1 00:00:00,000 --> 00:00:18,920 Hello there, I'm Peter Shickely and this is Shickely Mix, a program dedicated to the proposition 2 00:00:18,920 --> 00:00:25,280 that all musics are created equal, or as Duke Ellington put it, if it sounds good, it is 3 00:00:25,280 --> 00:00:32,840 good, and I quote, which, as it happens, is the name of today's show, and I quote, a brief 4 00:00:32,840 --> 00:00:38,520 but scholarly survey of non-larcenous lifting by one composer from another. 5 00:00:38,520 --> 00:00:42,680 The bills for this inquiry are paid by the American Public Radio Program Fund, whose 6 00:00:42,680 --> 00:00:48,080 contributors include the John D. and Catherine T. MacArthur Foundation, by the Corporation 7 00:00:48,080 --> 00:00:53,240 for Public Broadcasting, and also by this radio station, which has set me up here in 8 00:00:53,240 --> 00:00:59,000 the lap, well, maybe in the elbow of luxury. 9 00:00:59,000 --> 00:01:03,600 When composers write down music that they didn't make up, there are several possible 10 00:01:03,600 --> 00:01:05,420 explanations. 11 00:01:05,420 --> 00:01:11,000 The most obvious, but probably the rarest, is plagiarism, consciously or unconsciously 12 00:01:11,000 --> 00:01:15,800 swiping something from another composer and presenting it as one's own. 13 00:01:15,800 --> 00:01:17,560 They may be making an arrangement. 14 00:01:17,560 --> 00:01:22,960 Many composers, including Mozart, Haydn, Beethoven, Schoenberg, and Webern, made arrangements 15 00:01:22,960 --> 00:01:28,800 of other composers' works to bring in a little extra money, and others, including Bach, Liszt, 16 00:01:28,800 --> 00:01:34,040 Respighi, and Stravinsky, made arrangements to use in their own concertizing, or simply 17 00:01:34,040 --> 00:01:38,040 because they liked fooling around with other people's music. 18 00:01:38,040 --> 00:01:41,020 They may be studying someone else's work. 19 00:01:41,020 --> 00:01:45,440 Until printed music became ubiquitous and cheap, copying a piece was a standard way 20 00:01:45,440 --> 00:01:49,540 of studying it, and it's a shame that we're too lazy to do that now, because it's still 21 00:01:49,540 --> 00:01:53,280 one of the most thorough ways of learning a work. 22 00:01:53,280 --> 00:01:57,800 There are several pieces that used to be attributed to the young Mozart because the scores that 23 00:01:57,800 --> 00:01:59,720 turned up were in his handwriting. 24 00:01:59,720 --> 00:02:03,640 Later, it was discovered that the pieces were actually by someone else. 25 00:02:03,640 --> 00:02:08,520 Now, this doesn't mean that the little wunderteich was trying to pull the wool over anyone's 26 00:02:08,520 --> 00:02:09,520 eyes. 27 00:02:09,520 --> 00:02:14,260 He often copied or arranged other people's pieces as a way of studying them. 28 00:02:14,260 --> 00:02:19,040 The composer once told me that he had seen in some European museum all nine Beethoven 29 00:02:19,040 --> 00:02:21,400 symphonies in Wagner's hand. 30 00:02:21,400 --> 00:02:26,520 Anyway, it's also possible that a composer may be quoting the work of another composer, 31 00:02:26,520 --> 00:02:31,720 making a brief reference, sometimes but not always, with humorous intent. 32 00:02:31,720 --> 00:02:36,200 Camille Saint-Saens' intent was certainly humorous in most of these sections of his 33 00:02:36,200 --> 00:02:41,640 most popular piece, and perhaps the most famous party piece of all time, The Carnival of the 34 00:02:41,640 --> 00:02:43,120 Animals. 