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This is your public radio station, WHQR Wilmington, coming up in an hour.

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It is Massenet's Werther with The Met.

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And first, Peter Schickele, if he's ready.

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I'm ready to roll.

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Here's the theme.

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Hello there, I'm Peter Schickele, and this is Schickele Mix, a program dedicated to the

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proposition that all musics are created equal.

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Or as Duke Ellington put it, if it sounds good, it is good.

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And what could be better than having one's bills paid by the Corporation for Public Broadcasting,

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by the National Endowment for the Arts, and by this extremely with it radio station, wherein

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I'm provided with the coolest of studios, and whence what gets confabulated therein

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gets distributed to the wide, wide world by PRI, Public Radio International.

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On another edition of this show, I mentioned the pasacalla and chaconne, two Baroque variation

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forms that grew out of dances.

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I guess the original Spanish dances were pretty raunchy, certainly smoldering, perhaps even

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salacious.

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But musically, they evolved into very rigorous forms for very pure art.

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I'm sure that wasn't the first time that music born in seedy surroundings ended up being

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transformed by the Henry Higgins of history into concert pieces that you had to dress

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up to listen to.

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And I know it wasn't the last.

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Jazz was born in bordellos and smoky clubs and parades, but it wasn't long before she

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was being gussied up and taken to the best restaurants, and eventually they even let

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her into Carnegie Hall.

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Along the way, she entranced a lot of classical composers, and today we're going to listen

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to some of the results of those flirtations.

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Sometimes they were more than flirtations.

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In some cases, a serious romance developed that lasted many years.

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Here's a piece played by a pianist who was no stranger to low life joints, followed by

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a concert prelude.

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Here's a piece played by a pianist who was no stranger to low life joints, followed by

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a concert prelude.

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Here's a piece played by a pianist who was no stranger to low life joints, followed by

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a concert prelude.

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Here's a piece played by a pianist who was no stranger to low life joints, followed by

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a concert prelude.

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Here's a piece played by a pianist who was no stranger to low life joints, followed by

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a concert prelude.

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Here's a piece played by a pianist who was no stranger to low life joints, followed by

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a concert prelude.

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Fats Waller playing Carolina Shout, followed by Alan Feinberg playing a prelude written

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by Conlon Nancarrow in 1935, Stride Piano meets Imitative Counterpoint.

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Conlon Nancarrow is an interesting guy.

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Not only does he have a rather unusual name, C-O-N-L-O-N-N-A-N-C-A-R-R-O-W, it's always

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sounded to me as if it must be an anagram for something, but he ended up composing for

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an unusual medium, the player piano.

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Having gotten into political hot water in the late 30s, I guess the American authorities

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deemed him prematurely anti-fascist or something, and took away his passport, he moved to Mexico

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City and lived pretty much in isolation.

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By punching holes directly into piano rolls, he avoided the necessity of having other musicians

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around to play his music, and he discovered the freedom of writing for the piano without

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writing for pianists.

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That is, what he wrote didn't have to be playable by human hands.

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He took advantage of this freedom not only by writing notes that human fingers couldn't

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reach, but also by employing rhythmic relationships too complex for the human brain to handle.

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And yet, at least for quite a while, the jazz influences remained strong.

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In fact, hearing his player piano pieces, it's hard to avoid the feeling that Nancarrow

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was influenced not only by ragtime and stride pianists, but by the piano rolls made by those

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pianists.

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There is a certain sound to them.

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Here's a piano roll made by Jelly Roll Morton in 1924, followed by one of Conlon Nancarrow's

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studies for player piano.

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And…

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Okay, the first piece was Charles Ives, Study No. 20, played by Alan Feinberg.

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It's a typically remarkable, innovative, prescient, in-your-face, cantankerous, bull-in-a-china-shop Ives piece

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with everything but the kitchen sink paraded before our stunned ears.

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It reminds me of one of those southern Italian seafood stews where they drop the various creatures live into the boiling water.

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Then we heard the eighth of William Balcombe's twelve new etudes, marked Rag Infernal, Sinkup Apocalyptic,

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performed with diabolical esprit by Marc-Andre Amlin. It's a dazzler.

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Ragtime was, of course, primarily a piano phenomenon, but the most popular numbers were often arranged for instrumental ensembles.

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Here's one such arrangement, followed by an example of what American ragtime sounded like

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after passing through the filter of one of Europe's strongest musical personalities.

