1 00:00:00,000 --> 00:00:21,000 Hello there, I'm Peter Schickele and this is Schickele Mix, a program dedicated to the 2 00:00:21,000 --> 00:00:26,640 proposition that all musics are created equal, or as Duke Ellington put it, if it sounds 3 00:00:26,640 --> 00:00:29,020 good it is good. 4 00:00:29,020 --> 00:00:33,240 And it's good to know that our bills are being paid by the fine radio station in which I 5 00:00:33,240 --> 00:00:38,240 am ensconced and to which you are listening. 6 00:00:38,240 --> 00:00:45,380 As composers go, and they do just like everybody else, I got interested in music quite late. 7 00:00:45,380 --> 00:00:49,280 The summer I turned 8 years old, my parents said I had to take piano lessons and if I 8 00:00:49,280 --> 00:00:50,980 didn't like it I could quit. 9 00:00:50,980 --> 00:00:53,200 And I didn't like it and I quit. 10 00:00:53,200 --> 00:01:00,200 Although I must say I can still do quite a rousing rendition of In a Wigwam by John Thompson. 11 00:01:00,200 --> 00:01:04,480 I think I must have gotten a gold star pasted to that page. 12 00:01:04,480 --> 00:01:06,660 But I don't think I ever made it to book 2. 13 00:01:06,660 --> 00:01:11,820 Anyway, the family moved to Fargo, North Dakota when I turned 12 and I started hanging around 14 00:01:11,820 --> 00:01:15,420 the record department of DeVoe's Music Store. 15 00:01:15,420 --> 00:01:20,000 By the way, that department was eventually run by a nice guy named Bill Buck who told 16 00:01:20,000 --> 00:01:24,220 me that someone had come into the store once and said to him, I don't know anything about 17 00:01:24,220 --> 00:01:27,580 classical music, but I heard a piece on the radio I liked a lot. 18 00:01:27,580 --> 00:01:32,740 It was by somebody named Mozart and I think it was called I'm Inclined to Knock Music. 19 00:01:32,740 --> 00:01:34,760 I don't know. 20 00:01:34,760 --> 00:01:36,780 You think that really happened? 21 00:01:36,780 --> 00:01:42,340 Now my friend Walter Prausnitz, who knows Bill Buck very well, he says that... 22 00:01:42,340 --> 00:01:43,340 Okay. 23 00:01:43,340 --> 00:01:44,340 Okay. 24 00:01:44,340 --> 00:01:45,340 Okay. 25 00:01:45,340 --> 00:01:46,340 Man. 26 00:01:46,340 --> 00:01:52,100 Now it's true, I was straying from the point, but did you notice how long that irrelevancy 27 00:01:52,100 --> 00:01:53,700 alarm sounded? 28 00:01:53,700 --> 00:01:56,480 I think it has a prejudice against puns. 29 00:01:56,480 --> 00:02:00,900 The point I was groping towards is that I can remember coming home one afternoon and 30 00:02:00,900 --> 00:02:04,980 saying to my mother, boy, you know what I saw at DeVoe's today? 31 00:02:04,980 --> 00:02:08,060 A record with a piece on it called Fugu. 32 00:02:08,060 --> 00:02:09,900 Can you believe that? 33 00:02:09,900 --> 00:02:14,860 Okay, so maybe I wasn't the most cultured kid in the world, but hey, come on. 34 00:02:14,860 --> 00:02:17,760 It's spelled F-U-G-U-E. 35 00:02:17,760 --> 00:02:21,420 How would you have pronounced that when you were 13? 36 00:02:21,420 --> 00:02:24,340 Well within a few years I was writing fugues. 37 00:02:24,340 --> 00:02:28,780 And we're going to be hearing some delectable examples of the genre, which is why today's 38 00:02:28,780 --> 00:02:32,820 show is called The Fugal Gourmet. 