35 00:02:43,120 --> 00:02:48,160 The joke in the fourth movement, called Turtles, is that Saint-Saens takes a fast, peppy tune 36 00:02:48,160 --> 00:02:53,880 by another composer, a tune that was even more famous a century ago than it is now, 37 00:02:53,880 --> 00:02:59,440 and slows it down to a point where I'll bet a lot of people, if they're not told, don't 38 00:02:59,440 --> 00:03:02,840 even recognize the melody, even though they know it. 39 00:03:02,840 --> 00:03:07,040 First we'll hear the theme in its original setting, and then we'll hear how Saint-Saens 40 00:03:07,040 --> 00:03:12,040 turtleized it. 41 00:03:12,040 --> 00:03:36,040 Let's hear it for Saint-Saens. 42 00:03:36,040 --> 00:04:00,040 Let's hear it for Saint-Saens. 43 00:04:00,040 --> 00:04:24,040 Let's hear it for Saint-Saens. 44 00:04:24,040 --> 00:04:48,040 Let's hear it for Saint-Saens. 45 00:04:48,040 --> 00:05:12,040 Let's hear it for Saint-Saens. 46 00:05:12,040 --> 00:05:36,040 Let's hear it for Saint-Saens. 47 00:05:36,040 --> 00:06:00,040 Let's hear it for Saint-Saens. 48 00:06:00,040 --> 00:06:26,040 Let's hear it for Saint-Saens. 49 00:06:26,040 --> 00:06:28,040 Turtles are not in a hurry. 50 00:06:28,040 --> 00:06:34,040 There are a couple places there where it sounded like the turtle's shell was maybe pinching 51 00:06:34,040 --> 00:06:35,040 him a bit. 52 00:06:35,040 --> 00:06:41,040 Anyway, that was from an album with Carnival of the Animals by Saint-Saens, some other 53 00:06:41,040 --> 00:06:44,040 works involving speakers and other sort of humorous works. 54 00:06:44,040 --> 00:06:49,040 Marta Augerich, Nelson Frere, Gideon Kramer, and a bunch of other people playing. 55 00:06:49,040 --> 00:06:56,040 And before that we heard a part of the overture to Orpheus and the Underworld by Offenbach 56 00:06:56,040 --> 00:06:58,040 with the famous can-can theme. 57 00:06:58,040 --> 00:07:02,040 Now, here's another example from the Carnival of the Animals. 58 00:07:02,040 --> 00:07:07,040 This time Saint-Saens doesn't quote a whole melody, just little snippets. 59 00:07:07,040 --> 00:07:13,040 The animal here is the elephant, so what is the least elephantine thing he could quote? 60 00:07:13,040 --> 00:07:41,040 He makes a reference to the ballet of the sylph from The Damnation of Faust by Berlioz. 61 00:07:41,040 --> 00:07:44,040 I hate to fade that out, but fade I must. 62 00:07:44,040 --> 00:07:55,040 And he also refers to Mendelssohn's famous incidental music for A Midsummer Night's Dream. 63 00:07:55,040 --> 00:08:09,040 Just that little part. 64 00:08:09,040 --> 00:08:11,040 I'm going to take that out too. 65 00:08:11,040 --> 00:08:17,040 Okay, now naturally, since this is a humorous piece, Saint-Saens takes these delicate, wispy melodic ideas 66 00:08:17,040 --> 00:08:23,040 and incorporates them into a theme for the double bass, one of the largest and most awkward 67 00:08:23,040 --> 00:08:25,040 instruments in the orchestra. 68 00:08:25,040 --> 00:08:27,040 Now, where did I put this? 69 00:08:27,040 --> 00:08:39,040 Here's the Saint-Saens, and here is the elephant. 70 00:08:57,040 --> 00:09:20,040 Okay, now here comes the Berlioz part. 71 00:09:20,040 --> 00:09:49,040 And here comes the Mendelssohn. 72 00:09:49,040 --> 00:10:10,040 The elephant from the Carnival of the Animals by Saint-Saens. 