist I mentioned, 433 00:57:58,620 --> 00:58:04,620 send a stamped, self-addressed envelope to Chick-Alee Mix. 434 00:58:04,620 --> 00:58:09,620 That's S-C-H-I-C-K-E-L-E, Chick-Alee Mix. 435 00:58:09,620 --> 00:58:14,620 Public Radio International, 100 North 6th Street, Suite 900A, 436 00:58:14,620 --> 00:58:19,620 Minneapolis, Minnesota, 55403. 437 00:58:19,620 --> 00:58:40,620 PRI, Public Radio International.