39 00:02:32,820 --> 00:02:37,100 One of the characteristics of a fugue is that the various vocal or instrumental parts come 40 00:02:37,100 --> 00:02:40,240 in one after another doing the same melody. 41 00:02:40,240 --> 00:02:42,340 What does that remind you of? 42 00:02:42,340 --> 00:02:45,140 That's right, a round. 43 00:02:45,140 --> 00:03:03,500 So let's start at the beginning. 44 00:03:03,500 --> 00:03:05,980 So let's start back at the beginning. 45 00:03:05,980 --> 00:03:09,860 Here's the earliest preserved round in Western music. 46 00:03:09,860 --> 00:03:15,860 In this case, the two bottom voices do a short repeated figure that's sort of a musical rug, 47 00:03:15,860 --> 00:03:18,900 an accompaniment that has nothing to do with the imitation. 48 00:03:18,900 --> 00:03:23,780 But after that is set up, you'll hear the first main voice sing through the whole melody. 49 00:03:23,780 --> 00:03:27,300 Then he goes back to the beginning and this time a second voice comes in with the same 50 00:03:27,300 --> 00:03:30,020 melody but four beats later. 51 00:03:30,020 --> 00:03:33,700 The third time they add the third voice four beats after the second. 52 00:03:33,700 --> 00:03:39,280 And the last time there are four singers singing the same melody, each one starting four beats 53 00:03:39,280 --> 00:03:40,980 after the previous singer. 54 00:03:40,980 --> 00:03:47,300 Sumer is a coming in, which I happen to know is old English for summer is a coming in, 55 00:03:47,300 --> 00:04:15,880 was written around the year 1240. 56 00:04:15,880 --> 00:04:42,200 Sumer is a coming in, which I happen to know is old English for summer is a coming in, 57 00:04:42,200 --> 00:05:05,800 was written around the year 1240. 58 00:05:05,800 --> 00:05:31,000 Sumer is a coming in, which I happen to know is old English for summer is a coming in, 59 00:05:31,000 --> 00:05:41,920 was written around the year 1240. 60 00:05:41,920 --> 00:05:47,360 Now although the fugue developed more than 400 years later, I'd like to mention here 61 00:05:47,360 --> 00:06:00,720 that the entry of the different parts in Sumer is a coming in, creates the 62 00:06:00,720 --> 00:06:07,800 feeling of voices chasing each other, which is what the Latin word fuga means. 63 00:06:07,800 --> 00:06:11,880 Now let's skip ahead to the second half of the 16th century and hear an excerpt from 64 00:06:11,880 --> 00:06:14,120 a mass by Palestrina. 65 00:06:14,120 --> 00:06:18,620 Here too the voices enter in imitation, but they don't always start on the same pitch 66 00:06:18,620 --> 00:06:23,720 as the previous voice and also after they imitate the first few notes of the previous 67 00:06:23,720 --> 00:06:26,920 voice they proceed freely. 68 00:06:26,920 --> 00:06:31,520 There are several different melodic ideas that get imitated, at the beginning there's 69 00:06:31,520 --> 00:06:47,920 ah-n-yoo-s-day, then later qui-to-lis or qui-to-lis or sometimes qui-to-lis, we're not talking 70 00:06:47,920 --> 00:06:50,080 strict imitation here. 71 00:06:50,080 --> 00:06:57,840 Then later still mi-ze-re-re gets traded around. 72 00:06:57,840 --> 00:07:00,720 These are called points of imitation. 73 00:07:00,720 --> 00:07:05,000 I suppose if Palestrina had written a mass when George Bush was president he would have 74 00:07:05,000 --> 00:07:07,540 used a thousand points of imitation. 