73 00:10:10,040 --> 00:10:16,040 Earlier, by the way, the little bit of the Berlioz Damnation of Faust we heard was Eliahu Inbal 74 00:10:16,040 --> 00:10:23,040 conducting the Radio Sinfonie Orchestre Frankfurt, and then the little bit of the Mendelssohn we heard 75 00:10:23,040 --> 00:10:31,040 was Andre Previn conducting the Wiener Philharmoniker, which sounds like a mouth organ in the shape of a hot dog. 76 00:10:31,040 --> 00:10:37,040 You know, except for the famous and lovely cello solo called The Swan, Saint-Saens wouldn't allow 77 00:10:37,040 --> 00:10:42,040 the Carnival of the Animals to be published or publicly performed during his lifetime, 78 00:10:42,040 --> 00:10:48,040 because he was afraid it might sully his reputation as a serious composer. 79 00:10:48,040 --> 00:10:51,040 Poor guy, now it's his most often played work. 80 00:10:51,040 --> 00:10:53,040 History doesn't care, you know. 81 00:10:53,040 --> 00:11:00,040 Posterity says to a composer, your opinion of your work interests me least of all. 82 00:11:00,040 --> 00:11:06,040 One composer whose statements about his own music had to be taken with a grain of salt was Stravinsky. 83 00:11:06,040 --> 00:11:11,040 He protested that music was completely abstract and that the funny places in his music weren't funny 84 00:11:11,040 --> 00:11:13,040 and the touching places weren't touching. 85 00:11:13,040 --> 00:11:15,040 But they were and they are. 86 00:11:15,040 --> 00:11:20,040 I'd be willing to bet that this next case is an example of spontaneous combustion, 87 00:11:20,040 --> 00:11:25,040 that Stravinsky wasn't thinking about Schubert when he started working on this commission. 88 00:11:25,040 --> 00:11:29,040 But Schubert happened to walk into the room and found himself in the middle of Stravinsky's piece, 89 00:11:29,040 --> 00:11:34,040 feeling a little bit off balance maybe, as Stravinsky often made his guests feel. 90 00:11:34,040 --> 00:11:39,040 Okay, so maybe the result isn't exactly funny like Hardy Har Har Funny, 91 00:11:39,040 --> 00:11:42,040 but it's at least charming. 92 00:11:42,040 --> 00:12:10,040 Here's a bit of Schubert's March Militaire followed by Stravinsky's Circus Polka. 93 00:12:12,040 --> 00:12:38,040 . 94 00:12:38,040 --> 00:13:07,040 . 95 00:13:07,040 --> 00:13:32,040 . 96 00:13:32,040 --> 00:13:57,040 . 97 00:13:57,040 --> 00:14:22,040 . 98 00:14:22,040 --> 00:14:37,040 . 99 00:14:37,040 --> 00:15:02,040 . 100 00:15:02,040 --> 00:15:27,040 . 101 00:15:27,040 --> 00:15:52,040 . 102 00:15:52,040 --> 00:16:05,040 . 103 00:16:05,040 --> 00:16:14,040 Stravinsky's Circus Polka, written for the Ringling Brothers' circus, ballet for an elephant. 104 00:16:14,040 --> 00:16:18,040 That was Igor Stravinsky on a collection here. 105 00:16:18,040 --> 00:16:25,040 So it was Igor Stravinsky conducting either the Columbia Symphony Orchestra or the CBC Symphony Orchestra, 106 00:16:25,040 --> 00:16:31,040 or the Los Angeles Festival Symphony Orchestra, or the Columbia Jazz Ensemble, 107 00:16:31,040 --> 00:16:36,040 or the Columbia Chamber Ensemble, or the Columbia Percussion Ensemble. 108 00:16:36,040 --> 00:16:39,040 You can probably cancel out those last three. 109 00:16:39,040 --> 00:16:47,040 Before that, we heard a little bit of the Schubert March Militaire with Richard and John Contigulia playing the two pianos. 110 00:16:47,040 --> 00:16:49,040 My name is Peter Schickele. 