1 00:00:00,000 --> 00:00:21,360 Hello there, I'm Peter Sickily, and this is Sickily Mix, a program dedicated to the 2 00:00:21,360 --> 00:00:24,760 proposition that all musics are created equal. 3 00:00:24,760 --> 00:00:29,480 Or as Duke Ellington put it, if it sounds good, it is good. 4 00:00:29,480 --> 00:00:31,300 And the same goes for money. 5 00:00:31,300 --> 00:00:33,800 If it smells good, it is good. 6 00:00:33,800 --> 00:00:37,920 Especially if it's used for noble purposes like this program. 7 00:00:37,920 --> 00:00:42,400 Our bills, as it happens, are paid by the Corporation for Public Broadcasting, by the 8 00:00:42,400 --> 00:00:48,760 National Endowment for the Arts, and by this noble radio station, where even I, who was 9 00:00:48,760 --> 00:00:54,200 voted by my high school graduating class least likely to succeed in learning how to operate 10 00:00:54,200 --> 00:00:59,840 anything more complicated than an alarm clock, and at our last reunion, least likely ever 11 00:00:59,840 --> 00:01:06,080 to be able to program his VCR for delayed recording without calling his son, even I 12 00:01:06,080 --> 00:01:13,360 can turn out a show that can be distributed by PRI, Public Radio International. 13 00:01:13,360 --> 00:01:18,440 I was born in 1935, in the midst of the Great Depression. 14 00:01:18,440 --> 00:01:22,480 Now I'm not going to go into one of those, we were so poor we lived in a shoebox in the 15 00:01:22,480 --> 00:01:27,240 middle of the road routines, the family did fine, my dad always had a good job. 16 00:01:27,240 --> 00:01:33,640 But consumer goods were not purchased as casually in those days, to put it mildly, as they came 17 00:01:33,640 --> 00:01:36,080 to be after World War II. 18 00:01:36,080 --> 00:01:41,800 In the late 1930s, my folks, being big Mozart fans, decided to invest in a recording of 19 00:01:41,800 --> 00:01:43,960 Così fan tutte. 20 00:01:43,960 --> 00:01:49,520 Now this was not only before CDs, but before LPs, and an opera like that came in three 21 00:01:49,520 --> 00:01:58,600 volumes each containing six to ten 78s, and they saved up for one volume at a time. 22 00:01:58,600 --> 00:02:04,480 One of the strongest memories of my childhood, lasting into my teens, is of waking up on 23 00:02:04,480 --> 00:02:10,160 Sunday mornings to the smell of bacon and the strains of Così fan tutte. 24 00:02:10,160 --> 00:02:14,880 But you know, even though Così has remained one of my absolute fave raves among all the 25 00:02:14,880 --> 00:02:20,000 pieces ever composed, I've always felt that the last third of it doesn't quite live up 26 00:02:20,000 --> 00:02:22,160 to the first two thirds. 27 00:02:22,160 --> 00:02:27,440 Now is that because Mozart's inspiration actually flagged a bit as the deadline pressed in on 28 00:02:27,440 --> 00:02:28,440 him? 29 00:02:28,440 --> 00:02:32,760 Or is it because I'm not as familiar with the last third due to the fact that my folks 30 00:02:32,760 --> 00:02:36,480 never got around to buying the last volume? 31 00:02:36,480 --> 00:02:40,780 Later of course, they bought the same Gleinborn performance on LP. 32 00:02:40,780 --> 00:02:45,920 But even in the thirties, a violin concerto could be bought in one fell swoop. 33 00:02:45,920 --> 00:02:51,040 And my mother says her favorite recording around the time I was born was of the Mozart 34 00:02:51,040 --> 00:02:57,040 violin concerto known as the Adelaide concerto, played by Yehudi Menuhin. 35 00:02:57,040 --> 00:03:02,480 The reason it meant so much to her then was that everything about it spoke of youth. 36 00:03:02,480 --> 00:03:08,120 A piece written by a child prodigy composer at the age of ten, played by a child prodigy 37 00:03:08,120 --> 00:03:14,760 violinist who, by the time he made this recording, was just turning a ripe old eighteen. 38 00:03:14,760 --> 00:03:17,400 Here's the last movement. 