Announcer: Now it's time on WFMT for Schickele Mix with Peter Schickele. Are you, uh, are you sure you're ready for tonight's show, Peter?
Oh, ye of little faith. Of course I'm ready. Here's the theme.
[theme: Mozart, Symphony No. 24]
Hello there, I'm Peter Schickele, and this is Schickele Mix, a program dedicated to the proposition that all musics are created equal. Or as Duke Ellington put it, if it sounds good, it is good.
In this particular bag of goodies, the bills are paid by the Corporation for Public Broadcasting and by the National Endowment for the Arts, with additional support from the National Academy of Recording Arts and Sciences, and from this high-minded radio station, which provides me with this state-of-the-county studio, and what results is distributed all over the place by PRI, Public Radio International.
Most people, myself included, assume that the reason that marches are in duple time is because we have two feet. And actually, now I'm going out on a musicological limb here, but I would be willing to bet that if you took all the music in the whole world and laid it end to end, sonically speaking, you'd find that more of it was in duple time than any other. That's just a guess, but I think it's a pretty good one.
I'd put my Earl Taylor and his Stony Mountain Boys LP on it. But you can't take the body connection too far. Certainly the second, or at least the other most popular time is triple time. And what do we have three of? You know, I can't think of anything that our bodies have three of. Van Gogh and his brother Theo had three ears between them, but that's different. I'm talking about one body. There are a lot of mysteries in the world.
Why is triple time so popular when we don't have three of anything? Why does triple only have one P unlike cripple, nipple, ripple, and tipple? Hey, you know, something just occurred to me. What is the quintessential body of triple time music? Viennese waltzes, right? Well, dig it. Vienna, three syllables. Austria, three syllables. Hungary. Germany. How about that, huh?
I think we're on to something here. Uh-oh. Poland. Well, that's the exception that proves the rule. Anyway, I think we have to forget about the music-body-parts connection, because certainly one of the most important numbers, bodily-wise speaking, is five. We have five fingers on each hand and five toes on each foot. And yet music in quintuple time is comparatively rare.
Aha! Quintuple! Duple! Quadruple!
They all have one P, just like triple. I'll bet that's it. Those words obviously come from the Latin, like triplum, whereas those other ipple words, like cripple and ripple, they're probably Germanic. At least that's... Okay. I can't argue with the irrelevancy alarm on that one. But it is interesting that... Okay. Okay. All right. Where were we? Oh yeah. The comparative rarity of music in quintuple time.
I can't think of a single pop song, I mean one that you would call a standard, that's in 5-4 time. 5-4 is not a meter you're likely to meet in cocktail lounges. Which reminds me of a story.
[music: Brown/Henderson (Chappell & Co., Inc), "Life is Just a Bowl of Cherries"]
Gangster: Hey, piano player.
Yeah?
Gangster: You know how to play Life Is Just a Bowl of Cherries?
Yeah, sure, I know how to play that.
[sung: the opening line of "Life Is Just a Bowl of Cherries"]
Gangster: Hey, good, because Big Al feels like singing.
Big Al is in the club tonight?
Gangster: He's out in the car.
Well, that would be wonderful to play for Big Al.
Gangster: There's just one thing. Big Al sings Life Is Just a Bowl of Cherries in the key of C-flat major.
C-flat major? Seven flats? I don't get an opportunity to play in that key very often. I can probably do that. [sung: the opening line of "Life Is Just a Bowl of Cherries"] Hey, no problem. C-flat major, fine.
Gangster: Oh, yeah, there's one other thing. Big Al sings Life Is Just a Bowl of Cherries in 5-4 time.
5-4 time? That's ridiculous. The song's in 4-4 time. One, two, three, four, [sung: the opening line of "Life Is Just a Bowl of Cherries"] Two, three, four. Two, three, four. I mean, I can see turning it into a waltz, but 5-4 time...
Gangster: Hey! Are you saying that Big Al don't know how to sing Life Is J—
Oh, no, no, no, no. I'm not saying that at all. No, fine. C-flat major, 5-4 time. No problem. If Big Al wants to come in, I'd be glad to— I'd be honored to accompany him.
Gangster: Okay, I'll go out and get him.
Five-four time. That's ridiculous.
Boy, I just... I can't understand. Oh, here he comes. Good evening, sir. How you doing? Um, are you ready to go?
Big Al: Yeah, anytime.
Okay, I'll count it off. One, two, three, four, five.
