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All that later tonight right here on WNIB.

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Now we invite you to stay tuned for Shickly Mix and Peter Shickly along with everyone

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else is getting tired of all of the winter weather and the snow and of course the cold.

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Are you ready, Pete, to have the temperatures go up, up, up?

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If I were any readier, I'd have to take a downer.

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Here's the theme.

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

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that all musics are created equal or as Duke Ellington put it, if it sounds good, it is

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good.

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But here's a good deal, our bills are paid by the Corporation for Public Broadcasting,

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by the National Endowment for the Arts, and by this, this very radio station where I'm

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given the wherewithal to produce incredibly concentrated nuggets of musical scholarship,

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which nuggets are then distributed at large by PRI, Public Radio International.

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If you asked me to make a list of my favorite movies, not a list of the best movies of all

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time, I don't go for that absolutist kind of thinking, but just my favorite movies,

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quite a few of them would be sort of in the cracks comedies like Shoot the Piano Player,

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Beat the Devil, Local Hero, and the list would definitely include A Hard Day's Night, the

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Beatles' first movie.

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I think it came out in 1964, that was of course before VCRs, and I probably saw that thing

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about a dozen times in the first year it was out.

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The word I would choose for the movie is exhilarating, alright so it gets a bit coy at times, but

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in general, Richard Lester and Alan Owen found a way to compliment the great songs and endearing

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personalities of the Fab Four.

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I felt buoyant every time I walked out of the theater.

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I love being exhilarated.

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There was an entertainment magazine in New York then that had thumbnail reviews of all

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the movies that were playing in town, and when A Hard Day's Night opened, they ran a

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brief paragraph dismissing it as just another rock and roll exploitation movie.

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Now you youngsters have to remember that this was before the Beatles had been deified.

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But somebody at the magazine must have caught on that all these intellectuals and trendsetters

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were seeing the movie and loving it.

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So guess what?

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A couple of weeks later there was a different and highly flattering description of the movie.

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So much for the courage of your convictions.

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Anyway, I was teaching at Juilliard at the time, and there was a musicologist there who

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saw the flake and loved the songs, and he said, if this were the Renaissance, composers

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would be using those songs in masses.

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What he was referring to is the fact that early masses were organized around a cantus

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firmus, a long note melody that was based on Gregorian chant.

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It was usually sung by the tenor.

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In fact, the name tenor comes from the same root as tenacity.

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It means the part that holds those long notes.

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But in the Renaissance, composers started basing masses on popular songs of the day,

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and the most often used song was L'homme armée.

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Now I want to play you part of a du-fi mass based on L'homme armée, but you know, those

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composers, they wove the song into the general polyphonic texture.

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They didn't make it stand out.

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In fact, it can be quite difficult for a listener to isolate the tune.

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It wasn't supposed to be a presentation of the song, a setting of the song in the sense

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of a frame for a painting.

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It was mostly a unifying device for the composer.

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But when it comes to shiggly mix, no expense is spared to create a more fulfilling educational

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experience.

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If it will benefit you, the listener, I simply go ahead and do it and let someone else figure

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out how to pay for it.

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So I flew over to London on the Concord and got together with the Hillyard Ensemble, one

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of my favorite vocal groups, and I said, fellas, I'd like you to book a recording session in

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whatever church has the best acoustics.

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Now I know the minimum session length is probably three or four hours, but all I want to record

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is about 35 seconds of this du-fi mass.

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Money is no object here.

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What I'd like you to do is make the tenor part a little bit louder than you would usually

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sing it so that my listeners can hear the cantus firmus.

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And you know what they said?

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They not only agreed to do it, but they said, say, Peter, would you fancy singing along

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with us on that part?

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Well, I can't tell you what a thrill that was for me.

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And here's the result.

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The beginning of the Agnus Dei from du-fi's Missa L'homme Armée with the Hillyard Ensemble

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joined by your humble host.

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The first two phrases of L'homme Armée, which is what you'll hear, go like this.

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L'homme, l'homme, l'homme Armée, l'homme Armée, l'homme Armée doit en dute.

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One should fear the armed man.

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But you won't hear those words, by the way.

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Since it's a mass, du-fi puts the words Agnus Dei, peccata mundi to the melody.

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Also, the cantus firmus doesn't come in immediately.

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It begins about 10 seconds into the piece.

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Here we go.

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Agnus Dei.

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Agnus Dei.

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Agnus Dei.

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Agnus Dei.

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Agnus Dei.

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Agnus Dei, peccata mundi, l'homme Armée, l'homme Armée, l'homme Armée, l'homme

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Armée, l'homme Armée.