39 00:03:17,400 --> 00:03:23,720 There goes the very old recording alert, let me turn that off. 40 00:03:23,720 --> 00:03:29,280 This particular recording was made in 1934, which means it's a year older than your humble 41 00:03:29,280 --> 00:03:38,200 host. 42 00:04:08,200 --> 00:04:18,200 ♪♪ 43 00:04:18,200 --> 00:04:28,200 ♪♪ 44 00:04:28,200 --> 00:04:38,200 ♪♪ 45 00:04:38,200 --> 00:04:48,200 ♪♪ 46 00:04:48,200 --> 00:04:58,200 ♪♪ 47 00:04:58,200 --> 00:05:08,200 ♪♪ 48 00:05:08,200 --> 00:05:18,200 ♪♪ 49 00:05:18,200 --> 00:05:28,200 ♪♪ 50 00:05:28,200 --> 00:05:38,200 ♪♪ 51 00:05:38,200 --> 00:05:48,200 ♪♪ 52 00:05:48,200 --> 00:05:58,200 ♪♪ 53 00:05:58,200 --> 00:06:08,200 ♪♪ 54 00:06:08,200 --> 00:06:18,200 ♪♪ 55 00:06:18,200 --> 00:06:28,200 ♪♪ 56 00:06:28,200 --> 00:06:38,200 ♪♪ 57 00:06:38,200 --> 00:06:48,200 ♪♪ 58 00:06:48,200 --> 00:06:58,200 ♪♪ 59 00:06:58,200 --> 00:07:08,200 ♪♪ 60 00:07:08,200 --> 00:07:18,200 ♪♪ 61 00:07:18,200 --> 00:07:28,200 ♪♪ 62 00:07:28,200 --> 00:07:38,200 ♪♪ 63 00:07:38,200 --> 00:07:48,200 ♪♪ 64 00:07:48,200 --> 00:07:58,200 ♪♪ 65 00:07:58,200 --> 00:08:08,200 ♪♪ 66 00:08:08,200 --> 00:08:18,200 ♪♪ 67 00:08:18,200 --> 00:08:28,200 ♪♪ 68 00:08:28,200 --> 00:08:38,200 ♪♪ 69 00:08:38,200 --> 00:08:58,200 ♪♪ 70 00:08:58,200 --> 00:09:08,200 ♪♪ 71 00:09:08,200 --> 00:09:28,200 ♪♪ 72 00:09:28,200 --> 00:09:38,200 ♪♪ 73 00:09:38,200 --> 00:09:58,200 ♪♪ 74 00:09:58,200 --> 00:10:08,200 ♪♪ 75 00:10:08,200 --> 00:10:28,200 ♪♪ 76 00:10:28,200 --> 00:10:38,200 ♪♪ 77 00:10:38,200 --> 00:10:48,200 ♪♪ 78 00:10:48,200 --> 00:10:58,200 ♪♪ 79 00:10:58,200 --> 00:11:18,200 ♪♪ 80 00:11:18,200 --> 00:11:28,200 ♪♪ 81 00:11:28,200 --> 00:11:48,200 ♪♪ 82 00:11:48,200 --> 00:11:58,200 ♪♪ 83 00:11:58,200 --> 00:12:18,200 ♪♪ 84 00:12:18,200 --> 00:12:28,200 ♪♪ 85 00:12:28,200 --> 00:12:48,200 ♪♪ 86 00:12:48,200 --> 00:12:58,200 ♪♪ 87 00:12:58,200 --> 00:13:08,200 ♪♪ 88 00:13:08,200 --> 00:13:18,200 ♪♪ 89 00:13:18,200 --> 00:13:28,200 ♪♪ 90 00:13:28,200 --> 00:13:38,200 ♪♪ 91 00:13:38,200 --> 00:13:48,200 ♪♪ 92 00:13:48,200 --> 00:13:58,200 ♪♪ 93 00:13:58,200 --> 00:14:08,200 ♪♪ 94 00:14:08,200 --> 00:14:18,200 ♪♪ 95 00:14:18,200 --> 00:14:28,200 ♪♪ 96 00:14:28,200 --> 00:14:38,200 ♪♪ 97 00:14:38,200 --> 00:14:48,200 ♪♪ 98 00:14:48,200 --> 00:14:58,200 ♪♪ 99 00:14:58,200 --> 00:15:08,200 ♪♪ 100 00:15:08,200 --> 00:15:18,200 ♪♪ 101 00:15:18,200 --> 00:15:28,200 ♪♪ 102 00:15:28,200 --> 00:15:38,200 ♪♪ 103 00:15:38,200 --> 00:15:48,200 ♪♪ 104 00:15:48,200 --> 00:15:58,200 ♪♪ 105 00:15:58,200 --> 00:16:08,200 ♪♪ 106 00:16:08,200 --> 00:16:18,200 ♪♪ 107 00:16:18,200 --> 00:16:38,220 ♪♪ 108 00:16:38,220 --> 00:16:48,240 ♪♪ 109 00:16:48,240 --> 00:16:58,240 ♪♪ 110 00:16:58,240 --> 00:17:08,260 ♪♪ 111 00:17:08,260 --> 00:17:18,260 ♪♪ 112 00:17:18,260 --> 00:17:28,280 ♪♪ 113 00:17:28,280 --> 00:17:38,280 ♪♪ 114 00:17:38,280 --> 00:17:48,300 ♪♪ 115 00:17:48,300 --> 00:17:58,300 ♪♪ 116 00:17:58,300 --> 00:18:08,320 ♪♪ 117 00:18:08,320 --> 00:18:28,340 ♪♪ 118 00:18:28,340 --> 00:18:36,340 Okay, now I hear you. The more technical-minded of you are saying, so why didn't the very old recording alert go off? 119 00:18:36,340 --> 00:18:42,340 There are two reasons. Reason one, I disarmed that puppy so it couldn't give anything away. 120 00:18:42,340 --> 00:18:50,340 Reason two, I figured that some of you were going to cheat by listening more to the sound quality than to the music, 121 00:18:50,340 --> 00:18:58,340 so I actually doctored the more recent recordings to make them sound older. 122 00:18:58,340 --> 00:19:03,340 I'm bad, I'm bad. I just slay myself. 123 00:19:03,340 --> 00:19:10,340 Now, musical prodigies, like child actors, are apt to have problems in their teenage years. 124 00:19:10,340 --> 00:19:17,340 I mean, don't we all, but special problems. They're no longer cute, and they face the danger of burnout. 125 00:19:17,340 --> 00:19:22,340 I know a pianist who, now I may not have these numbers exactly right, but pretty close, 126 00:19:22,340 --> 00:19:28,340 he was playing piano by the time he was four, he was playing in public by the time he was six, 127 00:19:28,340 --> 00:19:31,340 he played his first concerto with an orchestra when he was eight, 128 00:19:31,340 --> 00:19:37,340 and when I got to know him when he was twenty, he was bored, even though he still loved music. 129 00:19:37,340 --> 00:19:42,340 The extremely competitive aspect of the concert pianist world bothered him, 130 00:19:42,340 --> 00:19:46,340 and he found, at that point, his greatest pleasure in chamber music. 131 00:19:46,340 --> 00:19:52,340 Now, a couple of decades later, he still plays professionally, but not full-time. 132 00:19:52,340 --> 00:19:57,340 He seems to need to balance his playing with non-musical activity. 133 00:19:57,340 --> 00:20:03,340 Me, I'm Peter Schickele, and I seem to need to balance my poker playing with things like Schickele Mix, 134 00:20:03,340 --> 00:20:07,340 from PRI, Public Radio International. 