75 00:07:07,540 --> 00:07:24,120 But here he makes do with just a few. 76 00:07:24,120 --> 00:07:38,820 Ah-n-yoo-s-day. 77 00:07:38,820 --> 00:07:54,820 Ah-n-yoo-s-day. 78 00:07:54,820 --> 00:08:10,820 Ah-n-yoo-s-day. 79 00:08:10,820 --> 00:08:26,820 Ah-n-yoo-s-day. 80 00:08:26,820 --> 00:08:42,820 Ah-n-yoo-s-day. 81 00:08:42,820 --> 00:08:58,820 Ah-n-yoo-s-day. 82 00:08:58,820 --> 00:09:14,820 Ah-n-yoo-s-day. 83 00:09:14,820 --> 00:09:34,820 Ah-n-yoo-s-day. 84 00:09:34,820 --> 00:09:54,820 Ah-n-yoo-s-day. 85 00:09:54,820 --> 00:10:14,820 Ah-n-yoo-s-day. 86 00:10:14,820 --> 00:10:34,820 Ah-n-yoo-s-day. 87 00:10:34,820 --> 00:10:54,820 Ah-n-yoo-s-day. 88 00:10:54,820 --> 00:11:14,820 Ah-n-yoo-s-day. 89 00:11:14,820 --> 00:11:34,820 Ah-n-yoo-s-day. 90 00:11:34,820 --> 00:11:54,820 Ah-n-yoo-s-day. 91 00:11:54,820 --> 00:12:14,820 Ah-n-yoo-s-day. 92 00:12:14,820 --> 00:12:34,820 Ah-n-yoo-s-day. 93 00:12:34,820 --> 00:12:54,820 Ah-n-yoo-s-day. 94 00:12:54,820 --> 00:13:14,820 Ah-n-yoo-s-day. 95 00:13:14,820 --> 00:13:34,820 Ah-n-yoo-s-day. 96 00:13:34,820 --> 00:13:54,820 Ah-n-yoo-s-day. 97 00:13:54,820 --> 00:14:14,820 Ah-n-yoo-s-day. 98 00:14:14,820 --> 00:14:24,820 Ah-n-yoo-s-day. 99 00:14:44,820 --> 00:15:04,820 Ah-n-yoo-s-day. 100 00:15:04,820 --> 00:15:14,820 Ah-n-yoo-s-day. 101 00:15:14,820 --> 00:15:24,820 Ah-n-yoo-s-day. 102 00:15:24,820 --> 00:15:34,820 Ah-n-yoo-s-day. 103 00:15:34,820 --> 00:15:44,820 Ah-n-yoo-s-day. 104 00:15:44,820 --> 00:15:52,820 Ah-n-yoo-s-day. 105 00:15:52,820 --> 00:16:02,820 Ah-n-yoo-s-day. 106 00:16:02,820 --> 00:16:12,820 Ah-n-yoo-s-day. 107 00:16:12,820 --> 00:16:22,820 Ah-n-yoo-s-day. 108 00:16:22,820 --> 00:16:32,820 Ah-n-yoo-s-day. 109 00:16:32,820 --> 00:16:40,820 Ah-n-yoo-s-day. 110 00:16:40,820 --> 00:16:50,820 Ah-n-yoo-s-day. 111 00:16:50,820 --> 00:17:00,820 Ah-n-yoo-s-day. 112 00:17:00,820 --> 00:17:10,820 Ah-n-yoo-s-day. 113 00:17:10,820 --> 00:17:20,820 Ah-n-yoo-s-day. 114 00:17:20,820 --> 00:17:30,820 Ah-n-yoo-s-day. 115 00:17:30,820 --> 00:17:40,820 Ah-n-yoo-s-day. 116 00:17:40,820 --> 00:17:50,820 Ah-n-yoo-s-day. 117 00:17:50,820 --> 00:18:00,820 Ah-n-yoo-s-day. 118 00:18:00,820 --> 00:18:10,820 Ah-n-yoo-s-day. 119 00:18:10,820 --> 00:18:20,820 Ah-n-yoo-s-day. 120 00:18:20,820 --> 00:18:30,820 Ah-n-yoo-s-day. 121 00:18:30,820 --> 00:18:40,820 Ah-n-yoo-s-day. 122 00:18:40,820 --> 00:18:50,820 Ah-n-yoo-s-day. 123 00:18:50,820 --> 00:19:00,820 Ah-n-yoo-s-day. 124 00:19:00,820 --> 00:19:10,820 Ah-n-yoo-s-day. 125 00:19:10,820 --> 00:19:20,820 Ah-n-yoo-s-day. 126 00:19:20,820 --> 00:19:30,820 Ah-n-yoo-s-day. 127 00:19:30,820 --> 00:19:40,820 Ah-n-yoo-s-day. 128 00:19:40,820 --> 00:19:50,820 Top voice. 129 00:19:50,820 --> 00:20:02,820 Another episode. 130 00:20:02,820 --> 00:20:10,820 Bass voice. 131 00:20:10,820 --> 00:20:18,820 Top voice, winding down. 132 00:20:18,820 --> 00:20:25,820 It seems only fair to Johann Sebastian to listen to the piece again without any blabbering on my part, 133 00:20:25,820 --> 00:20:30,820 and also to hear it on an instrument that the old guy might have played it on himself, the harpsichord. 134 00:20:30,820 --> 00:20:32,820 This is Glenn Wilson. 135 00:21:00,820 --> 00:21:20,820 Harpsichord solo. 136 00:21:20,820 --> 00:21:40,820 Harpsichord solo. 137 00:21:40,820 --> 00:22:00,820 Harpsichord solo. 138 00:22:00,820 --> 00:22:11,820 Harpsichord solo. 139 00:22:11,820 --> 00:22:19,820 Glenn Wilson playing the second fugue, the fugue in C minor, from the first book of Bach's Well-Tempered Clavier. 