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Part of the du-fi Missa L'homme Armée.

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What beautiful music that is.

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And you'll hear more of it later, sung by the Hilliard Ensemble, without the colorful,

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but ultimately unnecessary contribution of yours, truly.

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So the cantus firmus of a mass might very well be a popular song, but used in a very

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subtle way.

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What if you went to mass and heard the choir sing this?

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Now, unless you're an extremely sophisticated listener, you wouldn't think twice about it.

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But if you heard the tenor part alone, you might think, I know what that is, or at least,

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that sounds familiar.

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And it is familiar.

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Speed it up and put different words to it, and you've got this.

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The Beatles, in all their beatitude, singing If I Fell from A Hard Day's Night.

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So now that you know what the cantus firmus is, let's hear that portion of the Missa If

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I Fell again.

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If you listen very carefully, you can hear the tune in the middle part.

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Now, in case you think that I'm being unduly flippant or even sacrilegious in using the

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title Missa If I Fell, let me say that that's exactly what it would have been called in

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the Renaissance.

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L'homme armée happens to be a song about war, but some of the other songs used for

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masses back then were love songs, just like If I Fell.

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But let's get back to l'homme armée.

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Here's a suite with four numbers in it.

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An unaccompanied singer presenting the whole melody, an instrumental rendition of a chanson

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based on it, and then the first two sections of the Agnus Dei from Dufay's Missa l'homme

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armée.

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You can hear the song emerging in different parts of the texture, sometimes more prominent,

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sometimes submerged.

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And finally, what might be called a worked-out improvisation based on the song by a group

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that specializes in but does not restrict itself to early music.

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The l'homme armée suite lasts about eleven minutes, after which I will return completely

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unarmed.

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L'homme armée.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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L'homme armée quelque lute.

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L'homme armée quelque lute.

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L'homme armée, l'homme armée quelque lute.

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The L'homme armée suite began with a complete rendition

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of the anonymous tune sung by Frank Kelly.

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And that was followed by a setting by Robert Morton,

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who died in 1476.

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These are both from an album by the Boston Camerata

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under the direction of Joel Cohen.

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The album is called L'homme Armée.

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And then we heard the first two sections of the Agnus Dei

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from that beautiful Missa L'homme Armée from Guillaume

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Dufay, who died in 1474.

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And that was the Hilliard Ensemble,

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all by their glorious selves.

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And then finally, that sort of improvisatory thing

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was done by a group called Calliope.

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And we heard soprano recorder, viol, sackbutt, cornetto,

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and tambourine sort of being played in an Eastern technique

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with the fingers on the edge while you sort of shake it.

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That whole thing was just a large tambourine

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used as both a drum and with the jingles.

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The group was Calliope.

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And me?

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You can touch me if you want.

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I'm the guy who once sang with the Hilliard Ensemble.

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Peter Shickely is the name, and the show

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is Shickely Mix from PRI, Public Radio International.

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When it comes to appropriating popular songs for what we might

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call concert pieces, the main difference

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between now and the Renaissance is

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that Dufay didn't have to worry about copyrights.

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Bizet never pretended that he wrote

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the melody of the famous Habanera in Carmen,

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but he thought it was a free-floating folk song.

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He didn't realize that its composer was alive and well.

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More recently, Stravinsky wrote a piece

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based on Happy Birthday, only to find much to his chagrin

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that it was under copyright.

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And the same thing happened with Richard Strauss and Funiculi

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Funicula.

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We make a distinction, at least in this country,

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between popular songs and folk songs.

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The French term chanson popular, by the way,

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points up the dangers of trying to translate

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from a foreign language using nothing

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but a knowledge of cognates.

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The proper translation of chanson popular

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is not popular song, but folk song, song of the people.

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We use the term folk song in several senses, one of them

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being a song that's been around a long time

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and nobody knows who wrote it, which means

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it's fair game for composers.

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Today's show is called If It's a Folk Song, It Isn't Stealing.

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Many composers who wouldn't dream of borrowing a theme

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from another composer's symphony feel perfectly free

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to use large swatches of folk song in their pieces.

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Their enthusiasm for this form of legal larceny

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is dampened only when they find out that it's not legal,

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that is, that the song is not in the public domain.

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Incidentally, I'm not putting those composers down.

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I'm one of them myself.

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And in fact, I wish there were some way,

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without endangering composers' livelihoods,

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of making it easier to refer to the works of others.

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As I said before, you didn't have

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to worry about that in the old days,

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and you still don't have to worry about it

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with the old songs.

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After all, what really matters is what you do with them.