135 00:20:07,340 --> 00:20:11,340 Today's show is called Prodigious Talents. 136 00:20:11,340 --> 00:20:15,340 Now, with singers, it's quite different than it is with instrumentalists. 137 00:20:15,340 --> 00:20:21,340 In the first place, you don't really know what you've got, vocally-wise speaking, until you're past puberty. 138 00:20:21,340 --> 00:20:27,340 And then, no matter how talented you are, if you haven't been given a beautiful singing voice, 139 00:20:27,340 --> 00:20:30,340 you can forget about becoming a classical singer. 140 00:20:30,340 --> 00:20:32,340 Or at least you should forget about it. 141 00:20:32,340 --> 00:20:39,340 In classical music, you can't do an end run and make it work anyway, like Bob Dylan or Rex Harrison. 142 00:20:39,340 --> 00:20:43,340 Singers are often kidded about having more temperament than brains. 143 00:20:43,340 --> 00:20:47,340 That is, of course, a gross exaggeration, at the very least. 144 00:20:47,340 --> 00:20:52,340 But if it sometimes seems to have the shadow of a kernel of truth in it, 145 00:20:52,340 --> 00:20:57,340 it's because there are more than a few singers around who really hadn't thought much about music, 146 00:20:57,340 --> 00:21:02,340 one way or the other, until they discovered, or were told, that they had beautiful voices. 147 00:21:02,340 --> 00:21:06,340 With instrumentalists, the person chooses music. 148 00:21:06,340 --> 00:21:09,340 With singers, music chooses the person. 149 00:21:09,340 --> 00:21:18,340 Still, and especially if you broaden the field, there are some vocal artists who get off to a pretty self-assured start. 150 00:21:40,340 --> 00:21:50,340 I could tell my story for whom it would hurt 151 00:21:50,340 --> 00:21:58,340 And now I can see that there's no hope for me 152 00:21:58,340 --> 00:22:06,340 I'm a girl left alone, there's no hope for me 153 00:22:06,340 --> 00:22:15,340 I'm tossed and thrown like a ship on the sea 154 00:22:15,340 --> 00:22:23,340 There was a mistake and now I will pay 155 00:22:23,340 --> 00:22:39,340 For those that still love me, I must go this way 156 00:22:39,340 --> 00:22:47,340 They hear the great story of the great eternity 157 00:22:47,340 --> 00:22:56,340 Where souls can be happy, I will be free 158 00:22:56,340 --> 00:23:04,340 I know I will suffer in this world eternally 159 00:23:04,340 --> 00:23:22,340 But in heaven I wonder if there'll be hope for me 160 00:23:22,340 --> 00:23:26,340 That was Dolly Parton at the age of 13. 161 00:23:26,340 --> 00:23:36,340 Dolly Parton at the age of 13. 162 00:23:56,340 --> 00:24:04,340 Dolly Parton at the age of 13. 163 00:24:04,340 --> 00:24:26,340 There was a mistake and now I must go this way 164 00:24:26,340 --> 00:24:40,340 There was a mistake and now I must go this way 165 00:24:40,340 --> 00:25:03,340 Oh, come and find Oh, come and find 166 00:25:03,340 --> 00:25:18,340 Here I am, here I am I've been here forever 167 00:25:18,340 --> 00:25:32,340 Here I am, here I am I've been here forever 168 00:25:32,340 --> 00:25:47,340 Here I am, here I am I've been here forever 169 00:25:47,340 --> 00:26:02,340 Here I am, here I am I've been here forever 170 00:26:02,340 --> 00:26:25,340 There was a mistake and now I must go this way 171 00:26:25,340 --> 00:26:53,340 There was a mistake and now I must go this way 172 00:26:53,340 --> 00:26:58,340 One of those three boys was Yussi Björling at the age of nine. 173 00:26:58,340 --> 00:27:01,340 Don't ask me which. 174 00:27:01,340 --> 00:27:15,340 I have a fair woman in me 175 00:27:15,340 --> 00:27:28,340 On the far away strand 176 00:27:28,340 --> 00:27:48,340 She's the beauty of the moon 177 00:27:58,340 --> 00:28:18,340 She's the beauty of the moon 178 00:28:18,340 --> 00:28:43,340 She's the beauty of the moon 179 00:28:43,340 --> 00:28:50,340 Oh, sorrow 180 00:28:50,340 --> 00:28:57,340 Filled by tears 181 00:28:57,340 --> 00:29:03,340 Oh, sorrow 182 00:29:03,340 --> 00:29:15,340 Where we never shall die 183 00:29:15,340 --> 00:29:21,340 Tears will run away 184 00:29:21,340 --> 00:29:26,340 We'll never 185 00:29:26,340 --> 00:29:32,340 Oh, oh 186 00:29:32,340 --> 00:29:37,340 We'll never 187 00:29:37,340 --> 00:29:47,340 Oh, oh 188 00:29:47,340 --> 00:29:56,340 Land never grew old 189 00:29:56,340 --> 00:30:06,340 There is a land where we never 190 00:30:06,340 --> 00:30:12,340 Oh, oh 191 00:30:12,340 --> 00:30:15,340 Never 192 00:30:15,340 --> 00:30:19,340 Oh, oh 193 00:30:19,340 --> 