140 00:22:19,820 --> 00:22:24,820 When I said an instrument that Bach might have played it on, I didn't mean that the piano wasn't invented in his day. 141 00:22:24,820 --> 00:22:29,820 It had been invented, but he didn't seem to be partial to it. 142 00:22:29,820 --> 00:22:33,820 Bach is to the fugue what Shakespeare is to modern drama. 143 00:22:33,820 --> 00:22:38,820 He didn't exactly invent it, but he might as well have, whatever that means. 144 00:22:38,820 --> 00:22:47,820 I guess partly what I mean by the Bach-Shakespeare comparison is that the same person who wrote the earliest examples of the genre that we still enjoy 145 00:22:47,820 --> 00:22:51,820 is also regarded as the greatest purveyor of that genre. 146 00:22:51,820 --> 00:22:55,820 That's not true, say, with the symphony or the novel. 147 00:22:55,820 --> 00:22:58,820 Okay, we've heard a pithy utterance. 148 00:22:58,820 --> 00:23:02,820 Now let's hear a major speech from the master of the fugue. 149 00:23:28,820 --> 00:23:56,820 Harpsichord solo. 150 00:23:56,820 --> 00:24:25,820 Harpsichord solo. 151 00:24:25,820 --> 00:24:54,820 Harpsichord solo. 152 00:24:54,820 --> 00:25:23,820 Harpsichord solo. 153 00:25:23,820 --> 00:25:52,820 Harpsichord solo. 154 00:25:52,820 --> 00:26:21,820 Harpsichord solo. 155 00:26:21,820 --> 00:26:50,820 Harpsichord solo. 156 00:26:50,820 --> 00:27:19,820 Harpsichord solo. 157 00:27:19,820 --> 00:27:48,820 Harpsichord solo. 158 00:27:48,820 --> 00:28:17,820 Harpsichord solo. 159 00:28:17,820 --> 00:28:46,820 Harpsichord solo. 160 00:28:46,820 --> 00:28:55,820 Harpsichord solo. 161 00:28:55,820 --> 00:28:59,820 Boy, there is something just satisfying about a good fugue. 162 00:28:59,820 --> 00:29:04,820 It just builds up a tremendous sort of visceral drive. 163 00:29:04,820 --> 00:29:11,820 That was the fugue in G minor by Bach, played by Lionel Rogue. 164 00:29:11,820 --> 00:29:16,820 And this album, he seems to have been playing on a bunch of different organs. 165 00:29:16,820 --> 00:29:18,820 I'm not sure which organ that was. 166 00:29:18,820 --> 00:29:21,820 I know you organists out there want to know, but you'll just have to get the album. 167 00:29:21,820 --> 00:29:24,820 I really like the way he plays that, too. 168 00:29:24,820 --> 00:29:28,820 Those of you who heard our program on words to instrumental music 169 00:29:28,820 --> 00:29:31,820 may remember the words that somebody put to it, 170 00:29:31,820 --> 00:29:36,820 because this guy named Ebenezer Prout wrote words for all the subjects 171 00:29:36,820 --> 00:29:39,820 of the Bach fugues in the Well-Tempered Clavier. 172 00:29:39,820 --> 00:29:43,820 Well, somebody else wrote words to this subject, saying, 173 00:29:43,820 --> 00:29:46,820 Oh, Ebenezer Prout, you are a silly man. 174 00:29:46,820 --> 00:29:49,820 What on earth inspired your stupid little plan? 175 00:29:49,820 --> 00:29:53,820 You who make Bach fugues as nasty as you can. 176 00:29:53,820 --> 00:29:56,820 But those words can't ruin that fugue. 177 00:29:56,820 --> 00:29:58,820 I'm Peter Shickley. 178 00:29:58,820 --> 00:30:07,820 The program is Shickley Mix from PRI, Public Radio International. 