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Here's a Russian folk song, first sounding very Russian

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in Mussorgsky's opera Boris Gudnoff,

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and then sounding not at all Russian in a string quartet

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by Beethoven.

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["Symphony No. 5 in C Major"]

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["Symphony No. 5 in C Major"]

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["Symphony No. 5 in C Major"]

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["Symphony No. 5 in C Major"]

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["Symphony No. 5 in C Major"]

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["Symphony No. 5 in C Major"]

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["Symphony No. 5 in C Major"]

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["Symphony No. 5 in C Major"]

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["Symphony No. 5 in C Major"]

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["Symphony No. 5 in C Major"]

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["Symphony No. 5 in C Major"]

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["Symphony No. 5 in C Major"]

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["Symphony No. 5 in C Major"]

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Two uses of a Russian folk song.

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The first from the coronation scene in Mussorgsky's Boris Gudnoff

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that was the Victor Symphony Orchestra

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and the Victor Chorale conducted by Nikolai Berezovsky.

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And then the scherzo movement, that is the trio of the scherzo movement

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from the string quartet by Beethoven Op. 59 No. 2

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that was the Amadeus Quartet

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that was one of three quartets that were commissioned by a Russian

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was he a count, I think, Razumovsky?

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And he asked that a Russian song be used in each quartet.

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Beethoven did it in the first two quartets

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but he sort of, I guess, lost his interest by the third.

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Now to Beethoven that was an exotic theme that he Germanized.

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But sometimes composers find music right in their own backyards

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songs that have been around for years without the composers knowing about them

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or maybe knowing about them but not paying them much mind.

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Here's a Shaker hymn sung by a member of the Shaker sect

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which has always, I think I'm correct in saying, sung unaccompanied.

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Tis the gift to be simple, tis the gift to be free, tis the gift to come down where we ought to be

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and when we find ourselves in the place just right

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we'll be in the valley of love and delight

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when true simplicity is gained

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to bow and to bend we shan't be ashamed

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to turn, turn, we'll be our delight till by turning, turning we come round right

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Sister R. Mildred Baker and somebody else unidentified

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singing Tis the Gift to be Simple which dates back at least as far as 1848.

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Now I must say it seems a bit contrary to the spirit of those words

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to set the song like this.

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Hey, Beethoven felt no responsibility to make his Russian theme sound Russian

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and Copland feels no compunctions about setting his Shaker theme bombastically.

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Theme, in fact, is the key word here.

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Once appropriated, the songs become themes in a classical, more or less abstract composition

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and are subject to the varied treatments such themes, through years of experience, have come to expect.

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Actually, you know, to be fair, the main section in Appalachian Spring that uses the Shaker hymn

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does have quite a simple, modest feel.

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Aaron Copland conducting 15 players in an excerpt from the original version of Appalachian Spring.

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The band had to be small enough to fit in the pit of a small theater.

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The excerpt we heard earlier was from the full orchestra version played by the London Symphony Orchestra.

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Copland didn't think he liked cowboy songs much when he started working on Billy the Kid,

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but as he checked them out and thought about them, he found his attitude changing.

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I think what happened was that he discovered what Bartok once commented on.

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The simpler the song, the more latitude the composer has in setting it.

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Here's a pretty simple old cowboy song.

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Old Payne's a good pony, he paces when he can.

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Goodbye old Payne, I'm a-leavin' Cheyenne.

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I'm leavin' Cheyenne and I'm off to Montaigne.

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Goodbye old Payne, I'm a-leavin' Cheyenne.

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Goodbye old Payne, I'm a-leavin' Cheyenne.

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Goodbye old Payne, I'm a-leavin' Cheyenne.

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Go hitch up your horses and give them some hay.

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I'm sorry young lady, my horses won't stay.

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My horses ain't hungry, they won't eat your hay.

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My wagon is loaded and rollin' away.

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Goodbye old Payne, I'm a-leavin' Cheyenne.

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Goodbye old Payne, I'm a-leavin' Cheyenne.

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My foot's in my stirrup, my bridle's in hand.

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Goodbye young lady, I'm leavin' Cheyenne.

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I'm leavin' Cheyenne and I'm off to Montaigne.

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Goodbye old Payne, I'm a-leavin' Cheyenne.

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Goodbye old Payne, I'm a-leavin' Cheyenne.

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Goodbye old Payne, I'm a-leavin' Cheyenne.

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Glenn Orlin, a bona fide cowboy by the way, singing Goodbye Old Payne.

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Copeland used this song beautifully in Billy the Kid.

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But Orlin sings a different version than the one Copeland knew.

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That's the pesky thing about folk music.

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Can't pin those darn songs down.

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Copeland's version is the one I grew up with.