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Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

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Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

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Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

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Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

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Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

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Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

306
00:26:23,760 --> 00:26:33,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

307
00:26:34,760 --> 00:26:44,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

308
00:26:44,760 --> 00:26:54,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

309
00:26:55,760 --> 00:27:05,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

310
00:27:05,760 --> 00:27:15,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

311
00:27:16,760 --> 00:27:26,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

312
00:27:26,760 --> 00:27:36,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

313
00:27:37,760 --> 00:27:47,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

314
00:27:47,760 --> 00:27:57,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

315
00:27:58,760 --> 00:28:08,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

316
00:28:08,760 --> 00:28:18,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

317
00:28:19,760 --> 00:28:29,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

318
00:28:29,760 --> 00:28:39,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

319
00:28:40,760 --> 00:28:50,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

320
00:28:50,760 --> 00:29:00,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

321
00:29:01,760 --> 00:29:11,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

322
00:29:11,760 --> 00:29:21,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

323
00:29:22,760 --> 00:29:32,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

324
00:29:32,760 --> 00:29:42,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

325
00:29:43,760 --> 00:29:53,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

326
00:29:53,760 --> 00:30:03,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

327
00:30:04,760 --> 00:30:14,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

328
00:30:14,760 --> 00:30:24,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

329
00:30:25,760 --> 00:30:35,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

330
00:30:35,760 --> 00:30:45,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

331
00:30:46,760 --> 00:30:56,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

332
00:30:56,760 --> 00:31:06,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

333
00:31:07,760 --> 00:31:17,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

334
00:31:17,760 --> 00:31:27,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

335
00:31:28,760 --> 00:31:38,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

336
00:31:38,760 --> 00:31:48,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

337
00:31:49,760 --> 00:31:59,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

338
00:31:59,760 --> 00:32:09,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

339
00:32:10,760 --> 00:32:20,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

340
00:32:20,760 --> 00:32:30,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

341
00:32:31,760 --> 00:32:41,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

342
00:32:41,760 --> 00:32:51,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

343
00:32:52,760 --> 00:33:02,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

344
00:33:02,760 --> 00:33:12,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

345
00:33:13,760 --> 00:33:23,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

346
00:33:23,760 --> 00:33:33,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

347
00:33:34,760 --> 00:33:44,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

348
00:33:44,760 --> 00:33:54,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

349
00:33:55,760 --> 00:34:05,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

350
00:34:05,760 --> 00:34:15,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

351
00:34:16,760 --> 00:34:26,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

352
00:34:26,760 --> 00:34:36,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

353
00:34:37,760 --> 00:34:47,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

354
00:34:47,760 --> 00:34:57,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

355
00:34:58,760 --> 00:35:08,760
Here's another example of what American ragtime sounded like after passing through the filter of one of Europe's strongest musical personalities.

356
00:35:08,760 --> 00:35:20,760
It says, At the time of its composition, Johnny Spielt Auf seemed the height of novelty and notoriety. Two technical advances, a wireless radio and a real locomotive

357
00:35:21,760 --> 00:35:31,760
– eat your heart out, Robert Wilson – are featured on stage, and the story touches on a scandalous subject, entanglements between a black jazz musician and white women.

358
00:35:31,760 --> 00:35:39,760
The plot itself concerns two thefts, of love and of a violin, and the ensuing craving for revenge.

359
00:35:40,760 --> 00:35:50,760
The theft of the violin by Johnny, the black jazz musician, from Daniello, the classical virtuoso, metaphorically questions the value of established musical idioms.

360
00:35:51,760 --> 00:35:57,760
In fact, Krennic apotheosizes Johnny in the final scene while he kills off the classical violinist.

361
00:35:57,760 --> 00:36:10,760
The libretto definitely casts America – this isn't Catherine anymore, this is me, folks – the libretto definitely casts America, represented by jazz, as the future, which is to be embraced.

362
00:36:11,760 --> 00:36:21,760
The text of the last chorus is, The bell has rung, the old time goes, a new time begins now, don't miss the glorious path.

363
00:36:21,760 --> 00:36:26,760
The crossing is announced into the unknown land of freedom. They're going to America here.

364
00:36:27,760 --> 00:36:31,760
The crossing has begun, the crossing has begun, and Johnny plays for us to dance.

365
00:36:32,760 --> 00:36:38,760
For now the mighty new world comes across the ocean and overpowers old Europe through the dance.

366
00:36:39,760 --> 00:36:43,760
We're going to hear scene three, which is set in a Paris hotel.

367
00:36:43,760 --> 00:36:54,760
Johnny, the jazz musician, is making out with Yvonne, the maid of the opera singer Anita, who, after repulsing Johnny, is charmed by the classical violinist Daniello.

368
00:36:55,760 --> 00:37:01,760
Are you with me? The important thing is that Johnny, at the end of the scene, steals Daniello's violin.