111 00:16:49,040 --> 00:16:53,040 The program is Schickele Mix. 112 00:16:53,040 --> 00:16:56,040 Sometimes composers quote themselves, 113 00:16:56,040 --> 00:17:01,040 and probably the cutest example of that occurs in Mozart's Don Giovanni. 114 00:17:01,040 --> 00:17:04,040 His Marriage of Figaro had been a huge hit in Prague, 115 00:17:04,040 --> 00:17:08,040 and one of the best-loved numbers was Non Piu Andrai. 116 00:17:08,040 --> 00:17:14,040 You couldn't go into a beer garden in Prague without hearing the house band do its own arrangement of that aria. 117 00:17:14,040 --> 00:17:18,040 I guess it was sort of the melancholy baby of its day. 118 00:17:18,040 --> 00:17:21,040 I wonder if the band had drunks coming up and saying, 119 00:17:21,040 --> 00:17:25,040 Hey, can you play Non Piu Andrai? 120 00:17:25,040 --> 00:17:28,040 Now, Prague commissioned Don Giovanni, 121 00:17:28,040 --> 00:17:35,040 and in that opera, the Don invites the statue of a man whom he had killed earlier in a duel to dinner. 122 00:17:35,040 --> 00:17:39,040 As Giovanni and his servant Leporello are awaiting their guest in the banquet room, 123 00:17:39,040 --> 00:17:43,040 there's a small wind band in attendance to provide entertainment. 124 00:17:43,040 --> 00:17:47,040 Now, any nobleman worth his salt in those days had musicians on staff, 125 00:17:47,040 --> 00:17:51,040 not only for concerts, but to play at parties. 126 00:17:51,040 --> 00:17:53,040 It was really like live music. 127 00:17:53,040 --> 00:17:56,040 So Don Giovanni tells this on-stage band to play, 128 00:17:56,040 --> 00:18:00,040 and first they strike up a tune from Cosa Rara, 129 00:18:00,040 --> 00:18:03,040 an opera by Solaire that was popular at the time. 130 00:18:03,040 --> 00:18:06,040 You can hear Leporello identifying it and approving. 131 00:18:06,040 --> 00:18:11,040 When they change tunes, Leporello sings Long Live the Litigants, 132 00:18:11,040 --> 00:18:14,040 which was another successful opera of the day. 133 00:18:14,040 --> 00:18:17,040 And finally, when they launch into Non Piu Andrai, 134 00:18:17,040 --> 00:18:22,040 Leporello says, Now that tune I know all too well. 135 00:18:22,040 --> 00:18:27,040 It's a nice little joke, self-congratulatory perhaps, but in a charming way. 136 00:18:27,040 --> 00:18:30,040 And by the way, notice that Mozart and his librettist, 137 00:18:30,040 --> 00:18:35,040 De Ponte, observe the age-old rule of three in telling a joke. 138 00:18:35,040 --> 00:18:39,040 You set it up twice, and the third time is the punchline. 139 00:18:39,040 --> 00:18:43,040 Okay, here's a bit of Non Piu Andrai from the marriage of Figaro. 140 00:18:43,040 --> 00:19:12,040 Figaro is teasing the young carabino about going off to be in the army. 141 00:19:12,040 --> 00:19:14,040 Okay, here's a bit of Non Piu Andrai. 142 00:19:42,040 --> 00:19:44,040 Okay, here's a bit of Non Piu Andrai. 143 00:20:13,040 --> 00:20:18,040 Okay, now here's the first part of the finale of Don Giovanni. 144 00:20:18,040 --> 00:20:21,040 Most of the banter is Giovanni saying how good the food is 145 00:20:21,040 --> 00:20:25,040 and Leporello trying to sneak some without his master noticing. 146 00:20:25,040 --> 00:20:31,040 But listen for Leporello's recognition of Cosa Rara and Il Litiganti, 147 00:20:31,040 --> 00:20:36,040 and when Non Piu Andrai starts, his line, questa poi la conosco portropo. 148 00:20:36,040 --> 00:21:03,040 Now that tune I know all too well. 149 00:21:03,040 --> 00:21:10,040 Jana menza premarata. 150 00:21:10,040 --> 00:21:16,040 Oi, sua la dia litigani. 