179 00:30:07,820 --> 00:30:11,820 The second and last suite today consists of three fugues, 180 00:30:11,820 --> 00:30:14,820 all of which are based on unusual themes, 181 00:30:14,820 --> 00:30:17,820 or themes that have something special about them. 182 00:30:17,820 --> 00:30:19,820 Now, if you're not musically trained, 183 00:30:19,820 --> 00:30:23,820 you probably won't know what's special about the subject of the third and last fugue, 184 00:30:23,820 --> 00:30:25,820 but I'll tell you when it's over. 185 00:30:25,820 --> 00:30:29,820 The subject of the middle fugue is an extremely well-known theme, 186 00:30:29,820 --> 00:30:33,820 and the subject of the first fugue is a bit peculiar, 187 00:30:33,820 --> 00:30:39,820 a tonally rather ambiguous melody, quite unusual for the middle of the 18th century. 188 00:30:39,820 --> 00:30:43,820 The story that has become attached to this fugue is that the composer's cat 189 00:30:43,820 --> 00:30:47,820 walked across the keys of his harpsichord and played those eight notes. 190 00:30:47,820 --> 00:30:51,820 Naturally, musicologists poo-poo that story, 191 00:30:51,820 --> 00:30:54,820 as they always do with the really good ones. 192 00:30:54,820 --> 00:30:59,820 Although I do have to admit that it's hard to imagine a cat playing those notes. 193 00:30:59,820 --> 00:31:04,820 At least, none of my cats has ever played anything remotely that organized. 194 00:31:04,820 --> 00:31:08,820 Be that as it may, it has come to be known as the cat's fugue, 195 00:31:08,820 --> 00:31:11,820 not to be confused with his pajamas. 196 00:31:11,820 --> 00:31:16,820 The that's-an-interesting-subject fugue suite lasts about nine and a half minutes. 197 00:31:16,820 --> 00:31:31,820 See you later. 198 00:31:46,820 --> 00:32:06,820 See you later. 199 00:32:16,820 --> 00:32:36,820 See you later. 200 00:32:46,820 --> 00:33:14,820 See you later. 201 00:33:16,820 --> 00:33:26,820 See you later. 202 00:33:46,820 --> 00:34:06,820 See you later. 203 00:34:06,820 --> 00:34:26,820 See you later. 204 00:34:26,820 --> 00:34:36,820 See you later. 205 00:34:56,820 --> 00:35:16,820 See you later. 206 00:35:16,820 --> 00:35:26,820 See you later. 207 00:35:46,820 --> 00:36:06,820 See you later. 208 00:36:06,820 --> 00:36:26,820 See you later. 209 00:36:26,820 --> 00:36:46,820 See you later. 210 00:36:46,820 --> 00:37:06,820 See you later. 211 00:37:06,820 --> 00:37:26,820 See you later. 212 00:37:26,820 --> 00:37:46,820 See you later. 213 00:37:46,820 --> 00:38:06,820 See you later. 214 00:38:06,820 --> 00:38:16,820 See you later. 215 00:38:36,820 --> 00:38:56,820 See you later. 216 00:38:56,820 --> 00:39:16,820 See you later. 217 00:39:16,820 --> 00:39:36,820 See you later. 218 00:39:36,820 --> 00:39:56,820 See you later. 219 00:39:56,820 --> 00:40:06,820 See you later. 220 00:40:26,820 --> 00:40:39,820 See you later. 221 00:40:39,820 --> 00:40:42,820 That's-an-interesting-subject fugue suite. 222 00:40:42,820 --> 00:40:46,820 We began with the so-called cat's fugue, 223 00:40:46,820 --> 00:40:50,820 actually called an exercise by Domenico Scarlatti. 224 00:40:50,820 --> 00:40:53,820 That is Kirkpatrick number 30. 225 00:40:53,820 --> 00:40:56,820 It's in G minor, and that was performed by Scott Ross 226 00:40:56,820 --> 00:40:58,820 on the harpsichord. 