369
00:37:01,760 --> 00:37:12,760
A little historical note, Johnny Spieltauf was premiered in 1927, one year before the Three Penny Opera.

370
00:37:31,760 --> 00:38:00,760
Oh, that is my Johnny, who plays the violin.

371
00:38:01,760 --> 00:38:08,760
Oh, that is my Johnny, who plays the violin.

372
00:38:09,760 --> 00:38:12,760
Oh, but don't be so fast, give me a kiss.

373
00:38:13,760 --> 00:38:18,760
Oh, but don't be so fast, give me a kiss.

374
00:38:18,760 --> 00:38:25,760
Oh, but don't be so fast, give me a kiss.

375
00:38:49,760 --> 00:38:52,760
Is this Daniello's room? Yes.

376
00:38:53,760 --> 00:38:58,760
Let me in, I must see the beautiful violin.

377
00:38:59,760 --> 00:39:03,760
You must be crazy, every moment he comes back from the concert.

378
00:39:07,760 --> 00:39:10,760
I must play the violin again.

379
00:39:10,760 --> 00:39:21,760
Oh, but don't be so fast, give me a kiss.

380
00:39:21,760 --> 00:39:30,760
Oh, but don't be so fast, give me a kiss.

381
00:39:31,760 --> 00:39:35,760
Hello to Brown.

382
00:39:36,760 --> 00:39:42,760
Mesdames, Messieurs, un moment de repos.

383
00:39:42,760 --> 00:40:00,760
Ich bin der König der Geige, wenn ich spiele, zerbröseln die Herzen im Kreise.

384
00:40:00,760 --> 00:40:20,760
Rund um die Erde schlingt sich ein Franz meiner jungen Mutter.

385
00:40:20,760 --> 00:40:32,760
Dieses Herren ist ein Affe.

386
00:40:33,760 --> 00:40:38,760
Wo hat der Kerl die Geige?

387
00:40:39,760 --> 00:40:45,760
Ah, zugesperrt, da kommt schon wieder jemand.

388
00:40:45,760 --> 00:40:53,760
Gott sei Dank, ich entkann den Leuten.

389
00:40:54,760 --> 00:41:02,760
Ach, sie meinen es gut, aber ich bin so blüde.

390
00:41:03,760 --> 00:41:12,760
Es war wohl ein großer Erfolg.

391
00:41:12,760 --> 00:41:23,760
Suchte, was an ihm gescheit.

392
00:41:24,760 --> 00:41:36,760
Ob ein Schaf, die weiße Frau ist schön, mir ist, als hätte ich keine noch gesehen.

393
00:41:37,760 --> 00:41:39,760
Doch nun nach Haus!

394
00:41:39,760 --> 00:41:41,760
Madame!

395
00:41:42,760 --> 00:41:44,760
Was wünschen Sie von mir?

396
00:41:45,760 --> 00:41:50,760
Sie sind so schön, ich liebe Sie.

397
00:41:51,760 --> 00:41:52,760
Lassen Sie mich gehen.

398
00:41:53,760 --> 00:41:58,760
Oh, ich bin stark, Sie ahnen es nicht. Fragen Sie doch die Mädchen vor Paris.

399
00:41:59,760 --> 00:42:00,760
Lassen Sie mich!

400
00:42:00,760 --> 00:42:11,760
Tote, toi, les griots!

401
00:42:16,760 --> 00:42:17,760
Du luppen Kerl!

402
00:42:18,760 --> 00:42:19,760
Das Geld!

403
00:42:20,760 --> 00:42:21,760
Du luppen Kerl!

404
00:42:22,760 --> 00:42:23,760
Hilfe, besser nicht erschüttern!

405
00:42:24,760 --> 00:42:25,760
Du luppen Kerl!

406
00:42:26,760 --> 00:42:27,760
Das Geld!

407
00:42:27,760 --> 00:42:49,760
Du luppen Kerl!

408
00:42:49,760 --> 00:43:00,760
I will go away from my homeland.

409
00:43:00,760 --> 00:43:04,760
Be happy without me.

410
00:43:04,760 --> 00:43:10,760
I want to try it, but I can't.

411
00:43:10,760 --> 00:43:21,760
I will go away from my homeland.

412
00:43:21,760 --> 00:43:33,760
I will go away from my homeland.

413
00:43:33,760 --> 00:43:37,760
Be happy without me.

414
00:43:37,760 --> 00:43:48,760
I want to try it, but I can't.

415
00:44:07,760 --> 00:44:17,760
I want to try it, but I can't.

416
00:44:17,760 --> 00:44:27,760
I want to try it, but I can't.

417
00:44:27,760 --> 00:44:34,760
I want to try it, but I can't.