151 00:21:16,040 --> 00:21:41,040 Oi, sua la dia litigani. 152 00:21:41,040 --> 00:21:57,040 Oi, sua la dia litigani. 153 00:21:57,040 --> 00:22:22,040 Oi, sua la dia litigani. 154 00:22:22,040 --> 00:22:37,040 Oi, sua la dia litigani. 155 00:22:37,040 --> 00:23:02,040 Oi, sua la dia litigani. 156 00:23:02,040 --> 00:23:27,040 Oi, sua la dia litigani. 157 00:23:27,040 --> 00:23:40,040 Oi, sua la dia litigani. 158 00:23:40,040 --> 00:23:52,040 Oi, sua la dia litigani. 159 00:23:52,040 --> 00:24:01,040 Oi, sua la dia litigani. 160 00:24:01,040 --> 00:24:11,040 Oi, sua la dia litigani. 161 00:24:11,040 --> 00:24:31,040 Oi, sua la dia litigani. 162 00:24:31,040 --> 00:24:51,040 Oi, sua la dia litigani. 163 00:24:51,040 --> 00:25:11,040 Oi, sua la dia litigani. 164 00:25:11,040 --> 00:25:27,040 Oi, sua la dia litigani. 165 00:25:27,040 --> 00:25:41,040 Oi, sua la dia litigani. 166 00:25:41,040 --> 00:25:52,040 Oi, sua la dia litigani. 167 00:25:52,040 --> 00:26:02,040 Oi, sua la dia litigani. 168 00:26:02,040 --> 00:26:12,040 Oi, sua la dia litigani. 169 00:26:12,040 --> 00:26:22,040 Oi, sua la dia litigani. 170 00:26:22,040 --> 00:26:32,040 Oi, sua la dia litigani. 171 00:26:32,040 --> 00:26:42,040 Oi, sua la dia litigani. 172 00:26:42,040 --> 00:26:52,040 Oi, sua la dia litigani. 173 00:26:52,040 --> 00:27:02,040 Oi, sua la dia litigani. 174 00:27:02,040 --> 00:27:12,040 Oi, sua la dia litigani. 175 00:27:12,040 --> 00:27:22,040 Oi, sua la dia litigani. 176 00:27:22,040 --> 00:27:32,040 Oi, sua la dia litigani. 177 00:27:32,040 --> 00:27:42,040 Oi, sua la dia litigani. 178 00:27:42,040 --> 00:27:52,040 Oi, sua la dia litigani. 179 00:27:52,040 --> 00:28:02,040 Oi, sua la dia litigani. 180 00:28:02,040 --> 00:28:12,040 Oi, sua la dia litigani. 181 00:28:12,040 --> 00:28:22,040 Oi, sua la dia litigani. 182 00:28:22,040 --> 00:28:32,040 Oi, sua la dia litigani. 183 00:28:32,040 --> 00:28:42,040 Oi, sua la dia litigani. 184 00:28:42,040 --> 00:29:02,040 Oi, sua la dia litigani. 185 00:29:02,040 --> 00:29:22,040 Oi, sua la dia litigani. 186 00:29:22,040 --> 00:29:32,040 Oi, sua la dia litigani. 187 00:29:32,040 --> 00:29:42,040 Oi, sua la dia litigani. 188 00:29:42,040 --> 00:29:52,040 Oi, sua la dia litigani. 189 00:29:52,040 --> 00:30:12,040 Oi, sua la dia litigani. 190 00:30:12,040 --> 00:30:32,040 Oi, sua la dia litigani. 191 00:30:32,040 --> 00:30:52,040 Oi, sua la dia litigani. 192 00:30:52,040 --> 00:31:12,040 Oi, sua la dia litigani. 193 00:31:12,040 --> 00:31:32,040 Oi, sua la dia litigani. 194 00:31:32,040 --> 00:31:52,040 Oi, sua la dia litigani. 195 00:31:52,040 --> 00:32:12,040 Oi, sua la dia litigani. 196 00:32:12,040 --> 00:32:32,040 Oi, sua la dia litigani. 197 00:32:32,040 --> 00:32:52,040 Oi, sua la dia litigani. 198 00:32:52,040 --> 00:33:12,040 Oi, sua la dia litigani. 199 00:33:12,040 --> 00:33:32,040 Oi, sua la dia litigani. 200 00:33:32,040 --> 00:33:42,040 Oi, sua la dia litigani. 201 00:33:42,040 --> 00:33:52,040 Oi, sua la dia litigani. 202 00:33:52,040 --> 00:34:02,040 Oi, sua la dia litigani. 203 00:34:02,040 --> 00:34:12,040 Oi, sua la dia litigani. 204 00:34:12,040 --> 00:34:32,040 Oi, sua la dia litigani. 205 00:34:32,040 --> 00:34:52,040 Oi, sua la dia litigani. 206 00:34:52,040 --> 00:35:02,040 Oi, sua la dia litigani. 207 00:35:02,040 --> 00:35:12,040 Oi, sua la dia litigani. 