[sung: Big Al sings the opening lines in 5/4]
You know, you could have the dream cocktail piano gig, hotel frequented by high tippers, unlimited run, you could play the same room for ten years and play different tunes every night and still never have to play in 5-4. But that doesn't mean there isn't any music in quintuple time. In fact, there's a lot of it. There just isn't much compared to that in duple and triple time. Here's a tasty little assortment of quintuple time canapés to get us started. The first one is quite fast. It's actually in 5-8 time. 1, 2, 3, 4, 5, 1, 2, 3, 4, 5, 1. And the other two are more moderate. 1, 2, 3, 4, 5, 1, 2, 3, 4, 5. I call this suite Beat Me Daddy, Five to the Bar, and I'll see you in about eleven and a half minutes.
[music: Hindemith, "Ludus Tonalis, Fuga II in G"; Edward Aldwell]
[music: Trad., "Full Moonlight Dance" (A Circle is Cast); Libana]
[music: Holst, “The Planets,” “Mars, the Bringer of War”; Philharmonia Orchestra/Rattle]
That's five to the bar. Maybe I should explain that suite title for some of the younger listeners who might be out there.
That refers back to the days of boogie woogie. Boogie woogie is usually in 4-4 time, but it always has two notes to each beat.
[sung: a boogie-woogie bass line]
So there was a song back in those days called Beat Me Daddy Eight to the Bar, and that's a little reference to that. I just wanted to make sure that somebody didn't think I was, you know, getting into some sort of a masochistic child abuse thing here. Anyway, Beat Me Daddy, Five to the Bar, began with the pianist Edward Aldwell playing the second fugue from Ludus Tonalis, Tonal Play, or Tonal Games, by Paul Hindemith.
Or Hindemith, if you want to get authentic on me. I grew up saying Hindemith, but what did we know in North Dakota, right? We didn't. Or did we? Beats me.
And then came a nice round called Full Moonlight Dance by Karen Beth and that was performed by Libana, the always welcome group out of the Boston area. And finally the opening of The Planets by Gustav Holst, Mars, the Bringer of War. That was the Philharmonia Orchestra under Simon Rattle and this is the host of this program going under the name Peter Schickele because that's his name, although the program itself is called Schickele Mix.
From PRI, Public Radio International.
Today's show is called Quintessential Music. You know, it's funny how you can use a word all your life and yet not really think about it. I've probably been saying quintessential since I was, what, one and a half years old? And I probably knew what it meant even before that, right? From hearing my parents use it. But in all these years, it never occurred to me to ask, what does quintessential have to do with five?
I mean, it obviously comes from the Latin, and sure enough, it turns out, I got the dictionary out here, it turns out that in ancient philosophy quintessence was the fifth and highest element that permeates all nature and is the substance composing the celestial bodies, as well as those of Arnold Schwarzenegger and Dolly Parton. No, no, I'm just kidding. I added Dolly Parton on there.
Anyway, so quintessential is an apter term than you might have thought for music organized in groups of five beats. Such music is not uncommon in the concert hall these days, partly because of the influence of Eastern European folk music. But before the 20th century, 5-2 and 5-4 and 5-8 were odd meters in more ways than one.
Most of the earlier examples were written to show off their composer's skill, or to make a didactic point, or, in the case of Handel's Orlando, to convey the feeling of a character who has gone round the bend. But we are about to hear what is, according to Grove's dictionary, one of the earliest pieces in the history of Western music that is unequivocally and consistently in quintuple time. We're talking the days of Columbus here.
On top of that, the piece happens to be very beautiful. Then we'll hear another piece written four centuries later which is just as unusual considering its genre. Both of these works have a rather sensuous feel to them, so I call this suitelet Two Hearts in Five-Four Time. I'll be back in about seven and a half minutes.
[music: Milbank, "Moonbeams"; Great American Main St. Band]
Two Hearts in Five-Four Time. That beautiful first piece was by a Spanish composer named Anchieta. Some Moorish influence there, I'm sure. It was written somewhere around the year 1500 and performed for us by Montserrat Figueras and other members of a group called Hespèrion XX.
Yes, I know that XX is a number, but I don't know how to say 20 in Spanish, and it seems to be a Spanish group under the direction of Jordi Savall. The label is Astrée. The words of that song, Dos ánades madre, are actually about two ducks.
"Two ducks, mother, that are around here, feel sorrow for me." Ducks feeling sorrow. Well, either that young woman was, or those ducks were, very unusual. Of course, all three of them were Spanish. Sorrow was their middle name. Then we heard a very fetching number called Moonbeams, written by Walter Milbank, and played by the Great American Main Street Band.
