1 00:00:00,000 --> 00:00:14,580 [music: theme; Mozart, Symphony No. 24 (K 182), 2nd Mvt.; Philharmonic Symphony Orchestra of London/Leinsdorf] 2 00:00:14,580 --> 00:00:26,720 Hello there, I'm Peter Schickele, and this is Schickele Mix, a program dedicated to the proposition that all musics are created equal, or as Duke Ellington put it, if it sounds good, it is good. 3 00:00:27,200 --> 00:00:41,900 But it wouldn't sound at all if you couldn't hear it, and for the fact that we can hear these sounds, thanks are due the American Public Radio Program Fund, whose contributors include the Ford Foundation, the Corporation for Public Broadcasting, and also this radio station. 4 00:00:42,760 --> 00:01:03,820 A friend of mine was in Chicago recently, and he was staying at a nice, modest hotel with a European flavor, and he gets up in the morning, and he goes down to have breakfast in the Konditorei, which is a German word for café, and he walks in, and this is for real now, he walks in, and what do you think they're playing for Muzak? Now remember, this is breakfast time. 5 00:01:04,460 --> 00:01:17,940 [music excerpt: Stravinsky, "Le Sacre du printemps"; London Symphony Orchestra/Bernstein] 6 00:01:18,600 --> 00:01:19,850 Good morning, sir! 7 00:01:20,290 --> 00:01:21,190 Hi, how you doing? 8 00:01:21,490 --> 00:01:26,650 What may I bring you today? Some warm milk, perhaps? 9 00:01:29,820 --> 00:01:33,720 The cantaloupe is very soft and delicious this morning. 10 00:01:34,990 --> 00:01:35,510 Well? 11 00:01:37,030 --> 00:01:38,810 Some nice smooth yogurt. 12 00:01:41,260 --> 00:01:43,480 Do you have any Alka-Seltzer? 13 00:01:47,380 --> 00:01:49,460 Stravinsky's The Rite of Spring for breakfast. 14 00:01:50,890 --> 00:01:54,990 The lines are embellished, but that really happened. The Stravinsky was really playing. 15 00:01:55,730 --> 00:01:59,570 And my friend said it was just an excerpt followed by some other piece. 16 00:01:59,610 --> 00:02:01,750 So they hadn't just put a tape or a CD on. 17 00:02:01,750 --> 00:02:08,020 This was a programmed background music thing. I can see the music services brochure. 18 00:02:08,160 --> 00:02:17,440 You can't go wrong with the Rite. Your guests will be ready to spring into action when they feel the pagan power of your Dionysian dining room. 19 00:02:17,800 --> 00:02:19,020 Why settle for... 20 00:02:20,000 --> 00:02:25,240 All right, all right. I guess I can't argue with the irrelevance alarm on that one. 21 00:02:25,420 --> 00:02:28,320 Anyway, how does the music you hear influence you? 22 00:02:28,320 --> 00:02:37,500 I remember reading years ago that a study showed that cows give more milk if you play classical music for them than if you play rock and roll or no music. 23 00:02:38,130 --> 00:02:52,430 And just this morning, here's an article in the paper that says that researchers at the Center for the Neurobiology of Learning and Memory at the University of California, Irvine 24 00:02:52,430 --> 00:03:02,210 have determined that 10 minutes of listening to a Mozart piano sonata raised the measurable IQ of college students by up to 9 points. 25 00:03:03,010 --> 00:03:08,090 But apparently the effect is only temporary, it says. It only lasts about 15 minutes. 26 00:03:08,750 --> 00:03:16,790 The reason for that, let's see, is the researchers suggested that classical music may enhance abstract reasoning, 27 00:03:16,790 --> 00:03:23,430 such as that involved in mathematics or chess, by reinforcing certain complex patterns of neural activity. 