227 00:40:58,820 --> 00:41:01,820 Then, P.D.Q. Bach's Fugue of Vulgaris, 228 00:41:01,820 --> 00:41:06,820 the fugue in C minor from the Tute Suite for Calliope Four Hands, 229 00:41:06,820 --> 00:41:09,820 and that was played by Emanuel Pettel 230 00:41:09,820 --> 00:41:13,820 from the P.D.Q. Bach album P.D.Q. Bach on the Air. 231 00:41:13,820 --> 00:41:18,820 And then, finally, we heard Bernard Ringeisen. 232 00:41:18,820 --> 00:41:20,820 I'm not sure how he says that name. 233 00:41:20,820 --> 00:41:23,820 He's sort of German, but he seems to be French. 234 00:41:23,820 --> 00:41:28,820 Anyway, playing a fugue from the Rimsky-Korsakov Variations, 235 00:41:28,820 --> 00:41:32,820 Op. 10, on the name Bach. 236 00:41:32,820 --> 00:41:34,820 And let me explain that. 237 00:41:34,820 --> 00:41:39,820 Unlike in our country, where we only use the letters A through G 238 00:41:39,820 --> 00:41:44,820 to define the notes, in Germany they use one more letter. 239 00:41:44,820 --> 00:41:47,820 The letter B in Germany means B-flat, 240 00:41:47,820 --> 00:41:50,820 and for B-natural they use the letter H. 241 00:41:50,820 --> 00:41:53,820 I don't know why that is. I'll have to look that up. 242 00:41:53,820 --> 00:41:55,820 But anyway, that is the way it is, 243 00:41:55,820 --> 00:42:01,820 and that makes it possible in Germany to spell the name Bach with notes. 244 00:42:01,820 --> 00:42:05,820 B-flat, A, C, H. 245 00:42:05,820 --> 00:42:10,820 And many composers have written pieces using that theme as an homage to Bach. 246 00:42:10,820 --> 00:42:15,820 And the slightly creepy thing is that the last thing Bach was working on 247 00:42:15,820 --> 00:42:20,820 when he died had in the alto part, right a few notes before the end, 248 00:42:20,820 --> 00:42:25,820 the alto part spelled out, that B-A-C-H. 249 00:42:25,820 --> 00:42:28,820 Okay, now it's tidbit time. 250 00:42:28,820 --> 00:42:31,820 And for our tidbit today, we're going back to P.D.Q. Bach, 251 00:42:31,820 --> 00:42:34,820 because he made what is quite a revolutionary discovery, 252 00:42:34,820 --> 00:42:37,820 and I'm really surprised that other composers didn't pick this up 253 00:42:37,820 --> 00:42:39,820 and follow through on it. 254 00:42:39,820 --> 00:42:44,820 What P.D.Q. Bach discovered with his cantata Knock Knock 255 00:42:44,820 --> 00:42:47,820 is that he just did this so that he could remember jokes better, 256 00:42:47,820 --> 00:42:49,820 setting them to music. 257 00:42:49,820 --> 00:42:51,820 But he discovered a wonderful system. 258 00:42:51,820 --> 00:42:54,820 You set up the joke with the recitative, 259 00:42:54,820 --> 00:42:58,820 and then you set the punchline as a choral number. 260 00:42:58,820 --> 00:43:01,820 It's very effective. It's a good way to remember jokes, 261 00:43:01,820 --> 00:43:06,820 and it also makes for a very effective recitative and fugue or whatever it is. 262 00:43:06,820 --> 00:43:10,820 The last movement of the choral cantata Knock Knock 263 00:43:10,820 --> 00:43:15,820 is an extremely involved joke with a long setup. 264 00:43:15,820 --> 00:43:17,820 So we've got a recitative here and a chorus, 265 00:43:17,820 --> 00:43:21,820 and the chorus is an elaborate fugue on the punchline. 