208 00:35:12,040 --> 00:35:22,040 Leonard Bernstein conducting the Chicago Symphony Orchestra in a brief excerpt from the first movement of Shostakovich's Seventh Symphony. 209 00:35:22,040 --> 00:35:31,040 Bartok was so annoyed at that theme, and probably also at the immense amount of brouhaha surrounding the premiere of the Shostakovich, 210 00:35:31,040 --> 00:35:37,040 that he made a parody of it in the interrupted intermezzo movement of the concerto for orchestra. 211 00:35:37,040 --> 00:35:43,040 He takes the most inane part of the Shostakovich theme, the descending scale passages, 212 00:35:43,040 --> 00:35:49,040 bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, 213 00:35:49,040 --> 00:35:56,040 and quotes them in an embellished manner in the clarinet, after which he presents the most obvious depiction of laughter, 214 00:35:56,040 --> 00:36:25,040 snickers, really, at a rude raspberry ever perpetrated by a symphony orchestra. 215 00:36:25,040 --> 00:36:44,040 I think it's in the Piazza Navona in Rome that there's a very ornate, ugly church, 216 00:36:44,040 --> 00:36:49,040 and opposite it, in the piazza, is a group statue done later by another artist, 217 00:36:49,040 --> 00:36:56,040 and one of the figures in the statue is grimacing and holding his arm up so as not to have to look at the church. 218 00:36:56,040 --> 00:36:59,040 That's what Bartok's quote from Shostakovich reminds me of. 219 00:36:59,040 --> 00:37:01,040 But it's more complicated than that. 220 00:37:01,040 --> 00:37:08,040 Some folks say that Shostakovich was himself parodying a number from an operetta called The Merry Widow, 221 00:37:08,040 --> 00:37:12,040 parodying it, perhaps, because the tune was said to be a favorite of Hitler's. 222 00:37:12,040 --> 00:37:17,040 Here's the relevant part of I'm Off to Shay Maxime by Lehrer. 223 00:37:17,040 --> 00:37:25,040 I'm off to Shay Maxime, the joy I've been extreme, 224 00:37:25,040 --> 00:37:31,040 the warm breeze of the dancing, the romance by the dancing. 225 00:37:31,040 --> 00:37:38,040 One more talk, don't you shoo, the common love to do. 226 00:37:38,040 --> 00:37:47,040 But when it comes to dancing, you'll try my fatherland. 227 00:37:47,040 --> 00:37:52,040 Let's match this once again, we are the motion thing. 228 00:37:52,040 --> 00:38:00,040 I'll be seeing my places with the feeling strange. 229 00:38:00,040 --> 00:38:08,040 It's me or me, my home, and I'll not shoo, shoo, shoo, shoo, shoo. 230 00:38:08,040 --> 00:38:25,040 This luxury replaces my dear fine fatherland. 231 00:38:25,040 --> 00:38:31,040 Werner Krenn singing Lehrer with Richard Bonning conducting the National Philharmonic Orchestra. 232 00:38:31,040 --> 00:38:35,040 So the Bartok may actually be a parody of a parody. 233 00:38:35,040 --> 00:38:37,040 But there's a distinction. 234 00:38:37,040 --> 00:38:41,040 It is clear that Bartok's quotation is paradistic in intention. 235 00:38:41,040 --> 00:38:46,040 That is not the case with the Shostakovich, partly because the quote is not as exact. 236 00:38:46,040 --> 00:38:55,040 Here's the entire interrupted intermezzo from Bartok's Concerto for Orchestra. 237 00:39:16,040 --> 00:39:26,040 Werner Krenn singing the National Philharmonic Orchestra. 238 00:39:46,040 --> 00:39:56,040 Werner Krenn singing the National Philharmonic Orchestra. 239 00:40:16,040 --> 00:40:26,040 Werner Krenn singing the National Philharmonic Orchestra. 240 00:40:46,040 --> 00:40:56,040 Werner Krenn singing the National Philharmonic Orchestra. 