28 00:03:23,910 --> 00:03:27,650 They suspect that the complexity of the music itself is the key. 29 00:03:28,190 --> 00:03:37,190 Simpler, repetitive rhythms of grunge rock or minimalist New Age jazz may actually interfere with abstract reasoning. 30 00:03:37,810 --> 00:03:39,010 Very interesting. 31 00:03:39,550 --> 00:03:45,150 By the way, that is a great category they mention, minimalist New Age jazz. 32 00:03:45,150 --> 00:04:14,070 That's a term guaranteed to offend three kinds of musicians. Now, of course, music and math are closely related. Or, to put it more accurately, music has a lot to do with numbers, whether you're aware of it or not. Mozart, I guess, loved arithmetic when he was a child, and almost everything about music has to do with proportion. Musical forms involve proportion. Harmony involves proportion. Rhythm inv... That's all rhythm is, is proportion. 33 00:04:14,070 --> 00:04:23,150 Back in college, my musical friends and I would sometimes play a game where you tap out the rhythm of a melody and everybody else tries to guess the melody. 34 00:04:23,470 --> 00:04:29,210 It seems so obvious when you're tapping it out. You don't see how anyone could have any trouble figuring it out at all. 35 00:04:29,350 --> 00:04:35,650 But that's because you're hearing the notes in your head. Without the right mindset, it can be quite not so easy. 36 00:04:36,230 --> 00:04:42,030 Here, I'll do an easy one to start with. I think the best sounding board that's handy is my own chest here. 37 00:04:43,940 --> 00:04:49,500 [taps out a rhythm] 38 00:04:49,620 --> 00:04:53,400 Okay, you got that? Mozart's Eine Kleine Nachtmusik. 39 00:04:53,520 --> 00:05:00,000 [sung] 40 00:05:00,180 --> 00:05:03,000 Okay, here's one that's simple but tricky. 41 00:05:03,100 --> 00:05:14,400 [taps out a rhythm] 42 00:05:14,500 --> 00:05:26,500 So far that could be [sung: a well-known classical melody] 43 00:05:26,660 --> 00:05:40,200 But it could also be Twinkle, twinkle, little star, how I wonder what you are. Way up in the sky so high, or whatever it is. 44 00:05:40,360 --> 00:05:49,500 Or this phrase. I'll count this one off. One, two, three, four. [taps out a rhythm] 45 00:05:49,620 --> 00:06:07,500 That could be either I've Been Working on the Railroad, or it could be Glory, Glory, Hallelujah. Very tricky there. Now, how about harmony? Can you recognize a song from its harmony? Not easily, unless it's very distinctive. What's this, for instance? 46 00:06:07,600 --> 00:06:44,000 [music: keyboard demonstration] 47 00:06:44,180 --> 00:07:09,800 The tune is distinctive, but the harmonic scheme isn't. I should say, by the way, by harmonic scheme, I mean the basic chords. I don't mean the way Brahms accompanied that theme from the last movement of his First Symphony. I mean, he has moving parts there to make it interesting, more interesting than it was when I played it, but those are the basic harmonies. Okay, now that one, as I say, is not distinctive, harmonically speaking. 48 00:07:09,900 --> 00:07:11,500 This one, however... 49 00:07:11,600 --> 00:07:37,100 [music: keyboard demonstration] 50 00:07:37,240 --> 00:07:52,900 [sung: "Laura"] 51 00:07:53,080 --> 00:08:00,000 Oh, man, it's hard to stop, particularly with that great little echo thing they've added to the studio here. Anyway, any jazz or pop musician would recognize that 52 00:08:00,000 --> 00:08:25,500 chord pattern, or as they would say, those changes. Today's show is called Hold That Harmony, and we're going to hear some variations on some themes in which the harmonic progression of the theme is more important than the melody of the theme. Here's