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Not Goodbye old Payne, I'm a-leavin' Cheyenne.

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But Goodbye old Payne, I'm a-leavin' Cheyenne.

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What I love is the way Copeland takes notes from the theme

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and turns them into an accompaniment figure

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so that the melody is sort of accompanying itself.

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It's very sophisticated and simple at the same time.

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Now I'm going to start a little bit before Goodbye old Payne comes in

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so that you can sort of get the context.

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Orlin, a-leavin' Cheyenne.

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Orlin, a-leavin'.

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Orlin, a-leavin'.

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Orlin, a-leavin'.

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Orlin, a-leavin'.

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Orlin, a-leavin'.

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Aaron Copeland conducting the London Symphony Orchestra

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and an excerpt from Billy the Kid

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which makes lovely use of the cowboy song Goodbye old Payne.

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And I use the word lovely advisedly.

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When you hear a cowboy singing it, you might not say lovely,

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but that's the way Copeland uses it.

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Way back when I was a teenager, I studied with the composer Roy Harris.

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I once asked him his opinion of Stravinsky and Harris said,

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well, he's a good folk song arranger.

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That was, of course, a dig.

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Not an accurate observation, at least as far as I'm concerned.

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The use that Copeland and Stravinsky made of folk songs

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went way beyond mere arrangements and Roy Harris knew it.

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That wasn't the first nor the last time that one composer has dissed another.

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Even back then, in 1954, my name was Peter Shickely,

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but the show was yet to be Shickely Makes from PRI, Public Radio International.

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We're talking about composers who have been inspired,

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and I mean inspired, by folk music from their own backyard.

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Music that was there all the time,

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but that they may not have paid much attention to during their student days

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when they were studying the Franco-German classical tradition

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in the belief that they were acquiring all the ingredients of,

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or at least influences on, what was to become their style.

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Bartok was one such composer.

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He spent a great deal of time collecting folk music,

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mostly in central Europe,

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and the results of his efforts influenced him so much

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that sometimes even when he isn't quoting folk material,

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it sounds as if he might be.

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I can't remember who it was who said,

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always compose your own folk songs.

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Maybe somebody who had been caught in the jaws of a copyright trap.

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Anyway, it wasn't always with Bartok,

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but as far as I know, he didn't borrow anything directly for this piece.

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With some composers, it gets so that you can't always tell.

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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That was the Orpheus Chamber Orchestra,

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playing the last movement of Bartok's Divertamento for String Orchestra.

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And I do believe we have time for a tidbit here.

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This is a fanfare and a couple of songs for the fool

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that Shostakovich wrote for a Russian production of King Lear.

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This contains one of the most surprising,

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one of the most sock-knocking-off folksong quotes I've ever heard.

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And by the way, it has absolutely nothing to do with the original words

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or even the original context of the song.

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Go figure.

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Dmitry Shostakovich.

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Music for King Lear.

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The words of that first song apparently have to do with

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Meet Me in the Bushes and stuff like that.

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Nothing whatsoever to do with Christmas.

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That was Stanisov's Suleymanov with the Rundfunk Symphony Orchestra Berlin,

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conducted by Mikhail Yurovsky.

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When Aaron Copland was asked in an interview about the score for Billy the Kid

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why he hadn't used Home on the Range,

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he said that he was tempted but, after all, you have to draw the line somewhere.

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But maybe he also knew that there was a copyright battle going on

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over Home on the Range at about that time.

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You never know.

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Best to stick with P.D. material.

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Stuff that you know is in the public domain.

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Like this.

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Music

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And that's Shickly Mix for this week.

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Our program is made possible with funds provided by

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the Corporation for Public Broadcasting,

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by the National Endowment for the Arts,

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and by this radio station and its members.

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We thank you, members.

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Our program is distributed by PRI, Public Radio International.

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We'll tell you in a moment how you can get an official playlist

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of all the music on today's program, with album numbers and everything.

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Just refer to the program number.

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This is program number 109.

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And this is Peter Shickly saying goodbye

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and reminding you that it don't mean a thing

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if it ain't got that certain je ne sais quoi.

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Hey, you are looking good.

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See you next week.

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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Music

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If you'd like a copy of that playlist I mentioned,

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00:57:13,060 --> 00:57:17,060
send a stamped, self-addressed envelope to Shickly Mix.

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00:57:17,060 --> 00:57:22,060
That's S-C-H-I-C-K-E-L-E, Shickly Mix.

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Care of Public Radio International, 100 North 6th Street, Suite 900A,

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00:57:27,060 --> 00:57:32,060
Minneapolis, Minnesota, 55403.

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PRI Public Radio International