266 00:43:21,820 --> 00:43:25,820 Here we go. This movement is called So This Guy. 267 00:43:25,820 --> 00:43:29,820 So this guy who works at an aquarium 268 00:43:29,820 --> 00:43:32,820 Gets summoned by his boss 269 00:43:32,820 --> 00:43:37,820 Who is looking very worried 270 00:43:37,820 --> 00:43:41,820 And she says to him 271 00:43:41,820 --> 00:43:44,820 I just walked by the dolphin tank 272 00:43:44,820 --> 00:43:48,820 And they're feeling very amorous 273 00:43:48,820 --> 00:43:53,820 They're doing all sorts of things to each other 274 00:43:53,820 --> 00:43:56,820 And the trouble is in less than an hour 275 00:43:56,820 --> 00:44:00,820 We've got three busloads of second graders coming 276 00:44:00,820 --> 00:44:05,820 We can't have them watching those naughty dolphins 277 00:44:05,820 --> 00:44:10,820 Behaving as if they were in a porno flick 278 00:44:10,820 --> 00:44:16,820 Now there's only one thing that acts as an anti-aphrodisiac for dolphins 279 00:44:16,820 --> 00:44:21,820 And that's the meat of baby seagulls 280 00:44:21,820 --> 00:44:24,820 So I want you to go down to the seashore 281 00:44:24,820 --> 00:44:27,820 Catch yourself some baby seagulls 282 00:44:27,820 --> 00:44:29,820 Put them in this bag 283 00:44:29,820 --> 00:44:33,820 And hurry on back 284 00:44:33,820 --> 00:44:36,820 But be careful 285 00:44:36,820 --> 00:44:40,820 A lion escaped from the zoo this morning 286 00:44:40,820 --> 00:44:43,820 And though he was heavily sedated 287 00:44:43,820 --> 00:44:49,820 He still just might be dangerous 288 00:44:49,820 --> 00:44:52,820 Okay, get going 289 00:44:52,820 --> 00:44:59,820 And make it snappy 290 00:44:59,820 --> 00:45:03,820 So the guy takes a shortcut through the forest to the seashore 291 00:45:03,820 --> 00:45:06,820 He fills the bag with baby seagulls 292 00:45:06,820 --> 00:45:10,820 And he's walking back through the forest 293 00:45:10,820 --> 00:45:13,820 When he sees a lion 294 00:45:13,820 --> 00:45:16,820 And it is lying 295 00:45:16,820 --> 00:45:19,820 Across the path 296 00:45:19,820 --> 00:45:28,820 Directly in front of him 297 00:45:28,820 --> 00:45:31,820 It's too late to run away 298 00:45:31,820 --> 00:45:34,820 And the feline does seem very placid 299 00:45:34,820 --> 00:45:38,820 So summoning up all his courage 300 00:45:38,820 --> 00:45:49,820 He steps across the lion 301 00:45:49,820 --> 00:45:51,820 Nothing happens 302 00:45:51,820 --> 00:45:55,820 And so with much relief the guy begins to resume his journey 303 00:45:55,820 --> 00:45:59,820 When all of a sudden a policeman steps out of the forest 304 00:45:59,820 --> 00:46:01,820 He grabs a guy by the arm 305 00:46:01,820 --> 00:46:05,820 And says to him 306 00:46:05,820 --> 00:46:11,820 You're under arrest 307 00:46:11,820 --> 00:46:13,820 The guy can't believe it 308 00:46:13,820 --> 00:46:15,820 He says 309 00:46:15,820 --> 00:46:21,820 Tell me officer, what's the charge? 310 00:46:21,820 --> 00:46:33,820 And the policeman says 311 00:46:33,820 --> 00:46:37,820 Transporting young girls across a state line 312 00:46:37,820 --> 00:46:48,820 For immoral purposes 313 00:46:48,820 --> 00:46:53,820 Transporting young girls across a state line 314 00:46:53,820 --> 00:47:14,820 For immoral purposes 315 00:47:14,820 --> 00:47:43,820 Transporting young girls across a state line 316 00:47:43,820 --> 00:48:00,820 For immoral purposes 317 00:48:00,820 --> 00:48:15,820 Transporting young girls across a state line 318 00:48:15,820 --> 00:48:18,820 For immoral purposes 319 00:48:18,820 --> 00:48:35,820 Transporting young girls across a state line 320 00:48:35,820 --> 00:48:46,820 Transporting young girls across a state line 321 00:48:46,820 --> 00:49:13,820 For immoral purposes 322 00:49:13,820 --> 00:49:18,820 The last movement of P.D.Q. Bach's choral cantata, Knock Knock. 