a variation on a tune that I can almost guarantee you know, but the tune is so embellished that you may not recognize it. 53 00:08:26,600 --> 00:09:11,900 [music excerpt: Mozart, Variations "Ah, vous dirai-je, Maman" (K 265), a variation; Paul Badura-Skoda] 54 00:09:12,000 --> 00:09:15,800 Now, here's the theme that that variation is based on. 55 00:09:16,700 --> 00:10:04,400 [music excerpt: Mozart, Variations "Ah, vous dirai-je, Maman" (K 265), theme; Paul Badura-Skoda] 56 00:10:05,360 --> 00:10:28,500 Variations on Ah, vous dirai-je, maman, which is the title Mozart knew the song under when he wrote variations on it in Paris. Hey, I like that sentence. Which is the title Mozart knew the song under when he wrote variations on it in Paris. I think it's the under-on-it thing. Oh, all right, okay, all right. That was Paul Badura-Skoda playing the fortepiano. 57 00:10:28,800 --> 00:10:32,700 Here's another variation on an extremely well-known song. 58 00:10:33,700 --> 00:10:48,400 [music excerpt: Anon., "Yankee Doodle," a variation; William Grant Nabore] 59 00:10:48,500 --> 00:10:51,000 And here's the song it's based on. 60 00:10:51,900 --> 00:11:07,400 [music excerpt: Anon., "Yankee Doodle," theme; William Grant Nabore] 61 00:11:07,460 --> 00:11:16,300 William Grant Nabore, playing two excerpts from an anonymous 18th-century American set of variations on Yankee Doodle. 62 00:11:16,480 --> 00:11:39,900 Okay, now here's a whole suite. Three examples of theme and variations; only one is complete, the others present just the theme and one or two variations, in which the variations employ the harmonic scheme of the theme but ignore the melody completely. I call this the What Melody? I Didn't Hear No Melody Variations. See you in about ten and a half minutes. 63 00:11:41,900 --> 00:14:55,400 [music excerpt: J. S. Bach, "Goldberg Variations," Aria and Variations 1–2; Glenn Gould] 64 00:14:58,100 --> 00:18:48,700 [music: George Gershwin/Ira Gershwin, "Clap Your Hands" (George Shearing in Dixieland); George Shearing] 65 00:18:52,300 --> 00:22:23,400 [music excerpt: Brahms, "Variations on a Theme by Haydn," theme and Variation 1; The Columbia Symphony Orchestra/Walter] 66 00:22:24,200 --> 00:22:30,680 That was the what-melody-I-didn't-hear-no-melody variations. We began with the theme and first 67 00:22:30,680 --> 00:22:41,480 The first two variations from Bach's monumental Goldberg Variations in the fantastic recording by Glenn Gould that sort of started his career in a large sense, 1955 recording. 68 00:22:41,820 --> 00:22:48,160 Now, some people could say that the theme in those variations is not really the melody at the top, but it's the bass line. 69 00:22:48,420 --> 00:22:54,820 And it's true that the bass line is more constant throughout the variations, certainly than the melody, which is ignored completely. 70 00:22:55,640 --> 00:23:06,180 But it's not presented like a Passacaglia, which we deal with in another edition of Schickele Mix, where the bass line is presented very clearly, sometimes all by itself at first, so you really follow it. 71 00:23:06,580 --> 00:23:11,460 By the way, you can hear one of Glenn Gould's trademarks there, his grunting in the background. 72 00:23:11,460 --> 00:23:27,500 Then we heard George Shearing, Clap Your Hands, Gershwin tune with George Shearing on piano, Kenny Duvern, clarinet, Jerry Fuller, drums, George Masso, trombone, Ken Peplowski, tenor saxophone, Neil Swainson, bass, and Warren Vache on cornet. 