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And now, Shickly Mix.

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Well, are we ready, Mr. Shickly?

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We are ready. Here's the theme.

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Hello there, I'm Peter Shickly, and this is Shickly Mix,

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a program dedicated to the proposition that all musics are created equal.

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Or, as Duke Ellington put it,

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if it sounds good, it is good.

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And believe me, it is good to report that our bills are paid

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by the Corporation for Public Broadcasting

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and by the National Endowment for the Arts

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with additional support from the National Academy of Recording Arts and Sciences

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and from this important radio station

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where I am provided with the wherewithal to produce what is

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after it's been produced, distributed far and wide by PRI,

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Public Radio International.

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And it's time to put on your walking shoes, folks.

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Here we go again with...

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Marchers, on the march.

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Another installment in Shickly Mix's ongoing...

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Another installment in Shickly Mix's ongoing...

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Another installment in Shickly Mix's ongoing...

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Another installment in Shickly Mix's ongoing...

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In-depth survey of every march ever written.

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In-depth survey of every march ever written.

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And today we're going to be talking about

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the very interesting relationship

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between the marching field and the concert hall.

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There's been some hanky-panky going on

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between those two for several centuries, at least.

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And a little bit later in the show,

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we're going to be presenting a lively and infotaining quiz feature

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that is guaranteed to test your march IQ,

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to take you to the very edge and perhaps beyond

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of your march knowledge.

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Yes, sir, folks, you'll be racking your march brains

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and scratching your march head through the march hair that's on it.

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And who wants a rabbit on his head?

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Just kidding, folks, it's all part of the good, clean fun

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that makes Marches on the March

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the most popular survey of every march ever written on the radio today.

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Question, can you define march responding in three words or less?

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Answer, certainly, that's only one word.

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A simple definition might be music intended

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to facilitate the coordination of stylized walking

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by large or small groups of people or other animals.

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Using that definition,

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marches have presumably been around for millennia, at the very least.

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And they increased their range

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to include the rarefied habitat of concert music centuries ago.

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They probably made their way into the orchestra via opera.

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Certainly ever since the birth of the symphony orchestra in the 18th century,

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composers have been writing marches intended for your ears only,

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or rather, your ears only, not your feet.

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Here's an excruciatingly brief survey

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featuring one example each from the 18th, the 19th, and the 20th century.

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The inter-era symphonic march suite lasts about 6 1⁄2 minutes.

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Okay, shh, the conductor's on the podium.

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He's about to start the orchestra.

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Hut, 2, 3, 4. Hut, 2, 3, 4.

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The inter-era symphonic march suite began with Mozart's Hoffner March,

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played by Beecham in the Royal Philharmonic Orchestra.

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Next came Bizet from Jeux d'Enfants, from Children's Games,

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with the Orchestre de Paris under Barenboim.

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And finally, the march from Prokofiev's opera The Love for Three Oranges,

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and that was Nikolai Malko conducting the Philharmonia Orchestra.

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If you think of the Prokofiev as the theme song of a radio show about the FBI,

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you have just dated yourself.

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Which, come to think of it, is what Narcissus would have liked to have been able to do.

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Those were symphonic marches, but definitely marches, not symphonies.

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The beat was always clear and steady,

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and the textures and formal divisions were simple and well-defined.

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You could march to those pieces quite satisfactorily,

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although with the Mozart you'd have to march either quite fast or quite slowly.

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Well, what do you know, it's tidbit time already here on the marching field of Endeavor.

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On another installment of Marches on the March,

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I mentioned that there don't seem to be many popular new marching songs around these days,

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songs like Onward Christian Soldiers and Battle Hymn of the Republic.

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In spite of the fact that there's a lot of violence around us,

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we actually live in a comparatively anti-military era,

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as I'm sure any member of your local VFW will tell you.

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Judging by our movies, for instance, we like our violence, and the more the better,

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to be perpetrated by individuals, not armies,

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whose members have sacrificed their individuality by marching in step and following orders.

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Here's a song that was written during the First World War and revised during the Second.

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We'll hear two versions, the concert version for chorus and orchestra,

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and then a rendition by the composer himself at the piano.

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Hang on to your hats!

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Hang on to your hats!