418
00:44:34,760 --> 00:44:38,760
I want to try it.

419
00:45:04,760 --> 00:45:11,760
This is John, his jazz band.

420
00:45:34,760 --> 00:45:37,760
I use the term jazz pretty broadly myself.

421
00:45:37,760 --> 00:45:40,760
Ragtime, blues, big band, all sorts of stuff.

422
00:45:40,760 --> 00:45:47,760
But even I, even good old a rose by any other name would smell as sweet I,

423
00:45:47,760 --> 00:45:51,760
am flummoxed by what some Europeans have called jazz.

424
00:45:51,760 --> 00:45:56,760
Our tidbit today is the first number of a work called Jazz Suite No. 2.

425
00:45:56,760 --> 00:46:00,760
Got that title? Jazz Suite No. 2.

426
00:46:00,760 --> 00:46:07,760
Okay, man, count it off. One, two, one, two, three.

427
00:46:30,760 --> 00:46:50,760
Hey, man, take it.

428
00:46:50,760 --> 00:47:00,760
Take it.

429
00:47:20,760 --> 00:47:40,760
Take it.

430
00:47:40,760 --> 00:48:00,760
Take it.

431
00:48:00,760 --> 00:48:20,760
Take it.

432
00:48:20,760 --> 00:48:40,760
Take it.

433
00:48:40,760 --> 00:49:00,760
Take it.

434
00:49:00,760 --> 00:49:11,760
Take it.

435
00:49:11,760 --> 00:49:15,760
If that's jazz, I'll eat my pork pie hat.

436
00:49:15,760 --> 00:49:21,760
The March from the Jazz Suite No. 2 by that old hipster Dmitri Shostakovich.

437
00:49:21,760 --> 00:49:26,760
I guess sometimes jazz just means non-heavy-duty classical.

438
00:49:26,760 --> 00:49:30,760
And the title of that piece is Suite for Promenade Orchestra.

439
00:49:30,760 --> 00:49:35,760
Ricardo Chai conducted the Royal Concertgebouw Orchestra.

440
00:49:35,760 --> 00:49:38,760
Well, we have time for another tune.

441
00:49:38,760 --> 00:49:43,760
But before we do that, I just want to announce that I have figured out

442
00:49:43,760 --> 00:49:47,760
the anagram for Conlon Nancarrow.

443
00:49:47,760 --> 00:49:50,760
You see, when he lived down there in Mexico City,

444
00:49:50,760 --> 00:49:54,760
they had a great big gun that they used to use to protect the city.

445
00:49:54,760 --> 00:49:59,760
But finally, it got completely grooved and bent out of shape,

446
00:49:59,760 --> 00:50:02,760
and it just wouldn't shoot the ammunition straight.

447
00:50:02,760 --> 00:50:09,760
So they decided to use it for peaceful purposes and plant plants in it, flowers.

448
00:50:09,760 --> 00:50:13,760
And since it was now being used for peaceful purposes,

449
00:50:13,760 --> 00:50:18,760
Conlon Nancarrow wrote a Christmas song about the old gun,

450
00:50:18,760 --> 00:50:23,760
and it was called the Warn Cannon Carol.

451
00:50:23,760 --> 00:50:24,760
Thank you.

452
00:50:24,760 --> 00:50:27,760
OK, we're going to go back to Scott Joplin.

453
00:50:27,760 --> 00:50:32,760
Before we do, I'd like to say I just noticed that I didn't give the proper credit

454
00:50:32,760 --> 00:50:35,760
for the Sunflower Slow Drag earlier in the program.

455
00:50:35,760 --> 00:50:39,760
That actually is by Scott Joplin and Scott Hayden.

456
00:50:39,760 --> 00:50:42,760
We're now going to hear Heliotrope Bouquet,

457
00:50:42,760 --> 00:50:46,760
a beautiful one by Scott Joplin and Louise Chauvin.

458
00:50:46,760 --> 00:50:51,760
And you know, listening to these rags in their orchestrated form,

459
00:50:51,760 --> 00:50:54,760
they sound a lot more European to me.

460
00:50:54,760 --> 00:50:59,760
In point of fact, Joplin considered his rags to be quite classical pieces,

461
00:50:59,760 --> 00:51:03,760
to be played like Chopin preludes, which some pianists do now.

462
00:51:03,760 --> 00:51:06,760
And when you hear them orchestrated like this,

463
00:51:06,760 --> 00:51:09,760
I guess it really isn't that different from some of the things

464
00:51:09,760 --> 00:51:13,760
in the Shostakovich Jazz Suite No. 2.