73 00:23:28,020 --> 00:23:36,360 Now, a tune like that is not called variations, but that's what all jazz tunes like that are. They're variations on the harmonic scheme of the song. 74 00:23:36,360 --> 00:23:46,840 And finally, we ended with the theme and first variation from Brahms' Variations on a Theme by Haydn. Bruno Walter was conducting the Columbia Symphony Orchestra. 75 00:23:47,400 --> 00:23:51,980 Now, some of the later variations in that do refer to the melody, but that first one doesn't. 76 00:23:52,360 --> 00:23:56,240 I'm Peter Schickele, and the program is Schickele Mix on APR. 77 00:23:59,540 --> 00:24:05,480 Hold that harmony. We're talking about variations that work off of the harmonic pattern rather than the melody. 78 00:24:05,480 --> 00:24:10,880 That tendency reached a point in jazz where you sometimes didn't even have a set melody. 79 00:24:11,080 --> 00:24:13,980 You just started improvising on a set chord pattern immediately. 80 00:24:14,900 --> 00:24:20,520 I have a Charlie Parker album called Now's the Time, and it has two alternate takes of a tune called Kim. 81 00:24:21,000 --> 00:24:25,680 But when you listen to the two versions, you realize there isn't any tune called Kim. 82 00:24:25,960 --> 00:24:28,800 It's just a set of chords upon which to improvise. 83 00:24:29,120 --> 00:24:34,160 Here, I'll play the opening of the two versions, and you can hear that they're not the same melody at all. 84 00:24:34,160 --> 00:24:35,500 Here's take one. 85 00:24:36,580 --> 00:24:51,140 [music excerpt: Parker, "Kim," opening (Now's the Time); The Quartet of Charlie Parker] 86 00:24:52,200 --> 00:24:53,820 And here's the alternate take. 87 00:24:53,820 --> 00:25:10,660 [music excerpt: Parker, "Kim" (Alternate Take), opening (Now's the Time); The Quartet of Charlie Parker] 88 00:25:10,660 --> 00:25:13,180 Bird just jumps right in, improvising 89 00:25:13,180 --> 00:25:19,300 from the very beginning. Well, what about the chord pattern? Is that unique? Nope. It's 90 00:25:19,300 --> 00:25:25,120 the harmonic scheme of a very popular old pop song. Now any good jazz man or woman would 91 00:25:25,120 --> 00:25:29,180 listen to either one of those takes and say, oh yeah, those are the so-and-so changes. 92 00:25:29,880 --> 00:25:34,060 I'm not going to tell you yet what so-and-so is. We're going to hear the first take in 93 00:25:34,060 --> 00:25:39,120 in its entirety. And during the piano solo, I'll let you know what song the chords are based on. 94 00:25:39,860 --> 00:28:39,240 [music: Parker, "Kim" (Now's the Time); The Quartet of Charlie Parker, with Schickele singing over the piano solo] 95 00:28:41,300 --> 00:28:48,240 Kim, mind-boggling playing by Charlie Parker on alto sax, with Al Haig on piano, Percy Heath on bass, and Max Roach on drums. 96 00:28:48,820 --> 00:28:53,770 The vocal was by, well, modesty forbids. 97 00:28:54,310 --> 00:28:59,270 No, no, uh-uh, no, no, contact my agent. I don't negotiate gigs in person. 98 00:28:59,910 --> 00:29:03,490 My apologies to Al Haig for covering up part of his solo. 99 00:29:04,560 --> 00:29:07,440 Okay, now there is a tune there at the beginning and the end. 100 00:29:07,440 --> 00:29:38,110 In the end, Bird does start to play the tune again at the end, but what it is is that it isn't a whole tune. The first eight bars is the same, and then it gets less the same, and then the bridge of the tune, the sort of contrasting part harmonically, is completely different, and the last part is completely different. And then obviously in that alternate take, he didn't even bother to lay out what little tune there is, he just started improvising immediately. Bird, how could anybody think that well? 101 00:29:38,110 --> 00:29:39,710 The 19th 102 00:29:41,740 --> 00:29:51,600 century violinist Niccolo Paganini was the Charlie Parker of his day. Nobody could believe that it was humanly possible to play like that, at least without the help of the devil. 