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And then, oh wait, don't give a damn,

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As they go through the fighting ground,

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When the boys are now ready to go,

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They are ready, they are ready to go,

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They are ready for the fight,

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The shooting guns and bombs,

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They are ready, they are ready,

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They are ready, they are ready,

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When the angry allies meet the foes of the front,

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The party then flies in arms,

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And then the world will stand,

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The battle cry of freedom,

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And then the modern world can cry.

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When we're through this cursed war,

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A survey sneaking counter,

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Maiming slaves of men,

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Then let all the people rise, And stand together in praise of humanity,

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The sons are made wise,

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Those who self-expose,

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While the people have no say.

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When we're through this cursed war, A survey sneaking counter,

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Maiming slaves of men,

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Then let all the people rise, And stand together in praise of humanity,

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The sons are made wise, Those who self-expose,

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While the people have no say.

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When we're through this cursed war, A survey sneaking counter,

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Maiming slaves of men,

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Then let all the people rise, And stand together in praise of humanity,

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The sons are made wise,

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Those who self-expose,

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While the people have no say.

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When we're through this cursed war, A survey sneaking counter,

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Maiming slaves of men,

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Then let all the people rise, And stand together in praise of humanity,

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The sons are made wise,

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Those who self-expose,

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They're part that people can live in a world where all will have the same,

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Their conscience always of their country's aim,

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Which is liberty for all.

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Hip, hip, hooray, you'll hear them say as they go to the fight and run,

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Brave boys are now in action,

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They are there, they will help to free the world,

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They are fighting for the right,

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But when it comes to might,

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They are there, they are the warhorses,

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As the allies beat up all the warhorses,

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The boys be there fighting hard,

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And then the world will shout,

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The battle cry of freedom,

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Chanting on a new campground,

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Chanting tonight,

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Chanting on a new campground,

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While it's rallying round the flag of the people's new free world,

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Shouting the battle cry of freedom.

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When we're through this cursed war,

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All started by sneaking culture,

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Making slaves of men,

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God damn him,

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Then let all the people rise,

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And stand together and play times humanity,

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Those wars are made by small, stupid, selfish boys and groups,

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While the people have no say,

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But there'll come a day,

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Hip, hip, hooray,

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When they'll smash all dictators to the wall,

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Then it's build a people's world nation,

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Hooray,

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Every honest country free to live his own native life,

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They will stand for the right,

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But when it comes to might,

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They'll be there, they'll be there, they'll be there,

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And the people, not just politicians,

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Will rule their own lands and lives,

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And you'll hear the whole universe,

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Shouting the battle cry of freedom,

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Chanting on a new campground,

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Chanting tonight,

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Chanting on a new campground,

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For it's rallying round the flag of the people's new free world,

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Shouting the battle cry of freedom,

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Then it's build a people's world nation,

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Hooray,

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Every honest country free to live his own native life,

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They will stand for the right,

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But when it comes to might,

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They'll be there, they'll be there, they'll be there,

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And the people, not just politicians,

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Will rule their own lands and lives,

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And you'll hear the whole universe,

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Shouting the battle cry of freedom,

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Chanting on a new campground,

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Chanting tonight,

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Chanting on a new campground,

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For it's rallying round the flag of the people's new free world,

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Shouting the battle cry of freedom.

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Charles Ives.

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Talk about individualism.

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He sounds like he's a member of one of those county rights groups.

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First we heard David Zinman conducting the Baltimore Symphony Orchestra

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and Chorus in They Are There,

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and then we were treated to, or assaulted with, or let in on,

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or enlightened by a personal rendition by Ives and his piano,

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recorded in 1943, when the composer was about 69 years old,

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but obviously still full of kidney effluvia and vinegar.

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Terrific piece.

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I've got to say, though, that my own feelings about Ives are ambivalent.

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The stuff I like I really love,

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but a lot of his music sounds turgid to me,

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sort of heavy-footed, particularly harmonically,

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sometimes more obstinate than brave.

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Tender sometimes, especially in the songs, but rarely sensuous.

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He was a real New Englander and quite macho in his own iconoclastic way.

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I must say, the more I find out about the American musical scene a century ago,

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the more impressed I am by what he was up against.

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I have to admit to agreeing with a statement I heard Elliot Carter make once,

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that he found Ives' music more often interesting than good.

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Now, sometimes people have asked me how I could stand living in New York City for so long.

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Okay, you want to know one of the things I love about New York?

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Some years back, the arts section of the Sunday Times

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asked a bunch of well-known musicians to name the composers who are,

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in their opinion, the most underrated and the most overrated.