One composer who loved 5-4 time was Louis Hardin, better known as Moondog. He used to stand on street corners in New York dressed in sort of medieval peasant clothes topped by a Viking helmet complete with horns, selling copies of his music and poetry. The music was mostly rounds and the poetry was mostly just couplets like the morals at the ends of fables. Here's one of his poems in his own voice.
[recording: Moondog, "Cuplet"]
Moondog (recorded): The only one who knows this ounce of words is just a token, is he who has a ton to tell that must remain unspoken.
And now it's Tidbit Time. And we have got a treat in store for us today. A live performance right here in the Schickele Mix studio. We're going to hear a round by Moondog sung by a new vocal group called the Anonymous 3. It's an all-male group. How do you do, gentlemen?
The Anonymous 3: Hi. How are you?
Well, I'm pleased and honored to be broadcasting what I believe is the first live radio appearance by the Anonymous 3. You don't use the...
Anonymous 3: It's just Anonymous 3. Like Talking Heads.
Oh, I see.
Anonymous 3: In fact, that's what our first album is called. The Name of This Group Is Anonymous 3. That's right.
Okay.
Anonymous 3: That's it. That's what it's called.
Now, I'd like to introduce each one of you. I had some publicity material here somewhere. I'll tell you what. Why don't you introduce yourselves? That's more personal anyway. So, let's go from the bottom up. Bottom top. We'll start with the bass. Your name is?
Arthur: Arthur. Arthur. I was named after George Harrison's haircut.
Anonymous 3: Arthur's the funny one.
Okay. And then we have the baritone, and you are?
Conan: Conan.
Oh yes, I remember reading in the publicity material that you are related to the late great singer Cathy Berberian, aren't you? What was the relationship there?
Conan: Uh, she was my aunt.
Arthur: We like to call him Conan the Berberian.
Anonymous 3: Arthur's the funny one.
Very amusing. Alright, and last, but I'm sure not least, the countertenor of the group.
Doyle: My name is Doyle Edward Cart, but I don't usually use my middle name in full, just the initial.
Doyle E. Cart?
Doyle: Uh-huh, but you can call me Doyle.
Okay, Doyle and Conan and Arthur are the members of the Anonymous... of the group Anonymous 3. And, uh, how long have you fellows been together?
Anonymous 3: Uh, let's see, since Tuesday, isn't it? No, no, it's Wednesday. It was Monday night, guys, Monday night. That's right, Monday night, because my bowling was called off. Right, Monday night. Eight o'clock. Eight o'clock at Arthur's house.
Arthur: And they didn't bring anything to eat, either. Ate me out of house and home.
Anonymous 3: You know, actually it doesn't sound right. Maybe it should be THE Anonymous 3.
Fellas, can we get to the music here?
Anonymous 3: Sure.
We're going to hear a delightful round in 5-4 time by Moondog. It's called Be a Hobo. And, fellas, what I'm going to do here, since it's a round, which is basically an endless form, you know, I'm going to fade you out after we've heard, you know, as much as we need to.
Anonymous 3: Fine. All right. That's fine.
Okay. So, any time you're ready, take it away.
I like to see a man who knows how to use the dictionary.
That was just marvelous, gentlemen. You definitely, well, you sound like a group that's been together for years. And you get such a full sound.
Anonymous 3: Hey, thanks. That's very nice.
Folks, that was Be a Hobo by Moondog, sung by Anonymous 3.
Anonymous 3: No, no, let's make it The Anonymous 3. I think we've changed our mind about that. Yeah, I like it better. I think it's better with the article. With the "the" at the front. Or "the." No, no, no, it has to be "the," because of Anonymous. Oh, right. The Anonymous 3. Yeah, right. Right.
Okay, well, thanks for joining us, fellows. I won't keep you any longer, just as you're leaving, be careful of that vase of flowers. My mother sent me...
Anonymous 3: What vase of flowers?
Oh, no. Oh, boy.
Anonymous 3: Arthur's the funny one.
You know, I better clean that up. If the station manager comes in, it's great. That's all I need.
[sound: phone rings]
Hello. Oh, hi, Mom. Hey, thanks for the flowers. They look great, even now.
Okay, well, I did, and they're beautiful. Gotta go. I'm on the air. Bye.
Okay, now folks, I hate to do this while we're in the middle of the program here, but I really think I should clean up the...
[sound: phone rings]
Oh, man, I can't stand this. Hello?
I'm glad you enjoyed them. They're a terrific trio.
Well, now, that's very interesting that you should say that, because I thought it sounded like four voices, too.
Yeah, well, you know, I know that round, Be a Hobo, and it's a four-part round, and I could have sworn that I was hearing four voices.