103 00:29:52,020 --> 00:30:04,580 He, Paganini that is, and without any subterranean help I'm convinced, wrote a bunch of caprices for an unaccompanied violin that are still, almost two centuries later, beyond the abilities of any but the very finest players. 104 00:30:05,220 --> 00:30:12,180 Here's number 24 in A minor, which consists of a brief theme and a set of brief variations on it. 105 00:30:12,400 --> 00:34:02,820 [music: Paganini, Caprices, Opus 1, No. 24; Ruggiero Ricci] 106 00:34:04,360 --> 00:34:07,120 Ricci, performing Paganini's 24th Caprice. 107 00:34:07,820 --> 00:34:12,820 Now, of course, that theme is a simple one-line melody, so there's no harmony per se, 108 00:34:12,980 --> 00:34:20,940 but the harmonic implications of the melody are so strong that Paganini could assume that audiences would feel the connection, 109 00:34:20,940 --> 00:34:26,720 Even in variations such as the third, which ignores the original melody completely. 110 00:34:27,500 --> 00:34:51,180 [music excerpt: Paganini, Caprices, Opus 1, No. 24; Ruggiero Ricci] 111 00:34:51,350 --> 00:35:07,210 Okay, I'm going to ask Mr. Ricci to play the theme and the third variation again while I play the implied harmonies on my authentic instrument here, the early 1990s Casio Tonebank with which this state-of-the-art studio is equipped. 112 00:35:07,710 --> 00:35:09,930 Okay, here's the theme. Maestro? 113 00:35:10,690 --> 00:35:28,290 [music excerpt: Paganini, Caprices, Opus 1, No. 24, theme; Ruggiero Ricci, with Schickele playing the implied harmonies on the keyboard] 114 00:35:28,290 --> 00:35:33,170 Now I'll play the same chords with variation number three. 115 00:35:33,170 --> 00:35:56,180 [music excerpt: Paganini, Caprices, Opus 1, No. 24, Variation 3; Ruggiero Ricci, with Schickele playing the implied harmonies on the keyboard] 116 00:35:56,560 --> 00:36:20,680 Thank you, sir. A real pleasure. Now as it turns out that teeny-weeny little theme became tremendously popular among other composers as the subject for variations probably the most popular melody to do something with since L'homme armé in the Renaissance so how about a set of variations on the theme in which each variation is by a different composer well why not 117 00:36:23,170 --> 00:36:49,910 I don't hear any good reason why not, so let's do it. But first let me say one thing. We've been concentrating on, and therefore selecting, variations in which the harmonic ground plan is constant and the melody is more or less ignored, but as you heard in the complete Paganini set, composers usually mix things up in that regard, sometimes referring to the theme and sometimes not, and sometimes, especially when the theme is recognizable, the harmony is significantly altered. 118 00:36:50,770 --> 00:37:00,630 Here's the Inter-Era Paganini Variations, Book 1. We're going to hear the theme, five variations, and a coda, all in the space of three minutes. 