241 00:41:16,040 --> 00:41:26,040 Werner Krenn singing the National Philharmonic Orchestra. 242 00:41:46,040 --> 00:41:56,040 Werner Krenn singing the National Philharmonic Orchestra. 243 00:42:16,040 --> 00:42:26,040 Werner Krenn singing the National Philharmonic Orchestra. 244 00:42:46,040 --> 00:43:12,040 Werner Krenn singing the National Philharmonic Orchestra. 245 00:43:12,040 --> 00:43:20,040 The interrupted intermezzo from Bartok's Concerto for Orchestra. 246 00:43:20,040 --> 00:43:25,040 That was the Cleveland Orchestra under the baton of Christoph von Dochnany. 247 00:43:25,040 --> 00:43:27,040 My name is Peter Shickely. 248 00:43:27,040 --> 00:43:32,040 The program is Shickely Mix on APR. 249 00:43:32,040 --> 00:43:38,040 Next we have a quote or rather a misquote that's humorous but affectionate. 250 00:43:38,040 --> 00:43:41,040 My second string quartet was commissioned by the Lark Quartet. 251 00:43:41,040 --> 00:43:46,040 The name of the ensemble comes from the nickname of one of Haydn's most beloved works. 252 00:43:46,040 --> 00:43:51,040 And the quartet suggested that it might be nice to include a reference to the Haydn in my piece. 253 00:43:51,040 --> 00:44:16,040 Somebody a couple of centuries ago thought that the entrance of the first violin in Haydn's Opus 64 number 5 sounded like a lark. 254 00:44:16,040 --> 00:44:20,040 Well I don't know if it sounds like a lark or not but it sure is beautiful. 255 00:44:20,040 --> 00:44:23,040 That's the Gabriele Quartet performing. 256 00:44:23,040 --> 00:44:28,040 Weird to name a string quartet ensemble after a composer who didn't write any string quartets. 257 00:44:28,040 --> 00:44:38,040 Anyway I love the Haydn but the language is so different from that of my quartet that I decided to make the reference a little in-joke for quartet players and connoisseurs. 258 00:44:38,040 --> 00:44:49,040 In the Haydn the opening phrases of the second violin in viola are answered by the cello. 259 00:44:49,040 --> 00:44:52,040 And they play together until the first violin comes in. 260 00:44:52,040 --> 00:45:00,040 So I reversed the order. The second violin in viola now answer the cello which confuses the first violin about when to come in. 261 00:45:00,040 --> 00:45:06,040 After a couple of tentative tries everyone gives up and drops the Haydn in favor of some new material. 262 00:45:06,040 --> 00:45:09,040 It's the kind of thing that if you don't get it, it doesn't matter. 263 00:45:09,040 --> 00:45:14,040 But if you do know the Haydn well, well it's like the prize in the crackerjack box. 264 00:45:14,040 --> 00:45:17,040 Here's the scherzo movement from my second string quartet. 265 00:45:17,040 --> 00:45:22,040 It's actually a tape of the premier performance by the Lark Quartet. 266 00:45:47,040 --> 00:45:50,040 The second violin in viola now answer the cello. 267 00:46:17,040 --> 00:46:20,040 The second violin in viola now answer the cello. 268 00:46:47,040 --> 00:46:50,040 The second violin in viola now answer the cello. 269 00:47:17,040 --> 00:47:20,040 The second violin in viola now answer the cello. 270 00:47:47,040 --> 00:47:50,040 The second violin in viola now answer the cello. 271 00:48:17,040 --> 00:48:20,040 The second violin in viola now answer the cello. 272 00:48:47,040 --> 00:48:50,040 The second violin in viola now answer the cello. 273 00:49:17,040 --> 00:49:20,040 The second violin in viola now answer the cello. 