They were standing right in front of me here and there were only three of them Doyle, Conan, and Arthur so I don't know what to say. Hey look, I've got a... Oh, it's the first time you've heard this show? Well, thanks, I'm glad you are. Okay, my name is Peter Schickele and... Okay, S-C-H... I... P-E-T-E-R S-C-H I-C-K E-L-E And the program is Schickele Mix From PRI Public Radio International
Yeah. Well, thanks. That's all nice to hear, but I really... Okay, today's show is called Quintessential Music. It's about 5-4 time, or anyway, quintuple meters. Right. Now, I am going to clean up that broken vase here before someone comes in and gets hurt. I think there's a broom in this closet back...
Hey, hey, come back here! Who are you, man? That guy was hiding in the closet. Why would he be doing that? He didn't look like a burglar. He looked more like a librarian, or a singer. Yeah, a singer. I'll bet he was the fourth singer we were hearing. But why would he be hidden? Wait a minute.
There already is a group called Anonymous 4, so this group... but that's silly. These guys could just come up with a completely different name, like The Three Freshmen or Stephen King's Singers. Why should they sneak a fourth guy around? Well, I don't get it. And naturally, there isn't any broom in the closet. So I'm going to put on the next music here, but before I do, let me just point out that in most music with quintuple meters, the beats in each measure are divided into two groups, either three plus two or two plus three. Some pieces, like the next one you'll hear, go back and forth between those two groupings.
Other pieces, like the second one you're about to hear, are all or mostly all in one grouping. When that's true, it seems to me that the most common grouping is three plus two, which is not only the case here, but has been the case in all but a couple of the numbers we've heard so far. So, while I go and get a broom, I'd like to invite you to listen to a pair of classics. When I say that pieces in 5-4 time are rare, I don't mean to imply that they can't be popular.
These pieces are both on the hit parades of their respective categories, in fact, top ten. That's why I call this suitelet High Fives. It shouldn't take me more than, say, thirteen and a half minutes to clean up this mess. See you then.
[music: Desmond, "Take Five" (Time Out); Dave Brubeck Quartet]
Our two high fives were Tchaikovsky's Sixth Symphony, the second movement, with Abbado and the Vienna Phil, and then Paul Desmond's Take Five, played by the Dave Brubeck Quartet, with Joe Morello playing that very tasty drum solo. You know, Take Five is a tune I can imagine a cocktail pianist playing. It didn't occur to me before when I said I couldn't think of a single pop standard in 5-4, because it's known as an instrumental, not as a song-song.
Take 5 certainly is a jazz standard, but to give you an idea of how unusual it was when it came out, lo those many years ago, let me read from the original liner notes here. Take 5 is a Desmond composition in 5-4, one of the most defiant time signatures in all music, for performer and listener alike.
Conscious of how easily the listener can lose his way in a quintuple rhythm, Dave plays a constant vamp figure throughout, maintaining it even under Joe Morello's drum solo. And contrary to any normal expectation, perhaps even the composer's, Take Five really swings. Swing it does, and up we must wind. By the way, you know what I found out when I went to get the broom? You know that guy who was hiding in the closet?
Well, he was a burglar, and you won't believe this, but he happens to know Be a Hobo and Go With Me. His mother used to sing it to him, and he couldn't resist cracking the door of the closet open and joining in. Is that incredible or what? Well, they got him, and they say he's going to jail, but he says he'll never do any time unless it's 5-4.
Hey, we're going to go out with Don Ellis and his band. The tune is called 5-4 Getaway, and I'd like to dedicate it to the fourth member of the Anonymous 3.
[music: Ellis, "5/4 Getaway" (Tears of Joy); Don Ellis]
Hey, you crazy quintipeds, that's Schickele Mix for this week. Our program is made possible with funds provided by the Corporation for Public Broadcasting and by the National Endowment for the Arts, with additional support from the National Academy of Recording Arts & Sciences and from this radio station and its members.
This program is distributed by PRI, Public Radio International. We'll tell you in a moment how you can get an official playlist of all the music on today's program with album numbers and everything. Just refer to the program number. This is program 124. And this is Peter Schickele saying goodbye and reminding you that it don't mean a thing if it ain't got that certain je ne sais quoi. You're looking good! See you next week.
Announcer: If you would like a copy of the playlist that Peter Schickele mentioned, send a stamped, self-addressed envelope to Schickele Mix, that's S-C-H-I-C-K-E-L-E, Schickele Mix, Care of Public Radio International, 100 North 6th Street, Suite 900A, Minneapolis, Minnesota 55403. Again, this is program number 124.