119 00:37:02,600 --> 00:37:19,500 [music excerpt: Paganini, Caprices, Opus 1, No. 24; Ruggiero Ricci] 120 00:37:22,400 --> 00:37:41,000 [music excerpt: Liszt, "Grandes Etudes de Paganini, Theme and Variations"; Barbara Nissman] 121 00:37:42,900 --> 00:38:10,200 [music excerpt: Brahms, Variations on a Theme by Paganini, Opus 35, Book I; Francois-Rene Duchable] 122 00:38:11,900 --> 00:38:43,000 [music excerpt: Rachmaninov, "Rhapsody on a Theme of Paganini"; Vladimir Ashkenazy/London Symphony Orchestra/Previn] 123 00:38:44,500 --> 00:39:08,400 [music excerpt: Lutoslawski, "Variations on a Theme of Paganini"; Joshua Pierce & Dorothy Jonas] 124 00:39:09,900 --> 00:39:25,400 [music excerpt: Blacher, Orchestral Variations on a Theme by Paganini, Opus 26; Radio-Sinfonie-Orchester Frankfurt/Inbal] 125 00:39:46,700 --> 00:40:03,100 [music excerpt: Paganini, Caprices, Opus 1, No. 24; Ruggiero Ricci] 126 00:40:04,060 --> 00:40:16,380 Okay, that was the Inter-Era Paganini Variations, Book 1. We began and ended with Ruggiero Ricci playing the first theme and then the coda of the Paganini. 127 00:40:16,380 --> 00:40:46,200 And then we had five composers in between, Liszt, Brahms, Rachmaninov, Lutoslawski, and Blacher. The Liszt from the Grande Etude de Paganini, this was played by Barbara Nissman, and then we had the Brahms Paganini variations from book one, and this was Francois-Rene Duchable playing, and some of you may have noticed that Brahms decided instead of using A-A-B, which the original theme was, 128 00:40:46,200 --> 00:40:54,100 to repeat the second half to A-A-B-B, which was sort of the typical thing for variation form themes in those days. 129 00:40:54,400 --> 00:41:07,560 Then we have Rachmaninov, the Rhapsody, on a theme of Paganini, that was performed by Andre Previn, conducting the London Symphony Orchestra, with Vladimir Ashkenazy playing the piano. 130 00:41:07,560 --> 00:41:16,920 Next, Witold Lutosławski, variations on a theme of Paganini, a piece for two pianos, played here by Joshua Pierce and Dorothy Jonas. 131 00:41:17,460 --> 00:41:36,320 And then last, that is before the little coda from the original Paganini, we heard an excerpt from the Boris Blacher orchestra variations on a theme by Paganini, and that was the Radio-Sinfonie-Orchester Frankfurt, conducted by Eliahu Inbal. 132 00:41:36,320 --> 00:41:39,800 I hope I've said that name close to right. 133 00:41:40,360 --> 00:41:43,820 This is Peter Schickele, and the show's Schickele Mix on APR. 134 00:41:47,410 --> 00:41:50,090 Hey, you know that was so much fun, let's do it again. 135 00:41:50,670 --> 00:41:54,050 Five different composers doing variations on the theme by Paganini. 136 00:41:54,190 --> 00:41:56,370 But this time, we'll let them stretch out a bit. 137 00:41:56,590 --> 00:41:59,010 Several variations each, or one long one. 138 00:41:59,550 --> 00:42:03,910 And we'll let the variations get a little less obvious in some cases, I mean in terms 139 00:42:03,910 --> 00:42:05,090 of what they're based on. 140 00:42:05,090 --> 00:42:12,290 Same order. Paganini, Liszt, Brahms, Rachmaninoff, Lutosławski, Blacher, and back to the Pag. 141 00:42:13,050 --> 00:42:17,690 In the middle one, by the way, by Rachmaninov, you'll hear what happens if you turn the theme 142 00:42:17,690 --> 00:42:23,730 upside down and tinker with it a bit. Book two of the inter-era Paganini variations lasts 143 00:42:23,730 --> 00:42:25,210 about nine and a half minutes. 