00:30:29,340 Oh, oh 194 00:30:29,340 --> 00:30:35,340 Land will never grow old 195 00:30:35,340 --> 00:30:45,340 There is a land where we never 196 00:30:45,340 --> 00:30:50,340 Oh, oh 197 00:30:50,340 --> 00:30:56,340 Land will never grow old 198 00:30:56,340 --> 00:31:02,340 And that, ladies and gentlemen, was Aretha Franklin at the age of 14, 199 00:31:02,340 --> 00:31:05,340 singing Never Grow Old. 200 00:31:05,340 --> 00:31:08,340 Does she tear your heart out or what? 201 00:31:08,340 --> 00:31:13,340 That middle recording of a setting by Gunnar Vennerberg 202 00:31:13,340 --> 00:31:16,340 of the Fourth Psalm was made in about 1920, 203 00:31:16,340 --> 00:31:22,340 and all three of the boys are Bjorlings, Ola, Jussi, and Guste. 204 00:31:22,340 --> 00:31:28,340 And Dolly Parton sang and wrote Puppy Love. 205 00:31:28,340 --> 00:31:32,340 Hey, I'm glad I disabled that very old recording alert, 206 00:31:32,340 --> 00:31:37,340 because this next one is, are you ready for this, a 45 RPM. 207 00:31:37,340 --> 00:31:40,340 Yep, with one of those big holes in the middle. 208 00:31:40,340 --> 00:31:44,340 Fortunately, I still have one, and only one, but one's all it takes, 209 00:31:44,340 --> 00:31:48,340 of those plastic thingamajigs to put in the center. 210 00:31:48,340 --> 00:31:51,340 This song is called Rock Around Mother Goose, 211 00:31:51,340 --> 00:31:56,340 and the singer, I would guess from the fact that the song on the flip side is called Seven, 212 00:31:56,340 --> 00:31:59,340 is approximately seven years old. 213 00:31:59,340 --> 00:32:02,340 Rock, rock, rock around Mother Goose 214 00:32:02,340 --> 00:32:05,340 Rock, rock, rock around Mother Goose 215 00:32:05,340 --> 00:32:08,340 Rock, rock, one more time 216 00:32:08,340 --> 00:32:12,340 Rock me another Mother Goose rhyme 217 00:32:15,340 --> 00:32:18,340 Mary had a little lamb 218 00:32:18,340 --> 00:32:21,340 A little lamb, a little lamb 219 00:32:21,340 --> 00:32:24,340 Mary had a little lamb 220 00:32:24,340 --> 00:32:27,340 His fleece was white as snow 221 00:32:27,340 --> 00:32:31,340 And everywhere that Mary went 222 00:32:31,340 --> 00:32:34,340 Mary went, Mary went 223 00:32:34,340 --> 00:32:38,340 Everywhere that Mary went 224 00:32:38,340 --> 00:32:41,340 Lamb hollered, go, go, go 225 00:32:41,340 --> 00:32:44,340 Bones and bridges fall inside 226 00:32:44,340 --> 00:32:48,340 Fall inside, fall inside 227 00:32:48,340 --> 00:32:51,340 Bones and bridges fall inside 228 00:32:51,340 --> 00:32:54,340 My fair lady 229 00:32:54,340 --> 00:32:57,340 Bones and bridges breaking up 230 00:32:57,340 --> 00:33:01,340 Breaking up, breaking up 231 00:33:01,340 --> 00:33:04,340 Bones and bridges breaking up 232 00:33:04,340 --> 00:33:07,340 Cause all the cows are jumping on one wooden bridge 233 00:33:07,340 --> 00:33:11,340 Rock, rock, rock around Mother Goose 234 00:33:11,340 --> 00:33:14,340 Rock, rock, rock around Mother Goose 235 00:33:14,340 --> 00:33:17,340 Rock, rock, one more time 236 00:33:17,340 --> 00:33:21,340 Rock me another Mother Goose rhyme 237 00:33:24,340 --> 00:33:27,340 Hickory dickory dock 238 00:33:27,340 --> 00:33:30,340 A mouse ran up the clock 239 00:33:30,340 --> 00:33:34,340 A clock struck one, down he rocked 240 00:33:34,340 --> 00:33:37,340 Hickory dickory dock 241 00:33:37,340 --> 00:33:40,340 Hickory dickory dock 242 00:33:40,340 --> 00:33:44,340 Another mouse ran up the clock 243 00:33:44,340 --> 00:33:47,340 A clock struck two, but he knew what to do 244 00:33:47,340 --> 00:33:51,340 He should see him rock around the clock 245 00:33:51,340 --> 00:33:54,340 Rock, rock, rock around Mother Goose 246 00:33:54,340 --> 00:33:57,340 Rock, rock, rock around Mother Goose 247 00:33:57,340 --> 00:34:00,340 Rock, rock, one more time 248 00:34:00,340 --> 00:34:04,340 Rock me another Mother Goose rhyme 249 00:34:04,340 --> 00:34:07,340 Rock, rock, rock around Mother Goose 250 00:34:07,340 --> 00:34:10,340 Rock, rock, rock around Mother Goose 251 00:34:10,340 --> 00:34:14,340 Rock, rock, one more time 252 00:34:14,340 --> 00:34:17,340 Be-bop-be-bop-be-bo 253 00:34:17,340 --> 00:34:19,340 Yeah! 254 00:34:21,340 --> 00:34:24,340 Barry Gordon giving it his all 255 00:34:24,340 --> 00:34:27,340 Rock around Mother Goose 256 00:34:27,340 --> 00:34:29,340 I don't know, is it the white, 257 00:34:29,340 --> 00:34:31,340 Midwestern, Protestant part of me, 258 00:34:31,340 --> 00:34:33,340 and I don't ask this rhetorically, 259 00:34:33,340 --> 00:34:35,340 that is made a bit uncomfortable 260 00:34:35,340 --> 00:34:38,340 by kids who try to act or sing 261 00:34:38,340 --> 00:34:40,340 too much like adults? 