465
00:51:13,760 --> 00:51:22,760
CLASSICAL MUSIC

466
00:51:43,760 --> 00:51:50,760
CLASSICAL MUSIC

467
00:52:13,760 --> 00:52:20,760
CLASSICAL MUSIC

468
00:52:43,760 --> 00:52:50,760
CLASSICAL MUSIC

469
00:53:13,760 --> 00:53:23,760
CLASSICAL MUSIC

470
00:53:23,760 --> 00:53:33,760
CLASSICAL MUSIC

471
00:53:33,760 --> 00:53:43,760
CLASSICAL MUSIC

472
00:53:43,760 --> 00:53:53,760
CLASSICAL MUSIC

473
00:53:53,760 --> 00:54:03,760
CLASSICAL MUSIC

474
00:54:03,760 --> 00:54:13,760
CLASSICAL MUSIC

475
00:54:13,760 --> 00:54:23,760
CLASSICAL MUSIC

476
00:54:23,760 --> 00:54:33,760
CLASSICAL MUSIC

477
00:54:33,760 --> 00:54:43,760
CLASSICAL MUSIC

478
00:54:43,760 --> 00:54:53,760
CLASSICAL MUSIC

479
00:54:53,760 --> 00:55:03,760
CLASSICAL MUSIC

480
00:55:03,760 --> 00:55:13,760
CLASSICAL MUSIC

481
00:55:13,760 --> 00:55:18,760
CLASSICAL MUSIC

482
00:55:18,760 --> 00:55:23,760
Heliotrope Bouquet by Scott Joplin and Louise Chauvin,

483
00:55:23,760 --> 00:55:27,760
and that was the Southland Stingers with Ralph Grierson,

484
00:55:27,760 --> 00:55:31,760
arranged and conducted by George Sponholtz.

485
00:55:31,760 --> 00:55:35,760
That isn't an actual old arrangement from the early part of the century,

486
00:55:35,760 --> 00:55:38,760
but it's an arrangement done in that style,

487
00:55:38,760 --> 00:55:41,760
played by Los Angeles Cats.

488
00:55:41,760 --> 00:55:47,760
As a matter of fact, I see that Shelly Mann is playing that very hip drum part.

489
00:55:47,760 --> 00:55:53,760
OK, we're going to go out with a little rag I like to play.

490
00:55:53,760 --> 00:55:56,760
I'm going to turn around here to the authentic instrument

491
00:55:56,760 --> 00:56:00,760
and play the Gang of Wolves rag.

492
00:56:00,760 --> 00:56:17,760
CLASSICAL MUSIC

493
00:56:17,760 --> 00:56:20,760
And that's Sickly Mix for this week.

494
00:56:20,760 --> 00:56:23,760
Our program is made possible with funds provided

495
00:56:23,760 --> 00:56:26,760
by the Corporation for Public Broadcasting,

496
00:56:26,760 --> 00:56:29,760
by the National Endowment for the Arts,

497
00:56:29,760 --> 00:56:32,760
and by this radio station and its members.

498
00:56:32,760 --> 00:56:34,760
Thank you, members.

499
00:56:34,760 --> 00:56:39,760
Our program is distributed by PRI, Public Radio International.

500
00:56:39,760 --> 00:56:42,760
We'll tell you in a moment how you can get an official playlist

501
00:56:42,760 --> 00:56:46,760
of all the music on today's program with album numbers and everything.

502
00:56:46,760 --> 00:56:48,760
Just refer to the program number.

503
00:56:48,760 --> 00:56:52,760
This is program number 99.

504
00:56:52,760 --> 00:56:55,760
And this is Peter Sickly saying goodbye and reminding you

505
00:56:55,760 --> 00:56:59,760
that it don't mean a thing if it ain't got that certain je ne sais quoi.

506
00:56:59,760 --> 00:57:02,760
You're looking good. See you next week.

507
00:57:02,760 --> 00:57:27,760
CLASSICAL MUSIC

508
00:57:32,760 --> 00:57:44,760
CLASSICAL MUSIC

509
00:57:47,760 --> 00:57:50,760
If you'd like a copy of that playlist I mentioned,

510
00:57:50,760 --> 00:57:53,760
send a stamped self-addressed envelope to Sickly Mix.

511
00:57:53,760 --> 00:57:58,760
That's S-C-H-I-C-K-E-L-E, Sickly Mix.

512
00:57:58,760 --> 00:58:03,760
Care of Public Radio International, 100 North 6th Street, Suite 900A,

513
00:58:03,760 --> 00:58:08,760
Minneapolis, Minnesota, 55403.

514
00:58:08,760 --> 00:58:28,760
PRI, Public Radio International.