144 00:42:27,300 --> 00:42:44,200 [music excerpt: Paganini, Caprices, Opus 1, No. 24; Ruggiero Ricci] 145 00:42:47,000 --> 00:43:58,400 [music excerpt: Liszt, "Grandes Etudes de Paganini, Theme and Variations"; Barbara Nissman] 146 00:44:01,900 --> 00:45:08,800 [music excerpt: Brahms, Variations on a Theme by Paganini, Opus 35, Book II; Francois-Rene Duchable] 147 00:45:12,700 --> 00:47:48,300 [music excerpt: Rachmaninov, "Rhapsody on a Theme of Paganini"; Vladimir Ashkenazy/London Symphony Orchestra/Previn] 148 00:47:53,400 --> 00:51:14,300 [music excerpt: Lutoslawski, "Variations on a Theme of Paganini," Joshua Pierce & Dorothy Jonas; then Blacher, Orchestral Variations on a Theme by Paganini, Opus 26, Radio-Sinfonie-Orchester Frankfurt/Inbal] 149 00:51:16,600 --> 00:51:52,800 [music excerpt: Paganini, Caprices, Opus 1, No. 24; Ruggiero Ricci] 150 00:51:53,600 --> 00:51:58,550 The inter-era Paganini variations, book two, all the same 151 00:51:58,550 --> 00:52:10,290 pieces that I identified before. The order was Paganini, Liszt, Brahms, Rachmaninov, Lutoslawski, Blacher, and the last variation and coda from the Paganini. 152 00:52:10,730 --> 00:52:17,250 You do notice a few things like Ricci is not tuned to the same A that the piano for the Liszt is. 153 00:52:18,040 --> 00:52:26,860 And you also see that if the general shape and you repeat the sort of same things that the original theme does, it doesn't really matter whether you have the harmony or the melody the same. 154 00:52:26,860 --> 00:52:29,100 You get the sort of general shape of the theme. 155 00:52:29,920 --> 00:52:32,960 And it's Tidbit Time here at Variations R Us. 156 00:52:33,360 --> 00:52:36,600 Let's listen to all of that Yankee Doodle set of variations. 157 00:52:36,900 --> 00:52:43,560 It's a curious piece with a minor key section that is actually quite unusual and even haunting. 158 00:52:44,660 --> 00:56:00,540 [music: Anon., "Yankee Doodle"; William Grant Nabore] 159 00:56:01,400 --> 00:56:10,240 Yankee Doodle, arranged with variations by an anonymous 18th century musician, an American musician, and played by William Grant Nabore. 160 00:56:10,240 --> 00:56:22,620 As I said, it's a curious piece. It states the theme again after each of the first two variations, which gives it the feeling of a rondo, and it doesn't follow the theme melodically or harmonically sometimes. Nice little piece, though. 161 00:56:24,110 --> 00:56:40,450 Okay, we've got a little bit of time here. Let's play another round of one of the games we started out with. I'm going to make up a variation on the authentic instrument here, basing it on the chord pattern of something you've heard before, and you see if you can figure out what it's a variation on. 162 00:56:41,020 --> 00:57:08,400 [music: keyboard demonstration, Schickele's variation on the chords of the theme] 163 00:57:09,000 --> 00:57:19,400 [music: theme; Mozart, Symphony No. 24 (K 182), 2nd Mvt.; Philharmonic Symphony Orchestra of London/Leinsdorf] 164 00:57:19,580 --> 00:57:28,140 Variation and theme, the latter being from Mozart's 24th Symphony with the Philharmonic Symphony Orchestra of London under Eric Leinsdorf. 165 00:57:28,640 --> 00:57:45,820 And that's Schickele Mix for this week. Our program is made possible with funds provided by the American Public Radio Program Fund, whose contributors include the Ford Foundation, by the Corporation for Public Broadcasting, and also by this radio station and its members. A big thank you to all of you. 166 00:57:46,400 --> 00:57:52,600 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. 167 00:57:52,780 --> 00:57:56,280 Just refer to the program number. This is program number 58. 168 00:57:57,140 --> 00:58:03,320 And this is Peter Schickele saying goodbye and reminding you that it don't mean a thing if it ain't got that certain je ne sais quoi. 169 00:58:03,960 --> 00:58:06,040 Hey, you're looking good. See you next week. 170 00:58:06,040 --> 01:00:27,500 [music: theme; Mozart, Symphony No. 24 (K 182), 2nd Mvt.; Philharmonic Symphony Orchestra of London/Leinsdorf]