262 00:34:40,340 --> 00:34:41,340 Maybe it is. 263 00:34:41,340 --> 00:34:43,340 I saw a film clip from an old 264 00:34:43,340 --> 00:34:45,340 all-black movie once in which 265 00:34:45,340 --> 00:34:47,340 a four-year-old Sammy Davis Jr. 266 00:34:47,340 --> 00:34:50,340 just tore up a staid courtroom 267 00:34:50,340 --> 00:34:51,340 with his flashy dancing. 268 00:34:51,340 --> 00:34:53,340 It was pretty great. 269 00:34:53,340 --> 00:34:55,340 But I don't know, this one... 270 00:34:55,340 --> 00:34:56,340 Well, let me put it this way. 271 00:34:56,340 --> 00:34:58,340 Again, a sincere question. 272 00:34:58,340 --> 00:35:00,340 Is there a difference between 273 00:35:00,340 --> 00:35:02,340 a kid imitating adults because 274 00:35:02,340 --> 00:35:04,340 he wants to be like the adults 275 00:35:04,340 --> 00:35:06,340 and a kid imitating adults because 276 00:35:06,340 --> 00:35:09,340 he knows they'll tell him how cute he is? 277 00:35:09,340 --> 00:35:11,340 I'm not sure. 278 00:35:11,340 --> 00:35:13,340 But I do know, actually, that I wish 279 00:35:13,340 --> 00:35:15,340 kids in my culture were brought up 280 00:35:15,340 --> 00:35:17,340 to be much less inhibited 281 00:35:17,340 --> 00:35:19,340 about singing and dancing. 282 00:35:19,340 --> 00:35:21,340 Listen to the beginning of this 283 00:35:21,340 --> 00:35:24,340 beautifully sexy, slinky rendition 284 00:35:24,340 --> 00:35:52,340 of It Ain't Necessarily So. 285 00:35:52,340 --> 00:36:12,340 playing in bright rhythm 286 00:36:12,340 --> 00:36:15,340 Does it change your perception of that 287 00:36:15,340 --> 00:36:17,340 to know that it's being played 288 00:36:17,340 --> 00:36:19,340 by a 9-year-old girl? 289 00:36:19,340 --> 00:36:48,340 playing in bright rhythm 290 00:36:48,340 --> 00:37:17,340 playing in bright rhythm 291 00:37:17,340 --> 00:37:46,340 playing in bright rhythm 292 00:37:46,340 --> 00:38:15,340 playing in bright rhythm 293 00:38:15,340 --> 00:38:44,340 playing in bright rhythm 294 00:38:44,340 --> 00:39:01,340 playing in bright rhythm 295 00:39:01,340 --> 00:39:04,340 Sarah Chang, at the age of 9, 296 00:39:04,340 --> 00:39:07,340 playing Gershwin's It Ain't Necessarily So 297 00:39:07,340 --> 00:39:09,340 on a quarter-sized violin. 298 00:39:09,340 --> 00:39:12,340 The arrangement was by Jascha Heifetz 299 00:39:12,340 --> 00:39:15,340 and Sandra Rivers was the pianist. 300 00:39:15,340 --> 00:39:17,340 That's some fiddle playing. 301 00:39:17,340 --> 00:39:19,340 And life goes on. 302 00:39:19,340 --> 00:39:21,340 Georges Inescu was bowled over 303 00:39:21,340 --> 00:39:23,340 by the 11-year-old Yehudi Menuhin. 304 00:39:23,340 --> 00:39:25,340 And decades later, 305 00:39:25,340 --> 00:39:27,340 Yehudi Menuhin said, 306 00:39:27,340 --> 00:39:29,340 I thought Sarah Chang was the most 307 00:39:29,340 --> 00:39:31,340 wonderful, perfect, ideal violinist 308 00:39:31,340 --> 00:39:33,340 I had ever heard. 309 00:39:33,340 --> 00:39:35,340 And he's heard a lot more violinists 310 00:39:35,340 --> 00:39:36,340 than I have. 311 00:39:36,340 --> 00:39:38,340 My name's Peter Schickele. 312 00:39:38,340 --> 00:39:40,340 And by the way, 313 00:39:40,340 --> 00:39:43,340 in case there are any Cincinnati kids out there, 314 00:39:43,340 --> 00:39:45,340 don't come looking for me. 315 00:39:45,340 --> 00:39:47,340 I just play dime-ante, 316 00:39:47,340 --> 00:39:49,340 you know, pretty panty-waist poker. 317 00:39:49,340 --> 00:39:52,340 Wild cards, anaconda. 318 00:39:52,340 --> 00:39:54,340 We do draw the line at Indian, 319 00:39:54,340 --> 00:39:57,340 where you hold your whole card up to your forehead 320 00:39:57,340 --> 00:39:59,340 so that everyone can see it except you. 321 00:39:59,340 --> 00:40:01,340 But still, we quit about 10-15. 322 00:40:01,340 --> 00:40:03,340 You know, Monday's a weeknight. 323 00:40:03,340 --> 00:40:06,340 I just don't want to attract any gunslingers here. 324 00:40:06,340 --> 00:40:08,340 Peter Schickele is the name. 325 00:40:08,340 --> 00:40:10,340 Schickele Mix is the game. 326 00:40:10,340 --> 00:40:13,340 From PRI, Public Radio International. 327 00:40:13,340 --> 00:40:15,340 Prodigious talents. 