323 00:49:18,820 --> 00:49:24,820 The soloists were Shelley Cohen, soprano, Richard Kosofsky, tenor, 324 00:49:24,820 --> 00:49:28,820 Scott Hogshead, baritone, and Michael O'Hearn, bass. 325 00:49:28,820 --> 00:49:33,820 That was your humble host conducting the Greater Hoople Area off-season philharmonic 326 00:49:33,820 --> 00:49:37,820 and the OK Chorale. 327 00:49:37,820 --> 00:49:39,820 And that's about it for our show today. 328 00:49:39,820 --> 00:49:43,820 I can't believe this. 329 00:49:43,820 --> 00:49:44,820 Three times? 330 00:49:44,820 --> 00:49:47,820 Hello? 331 00:49:47,820 --> 00:49:49,820 Okay, you're the third one, you know. 332 00:49:49,820 --> 00:49:51,820 Okay, you got it. 333 00:49:51,820 --> 00:49:52,820 We'll do right now. 334 00:49:52,820 --> 00:49:54,820 Okay, thanks an awful lot for calling. 335 00:49:54,820 --> 00:49:55,820 Bye. 336 00:49:55,820 --> 00:50:00,820 All right, I think that three times constitutes popular demand. 337 00:50:00,820 --> 00:50:07,820 Three people calling in asking me to play In a Wigwam from John Thompson, book one. 338 00:50:07,820 --> 00:50:09,820 And I don't see how I can disappoint those people. 339 00:50:09,820 --> 00:50:11,820 So here goes. 340 00:50:11,820 --> 00:50:14,820 I've got the authentic instrument set on piano here. 341 00:50:14,820 --> 00:50:16,820 It's the closest it comes to piano. 342 00:50:16,820 --> 00:50:18,820 And I'm going to play In a Wigwam. 343 00:50:18,820 --> 00:50:22,820 Now, I do have to tell you that it's been about 42 years now. 344 00:50:22,820 --> 00:50:36,820 So I may not remember it exactly, but this is pretty close, I think. 345 00:50:36,820 --> 00:51:02,820 Always loved that part. 346 00:51:02,820 --> 00:51:04,820 And that's Sickly Mix for this week. 347 00:51:04,820 --> 00:51:10,820 Our program is made possible with funds provided by this radio station and its members. 348 00:51:10,820 --> 00:51:17,820 We'll tell you in a moment how you can get an official playlist of all the music on today's program with record numbers and everything. 349 00:51:17,820 --> 00:51:19,820 Just refer to the program number. 350 00:51:19,820 --> 00:51:22,820 This is program 52. 351 00:51:22,820 --> 00:51:29,820 And this is Peter Sickly saying goodbye and reminding you that it don't mean a thing if it ain't got that certain je ne sais quoi. 352 00:51:29,820 --> 00:51:30,820 You're looking good. 353 00:51:30,820 --> 00:51:36,820 See you next week. 354 00:52:00,820 --> 00:52:03,820 ¶. 355 00:52:30,820 --> 00:52:33,820 ¶. 356 00:53:00,820 --> 00:53:03,820 ¶. 357 00:53:31,820 --> 00:53:33,820 ¶. 358 00:53:51,820 --> 00:53:57,820 If you'd like a copy of that playlist I mentioned, send a stamped, self-addressed envelope to Sickly Mix. 359 00:53:57,820 --> 00:54:02,820 That's S-C-H-I-C-K-E-L-E, Sickly Mix. 360 00:54:02,820 --> 00:54:12,820 Care of Public Radio International, 100 North 6th Street, Suite 900A, Minneapolis, Minnesota, 55403. 361 00:54:12,820 --> 00:54:27,820 P-R-I, Public Radio International.