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| Now it's time on WFMT for Schickele Mix with Peter Schickele. 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. | |
| [No speech for 14s.] | |
| 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 the case of 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 market. 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. | |
| 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. And you know, it's a little bit of a mystery. | |
| 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. 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. | |
| [No speech for 15s.] | |
| Hey, piano player. Oh, yeah? Yeah. You know how to play Life is Just a Bowl of Cherries? Yeah, sure. I know how to play that. | |
| Life is just a bowl of cherries. Don't make it serious. Yeah. Hey, good. Because Big Al feels like singing. Big Al is in the club tonight? | |
| He's out in the car. Well, that would be wonderful to play for Big Al. There's just one thing. Big Al is in the club tonight. | |
| Big Al sings Life is Just a Bowl of Cherries in the key of C-flat major. C-flat major? Seven flats? | |
| Boy, I don't get an opportunity to play in that key very often, does he? I can probably do that. Life is just a bowl of cherries. Hey, no problem. C-flat major. Fine. | |
| Oh, yeah. There's one other thing. Big Al sings Life is Just a Bowl of Cherries in five-four time. Five-four time? That's ridiculous. | |
| The song's in four-four time. One, two, three, four. Life is just a bowl of cherries. Two, three, four. I mean, I can see turning it into a waltz, but five-four time. Hey! | |
| Are you saying that Big Al don't know how to sing? Oh, no, no. No, no. I'm not saying that at all. No. Fine. C-flat major, five-four time. No problem. If Big Al wants to come in, I'd be honored to accompany him. Okay, I'll go out and get him. Five-four time. That's ridiculous. | |
| I can't understand. Oh, here he comes. Good evening, sir. How you doing? Are you ready to go? Yeah, anytime. | |
| Okay, I'll count it off. One, two, three, four, five. Life is just a bowl of freakin' cherries. Don't make it freakin' serious. 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 five-four. 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 canopies to get us started. The first one is quite fast. | |
| It's actually in five-eight time. One, two, three, four, five. One, two, three, four, five, one. And the other two are more moderate. One, two, three, four, five. One, two, three, four, five. | |
| I call this sweet beat-me-daddy five to the bar, and I'll see you in about eleven and a half minutes. | |
| [No speech for 686s.] | |
| Beat-me-daddy five to the bar. Maybe I should explain that sweet 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 four-four time, but it always has two notes to each beat. Bah-ma-hum, bah-hum, bah-hum, bah-hum, bah-hum, bah-hum, bah-hum. 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 Shaker. 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're 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 sweetlet Two Hearts in 5-4 Time. I'll be back in about seven and a half minutes. | |
| [No speech for 350s.] | |
| Two hearts in 5-4 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 Figueres And other members of a group called Hesperion Exxon 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 Saval The label is Astre The words of that song, Dos Anades Madre | |
| Are actually about two ducks Quote, two ducks, mother, that are around here Feel sorrow for me, end quote Ducks feeling sorrow | |
| Well Well 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 Lewis Harden Better known as Moondog He used to stand on street corners in New York Dressed in sort of medieval peasant clothes Topped up in a white shirt 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 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 a question for you all today 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 Three It's an all-male group How do you do, gentlemen? 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 Three You don't use the E's name It's just Anonymous Three Like talking heads Oh, I see Yeah, in fact, that's what our first album is called The name of this group is Anonymous Three That's right That's it That's what it's called 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 Arthur's the funny one Okay And then we have the baritone, and you are? | |
| Conan Oh, yes I remember reading in the publicity material that you are related to the late great singer Kathy Bear-Barian Aren't you? What was the relationship there? She was my aunt We like to call him Conan the Bear-Barian Arthur's the funny one Very amusing Conan the... All right, and last but I'm sure not least If you only knew | |
| The countertenor of the group My name is Doyle Edward Cart, but I don't usually use my middle name in full, just the initial Doyle E. Cart? Uh-huh, but you can call me Doyle | |
| Okay, Doyle and Conan and Arthur are the members of the anonymous... Of the group Anonymous Three And how long have you fellows been together? | |
| 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 And they didn't bring anything to eat either | |
| Ate me out of house and home Okay, that's great Now, let's hear the anonymous... Let's hear Anonymous Three singing... | |
| You know, actually it doesn't sound right Maybe it should be the Anonymous Three Or the Anonymous Three Fellas, can we get to the music here? Oh, yeah, sure Yeah, go ahead We're going to hear a delightful round in 5-4 time by Moondog It's called Be a Hobo And, fellows, 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 Fine, that's fine Okay So, anytime you're ready, take it away | |
| I like to see a man who knows how to use the dictionary Be a hobo and go with me From Hoboken to the sea | |
| Be a hobo and go with me From Hoboken to the sea | |
| From Hoboken to the sea From Hoboken to the sea | |
| [No speech for 33s.] | |
| From Hosea to the sea | |
| Well, 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. Hey, thanks. That's very nice. | |
| Folks, that was Be a Hobo by Moondog, sung by 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 at the front. Or the. | |
| No, no, no, it has to be The, because of Anonymous. Oh, right. The Anonymous 3. Yeah, right. Right, 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 one vase of flowers. Oh, brother. Oh, no. | |
| Oh, boy. Arthur's the funny one. | |
| Oh, man. | |
| You know, I better clean that up. If the station manager comes in, it's great. That's all I need. 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... | |
| Oh, man. I can't stand it. Yes. | |
| Hello? Well, 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, 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, but listen, 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 the 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 that's Peter Schickele. And the program is Schickele Mix, from P-R-I, 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 five-four 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. | |
| 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 Four. 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 3 plus 2 or 2 plus 3. 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 3 plus 2, 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 sweetlet High Fives. It shouldn't take me more than, say, 13 and a half minutes to clean up this mess. See you then. | |
| [No speech for 808s.] | |
| Our two high fives were Tchaikovsky's Sixth Symphony, the second movement, with Abato and the Vienna Phil, and then Paul Desmond's Take Five, played by the Dave Brubeckists. 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 Five 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. It says, Take Five 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. Well, 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 Three. | |
| [No speech for 37s.] | |
| 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 and Sciences, and from this radio station, and its members. Our 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. | |
| [No speech for 17s.] | |
| If you would like a copy of the playlist that Peter Schickele mentioned, send a stamped self-addressed envelope to sicklymix, that's S-C-H-I-C-K-E-L-E, sicklymix, care of Public Radio International, 100 North Street, New York. 6th Street, Suite 900A, Minneapolis, Minnesota, 55403. Again, this is program number 124. | |