328 00:40:15,340 --> 00:40:18,340 We're talking about musical youngsters here, 329 00:40:18,340 --> 00:40:20,340 but now I'd like to shift the emphasis 330 00:40:20,340 --> 00:40:23,340 from young soloists to family members. 331 00:40:23,340 --> 00:40:26,340 There is something about the ties that bind. 332 00:40:26,340 --> 00:40:28,340 I have on occasion made appearances 333 00:40:28,340 --> 00:40:30,340 with my son and daughter, 334 00:40:30,340 --> 00:40:32,340 who are both in their 20s now, 335 00:40:32,340 --> 00:40:35,340 singing songs by the Everly Brothers and the Coasters. 336 00:40:35,340 --> 00:40:37,340 And even at our first rehearsal, 337 00:40:37,340 --> 00:40:39,340 it feels as if we've been working for days. 338 00:40:39,340 --> 00:40:41,340 We're way ahead of the game 339 00:40:41,340 --> 00:40:43,340 in matters of inflection and nuance 340 00:40:43,340 --> 00:40:46,340 just because we lived together for so long. 341 00:40:46,340 --> 00:40:49,340 Here are three different constellations of kin. 342 00:40:49,340 --> 00:40:51,340 A pianist playing a concerto 343 00:40:51,340 --> 00:40:55,340 written by his grandfather and conducted by his father. 344 00:40:55,340 --> 00:40:57,340 A great big family gathering 345 00:40:57,340 --> 00:40:59,340 of relatives by blood and marriage. 346 00:40:59,340 --> 00:41:01,340 And a father and his daughter 347 00:41:01,340 --> 00:41:03,340 singing a song whose words 348 00:41:03,340 --> 00:41:06,340 are well worth paying close attention to. 349 00:41:06,340 --> 00:41:09,340 I call this suite All in the Family, 350 00:41:09,340 --> 00:41:12,340 and it lasts less than 11 minutes. 351 00:41:12,340 --> 00:41:36,340 piano & violin play softly 352 00:41:36,340 --> 00:41:51,340 piano & violin play softly 353 00:41:51,340 --> 00:42:20,340 piano & violin play softly 354 00:42:20,340 --> 00:42:33,340 piano & violin play softly 355 00:42:33,340 --> 00:43:02,340 piano & violin play softly 356 00:43:02,340 --> 00:43:17,340 piano & violin play softly 357 00:43:17,340 --> 00:43:46,340 piano & violin play softly 358 00:43:46,340 --> 00:44:06,340 piano & violin play softly 359 00:44:06,340 --> 00:44:35,340 piano & violin play softly 360 00:44:35,340 --> 00:45:04,340 piano & violin play softly 361 00:45:04,340 --> 00:45:33,340 piano & violin play softly 362 00:45:33,340 --> 00:46:02,340 piano & violin play softly 363 00:46:02,340 --> 00:46:29,340 piano & violin play softly 364 00:46:33,340 --> 00:46:36,340 Because I believe 365 00:46:36,340 --> 00:46:39,340 And have found salvation 366 00:46:39,340 --> 00:46:41,340 When I die, when I die 367 00:46:41,340 --> 00:46:44,340 I'll live again 368 00:46:44,340 --> 00:46:47,340 That I may take part 369 00:46:47,340 --> 00:46:50,340 In the jubilation 370 00:46:50,340 --> 00:46:52,340 When I die, when I die 371 00:46:52,340 --> 00:46:55,340 I'll live again 372 00:46:55,340 --> 00:46:57,340 When I die, when I die 373 00:46:57,340 --> 00:47:00,340 I'll live again, I'll live again 374 00:47:00,340 --> 00:47:06,340 Hallelujah, I'll live again 375 00:47:06,340 --> 00:47:09,340 Because I'm forgiven 376 00:47:09,340 --> 00:47:12,340 My soul will find heaven 377 00:47:12,340 --> 00:47:14,340 When I die, when I die 378 00:47:14,340 --> 00:47:18,340 I'll live again, I'll live again 379 00:47:18,340 --> 00:47:21,340 The fear of the grave 380 00:47:21,340 --> 00:47:24,340 Is removed forever 381 00:47:24,340 --> 00:47:26,340 When I die, when I die 382 00:47:26,340 --> 00:47:30,340 I'll live again 383 00:47:30,340 --> 00:47:32,340 My soul will rejoice 384 00:47:32,340 --> 00:47:35,340 By the crystal river 385 00:47:35,340 --> 00:47:37,340 When I die, when I die 386 00:47:37,340 --> 00:47:40,340 I'll live again 387 00:47:40,340 --> 00:47:43,340 When I die, when I die 388 00:47:43,340 --> 00:47:46,340 I'll live again, I'll live again 389 00:47:46,340 --> 00:47:51,340 Hallelujah, I'll live again 390 00:47:51,340 --> 00:47:54,340 Because I'm forgiven 391 00:47:54,340 --> 00:47:57,340 My soul will find heaven 392 00:47:57,340 --> 00:47:59,340 When I die, when I die 393 00:47:59,340 --> 00:48:03,340 I'll live again, I'll live again 394 00:48:03,340 --> 00:48:06,340 Because of the Lord 395 00:48:06,340 --> 00:48:09,340 I have made confession 396 00:48:09,340 --> 00:48:11,340 When I die, when I die 397 00:48:11,340 --> 00:48:14,340 I'll live again 398 00:48:14,340 --> 00:48:17,340 For now on my soul 399 00:48:17,340 --> 00:48:20,340 There is no transgression 400 00:48:20,340 --> 00:48:24,340 When I die, when I die 401 00:48:24,340 --> 00:48:25,340 I'll live again 402 00:48:25,340 --> 00:48:27,340 When I die, when I die 403 00:48:27,340 --> 00:48:30,340 I'll live again, I'll live again 404 00:48:30,340 --> 00:48:35,340 Hallelujah, I'll live again 405 00:48:35,340 --> 00:48:38,340 Because I'm forgiven 406 00:48:38,340 --> 00:48:41,340 My soul will find heaven 407 00:48:41,340 --> 00:48:43,340 When I die, when I die 408 00:48:43,340 --> 00:48:50,340 I'll live again 409 00:48:50,340 --> 00:49:01,340 guitar solo 410 00:49:01,340 --> 00:49:03,340 Oh, daddy 411 00:49:03,340 --> 00:49:05,340 When you gonna write that 412 00:49:05,340 --> 00:49:08,340 You did me 413 00:49:08,340 --> 00:49:10,340 Oh, daddy 414 00:49:10,340 --> 00:49:12,340 When you gonna give me 415 00:49:12,340 --> 00:49:15,340 A big, real thing 416 00:49:15,340 --> 00:49:19,340 Well, now that's a tall request 417 00:49:19,340 --> 00:49:23,340 For such a small little girl 418 00:49:23,340 --> 00:49:25,340 But I'll try, I'll try 419 00:49:25,340 --> 00:49:27,340 Till I get it just right 420 00:49:27,340 --> 00:49:29,340 Cause I'm gonna make it 421 00:49:29,340 --> 00:49:32,340 Maybe even twice, yeah 422 00:49:32,340 --> 00:49:38,340 guitar solo 423 00:49:38,340 --> 00:49:40,340 Oh, daddy 424 00:49:40,340 --> 00:49:42,340 When you gonna make it 425 00:49:42,340 --> 00:49:46,340 To the big time, yeah 426 00:49:46,340 --> 00:49:48,340 Oh, daddy 427 00:49:48,340 --> 00:49:52,340 When you gonna blow up the big thing 428 00:49:52,340 --> 00:49:56,340 Well, it's like a backstage pass 429 00:49:56,340 --> 00:50:00,340 Into paradise 430 00:50:00,340 --> 00:50:04,340 There's a long, lonely waiting list 431 00:50:04,340 --> 00:50:06,340 But I'm gonna give it 432 00:50:06,340 --> 00:50:08,340 Everything I got to give, yeah 433 00:50:08,340 --> 00:50:10,340 Oh, daddy 434 00:50:10,340 --> 00:50:13,340 When you gonna be a big star 435 00:50:13,340 --> 00:50:17,340 I got a suit and a pink guitar 436 00:50:17,340 --> 00:50:18,340 Oh, daddy 437 00:50:18,340 --> 00:50:21,340 When you gonna break it wide open 438 00:50:21,340 --> 00:50:25,340 I don't know, but I still keep hoping 439 00:50:25,340 --> 00:50:26,340 Oh, daddy 440 00:50:26,340 --> 00:50:29,340 Are you gonna make a million bucks 441 00:50:29,340 --> 00:50:32,340 Oh, it takes a whole lot of luck 442 00:50:32,340 --> 00:50:35,340 Yeah, yeah, yeah, yeah 443 00:50:35,340 --> 00:50:43,340 guitar solo 444 00:50:43,340 --> 00:50:45,340 Oh, daddy 445 00:50:45,340 --> 00:50:48,340 When you gonna have that fat Cadillac 446 00:50:48,340 --> 00:50:50,340 Like you always say 447 00:50:50,340 --> 00:50:52,340 Oh, daddy 448 00:50:52,340 --> 00:50:55,340 When you gonna put on some stretch pants 449 00:50:55,340 --> 00:50:56,340 Yeah 450 00:50:56,340 --> 00:51:00,340 Well, don't hold your breath 451 00:51:00,340 --> 00:51:04,340 Cause it'll make you blue 452 00:51:04,340 --> 00:51:08,340 But the whole lot's not over yet 453 00:51:08,340 --> 00:51:12,340 And I aim to make the fat lady sweat, yeah 454 00:51:12,340 --> 00:51:13,340 Oh, daddy 455 00:51:13,340 --> 00:51:16,340 When you gonna make it to the top 456 00:51:16,340 --> 00:51:20,340 All I know is I'm not gonna stop 457 00:51:20,340 --> 00:51:21,340 Oh, daddy 458 00:51:21,340 --> 00:51:23,340 What are you gonna buy your little girl 459 00:51:23,340 --> 00:51:27,340 Hey, I'm gonna get you Disney World 460 00:51:27,340 --> 00:51:28,340 Oh, daddy 461 00:51:28,340 --> 00:51:30,340 You can hit the jackpot, yeah 462 00:51:30,340 --> 00:51:32,340 Like I told you 463 00:51:32,340 --> 00:51:36,340 And I don't hold your breath, yeah 464 00:51:36,340 --> 00:51:40,340 Oh, daddy, daddy 465 00:51:40,340 --> 00:51:44,340 Oh, daddy, daddy 466 00:51:44,340 --> 00:51:49,340 Oh, daddy, daddy 467 00:51:49,340 --> 00:51:53,340 Hey, I'm gonna buy you Disney World 468 00:51:57,340 --> 00:51:59,340 All in the family. 469 00:51:59,340 --> 00:52:01,340 We began with the first movement 470 00:52:01,340 --> 00:52:04,340 from Shostakovich's first string quartet 471 00:52:04,340 --> 00:52:08,340 for piano, trumpet, and strings in C minor. 472 00:52:08,340 --> 00:52:11,340 And that was Dmitri Shostakovich Jr., 473 00:52:11,340 --> 00:52:14,340 that is, the composer's grandson, 474 00:52:14,340 --> 00:52:16,340 playing the piano 475 00:52:16,340 --> 00:52:19,340 with Maxim Shostakovich conducting. 