274 00:49:47,040 --> 00:49:50,040 The second violin in viola now answer the cello. 275 00:50:17,040 --> 00:50:20,040 The second violin in viola now answer the cello. 276 00:50:47,040 --> 00:50:50,040 The second violin in viola now answer the cello. 277 00:51:17,040 --> 00:51:33,040 Whew! Do they play that or do they play that? 278 00:51:33,040 --> 00:51:38,040 That was a live, non-commercial recording made at the premier of the second movement 279 00:51:38,040 --> 00:51:45,040 of the regarded American composer Peter Sickles' String Quartet No. 2, subtitled In Memoriam. 280 00:51:45,040 --> 00:51:51,040 And in case In Memoriam seems like a strange subtitle for that piece of music, 281 00:51:51,040 --> 00:51:55,040 it's by far the liveliest movement in the whole quartet, 282 00:51:55,040 --> 00:52:01,040 and the quartet is written in memory of a man who had a fairly wicked sense of humor. 283 00:52:01,040 --> 00:52:08,040 Well, we are almost out of time here, but I've got a tidbit I just have to lay on you. 284 00:52:08,040 --> 00:52:11,040 This was made by a good friend of mine out on the West Coast, Jeff Earhart, 285 00:52:11,040 --> 00:52:17,040 who's a sound designer and voiceover actor, and it's... well, I'm not going to tell you. 286 00:53:11,040 --> 00:53:21,040 This was made by a good friend of mine out on the West Coast. 287 00:53:41,040 --> 00:54:03,040 Right on. 288 00:54:11,040 --> 00:54:25,040 2001, an aversion performed by the Trumpeting Fool and the 2001 Fools. 289 00:54:25,040 --> 00:54:32,040 My friend Jeff Earhart has made me swear not to reveal the identity of the Trumpeting Fool. 290 00:54:32,040 --> 00:54:34,040 And that's Sickly Mix for this week. 291 00:54:34,040 --> 00:54:39,040 Our program is made possible with funds provided by the American Public Radio Program Fund, 292 00:54:39,040 --> 00:54:43,040 whose contributors include the John D. and Catherine T. MacArthur Foundation, 293 00:54:43,040 --> 00:54:49,040 by the Corporation for Public Broadcasting, and also by this radio station and its members. 294 00:54:49,040 --> 00:54:51,040 Thank you, members. 295 00:54:51,040 --> 00:54:55,040 We'll tell you in a moment how you can get an official playlist of all the music on today's program 296 00:54:55,040 --> 00:54:57,040 with record numbers and everything. 297 00:54:57,040 --> 00:54:59,040 Just refer to the program number. 298 00:54:59,040 --> 00:55:02,040 This is program number 35. 299 00:55:02,040 --> 00:55:06,040 And this is Peter Shickley saying goodbye and reminding you that it don't mean a thing 300 00:55:06,040 --> 00:55:09,040 if it ain't got that certain je ne sais quoi. 301 00:55:09,040 --> 00:55:10,040 You're looking good. 302 00:55:10,040 --> 00:55:36,040 See you next week. 303 00:55:40,040 --> 00:56:09,040 Thank you. 304 00:56:10,040 --> 00:56:39,040 Thank you. 305 00:56:40,040 --> 00:57:09,040 Thank you. 306 00:57:10,040 --> 00:57:33,040 If you'd like a copy of that playlist I mentioned, send a stamped, self-addressed envelope to 307 00:57:33,040 --> 00:57:41,040 Schickly Mix, that's S-C-H-I-C-K-E-L-E, Schickly Mix, care of American Public Radio, 308 00:57:41,040 --> 00:57:49,040 100 North 6th Street, Suite 900A, Minneapolis, Minnesota, 55403. 309 00:57:49,040 --> 00:57:52,040 When is an antique car a clunker? 310 00:57:52,040 --> 00:57:54,040 And when is a clunker a polluter? 311 00:57:54,040 --> 00:58:04,040 Friends, this is Bruce Robertson on the next edition of the Environment Show. Question.