476 00:52:19,340 --> 00:52:22,340 And that was the Musici di Montreal 477 00:52:22,340 --> 00:52:25,340 with James Thompson on trumpet. 478 00:52:25,340 --> 00:52:28,340 A sad note there is that Dmitri, 479 00:52:28,340 --> 00:52:31,340 his own Dmitri, was born in 1961 480 00:52:31,340 --> 00:52:34,340 on the day his grandfather died. 481 00:52:34,340 --> 00:52:37,340 Then we heard from Doc Watson's family, 482 00:52:37,340 --> 00:52:39,340 When I Die, 483 00:52:39,340 --> 00:52:42,340 and there are about 12 of them 484 00:52:42,340 --> 00:52:44,340 here on the cover. 485 00:52:44,340 --> 00:52:46,340 It's a real family get-together. 486 00:52:46,340 --> 00:52:49,340 And then finally, we had Adrian Ballou 487 00:52:49,340 --> 00:52:52,340 in one of my favorite songs, Oh, Daddy, 488 00:52:52,340 --> 00:52:55,340 and that was his daughter, Audie Ballou, 489 00:52:55,340 --> 00:52:58,340 singing on the refrains there. 490 00:52:58,340 --> 00:53:01,340 Now, we've been dealing today with kids 491 00:53:01,340 --> 00:53:04,340 who were very much encouraged to go into music. 492 00:53:04,340 --> 00:53:07,340 Either they came from a musical family 493 00:53:07,340 --> 00:53:10,340 or they came from a family that set a lot of store 494 00:53:10,340 --> 00:53:13,340 in their kids doing well in music. 495 00:53:13,340 --> 00:53:16,340 But a lot of what you might call regular musicians, 496 00:53:16,340 --> 00:53:18,340 non-soloists, 497 00:53:18,340 --> 00:53:21,340 try to discourage their kids from going into music 498 00:53:21,340 --> 00:53:24,340 because it's a high-burnout profession. 499 00:53:24,340 --> 00:53:27,340 And although some musicians do very well, 500 00:53:27,340 --> 00:53:30,340 there are a lot of them out there that are barely making a living. 501 00:53:30,340 --> 00:53:33,340 I mean, they're really scrounging to get by. 502 00:53:33,340 --> 00:53:36,340 I was standing with a bunch of symphony orchestra musicians 503 00:53:36,340 --> 00:53:38,340 once at the break in a rehearsal, 504 00:53:38,340 --> 00:53:40,340 and this one guy was saying, 505 00:53:40,340 --> 00:53:43,340 You know, my son has said he wants to be a musician. 506 00:53:43,340 --> 00:53:45,340 I'm trying to talk him out of it. 507 00:53:45,340 --> 00:53:47,340 And I talked to him last weekend. 508 00:53:47,340 --> 00:53:49,340 He's at college, and he said, 509 00:53:49,340 --> 00:53:52,340 Hey, Dad, I've decided not to be a musician after all. 510 00:53:52,340 --> 00:53:54,340 And I said, Great. 511 00:53:54,340 --> 00:53:57,340 And he said, I'm going to be a poet. 512 00:53:57,340 --> 00:54:09,340 ¦ 513 00:54:09,340 --> 00:54:12,340 And that's Shickly Mix for this week. 514 00:54:12,340 --> 00:54:15,340 Our program is made possible with funds provided 515 00:54:15,340 --> 00:54:18,340 by the Corporation for Public Broadcasting, 516 00:54:18,340 --> 00:54:21,340 by the National Endowment for the Arts, 517 00:54:21,340 --> 00:54:24,340 and its members. Thank you, members. 518 00:54:24,340 --> 00:54:27,340 And not only that, our program has a habit 519 00:54:27,340 --> 00:54:30,340 of being distributed by PRI, Public Radio International. 520 00:54:30,340 --> 00:54:33,340 We'll tell you in a moment how you can get 521 00:54:33,340 --> 00:54:36,340 an official playlist of all the music on today's program 522 00:54:36,340 --> 00:54:38,340 with album numbers and everything. 523 00:54:38,340 --> 00:54:40,340 Just refer to the program number. 524 00:54:40,340 --> 00:54:42,340 This is program number 95. 525 00:54:42,340 --> 00:54:45,340 And this is Peter Shickly saying goodbye 526 00:54:45,340 --> 00:54:48,340 and reminding you that it don't mean a thing 527 00:54:48,340 --> 00:54:50,340 if it ain't got that certain je ne sais quoi. 528 00:54:50,340 --> 00:54:53,340 You're looking good. See you next week. 529 00:55:20,340 --> 00:55:43,340 ¦ 530 00:55:43,340 --> 00:56:12,340 ¦ 531 00:56:12,340 --> 00:56:27,340 ¦ 532 00:56:27,340 --> 00:56:42,340 ¦ 533 00:56:42,340 --> 00:56:57,340 ¦ 534 00:56:57,340 --> 00:57:19,340 ¦ 535 00:57:19,340 --> 00:57:22,340 If you'd like a copy of that playlist I mentioned, 536 00:57:22,340 --> 00:57:25,340 send a stamped self-addressed envelope to Shickly Mix. 537 00:57:25,340 --> 00:57:29,340 That's S-C-H-I-C-K-E-L-E, Shickly Mix. 538 00:57:29,340 --> 00:57:32,340 Care of Public Radio International, 539 00:57:32,340 --> 00:57:39,340 100 North 6th Street, Suite 900A, Minneapolis, MN 55403. 540 00:57:39,340 --> 00:57:58,340 ¦