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In my answer for overrated, I mentioned Ives, for the reasons I've given.

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The day that article appeared, towards the end of the afternoon,

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I was crossing a street in Brooklyn,

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and a man I didn't know from Adam was crossing in the opposite direction.

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He looked at me, and just before we passed each other, he said,

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Ives, how could you? Now, I love my hometown of Fargo, North Dakota,

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but there's nothing like the Apple, you know what I'm saying?

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That was definitely one of the best things that's ever been said to me.

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Much better than, hey, aren't you Peter Shickley,

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the host of Shickley Mix, from PRI, Public Radio International?

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Today's show is called, From the Marching Field to the Concert Hall,

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in Two Quick and Easy Steps. At least, I think that's what it's called.

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I was thinking of, instead of in two quick and easy steps, saying,

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in two easy quick steps, you know, because a quick step is a fast march,

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but somehow, From the Marching Field to the Concert Hall,

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in two easy quick steps. I don't know, it doesn't really register, does it?

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Well, anyway, the show's called something like that, and who cares?

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Because the moment you've all been waiting for has arrived, folks.

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That's right, ladies and gentlemen, cadets and cadetettes.

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It's time to play...

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Who Wrote That Thing?

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Yes, it's time for you to match your wits against our contestants.

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Or actually, to match your wits against those of our contestants.

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You may think you know your classical composers, but do you really?

256
00:22:04,000 --> 00:22:09,000
You know, over the years, many perfectly serious symphonic composers

257
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have occasionally written marches for band.

258
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Well, we all like to go slumming once in a while.

259
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Today, we're going to hear some of those marches and let you

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and our three contestants see if you can figure out who wrote them.

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During tidbit time, we brought our studio audience in here,

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and let me tell you, folks, you have been as quiet as a mouse,

263
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and I'm talking about a church mouse.

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And we've got our contestants over there in the isolation booth.

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That's where they used to put the trap set

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before the digital drum machines came along.

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And that's Lester, Doreen, and Sue.

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And I should probably tell our radio listeners that Sue is a boy.

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Lester, Doreen, and Sue, give us a wave there so we know you can hear us.

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All right. Here's how it works, folks.

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While we're listening to each march, our contestants will write down

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the name of the composer who they think wrote it,

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and at the end of the march, I will turn their sound off

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and tell you in the studio audience and our radio listeners

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who the composer was, and then we'll ask Lester, Doreen, and Sue

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to hold up their pieces of paper.

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Okay, everybody. Ready?

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I thought so.

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Here we go with march number one.

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♪♪♪

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♪♪♪

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♪♪♪

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♪♪♪

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♪♪♪

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♪♪♪

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♪♪♪

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♪♪♪

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♪♪♪

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♪♪♪

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♪♪♪

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♪♪♪

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♪♪♪

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♪♪♪

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♪♪♪

295
00:27:17,000 --> 00:27:22,000
The answer is Beethoven.

296
00:27:22,000 --> 00:27:24,000
Okay, contestants.

297
00:27:24,000 --> 00:27:26,000
Lester, let's see what you wrote.

298
00:27:26,000 --> 00:27:28,000
No, it is not Palestrina.

299
00:27:28,000 --> 00:27:30,000
Sorry, Lester.

300
00:27:30,000 --> 00:27:32,000
Doreen?

301
00:27:32,000 --> 00:27:34,000
All right, Ludwig van Beethoven.

302
00:27:34,000 --> 00:27:36,000
That is absolutely correct.

303
00:27:36,000 --> 00:27:38,000
Congratulations, Doreen.

304
00:27:38,000 --> 00:27:40,000
And Sue?

305
00:27:40,000 --> 00:27:42,000
Also Palestrina.

306
00:27:42,000 --> 00:27:44,000
Too bad.

307
00:27:44,000 --> 00:27:47,000
Yes, that was a march in C major, folks,

308
00:27:47,000 --> 00:27:50,000
one of the many pieces that Beethoven wrote

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00:27:50,000 --> 00:27:52,000
for Austrian regimental bands.

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And that was Hans Priembergrat conducting

311
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wind players from the Berlin Philharmonic.

312
00:27:59,000 --> 00:28:01,000
And so, Doreen has one point,

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00:28:01,000 --> 00:28:04,000
which means that she has earned one frequent

314
00:28:04,000 --> 00:28:07,000
flyer mile on Spruce Goose Airlines,

315
00:28:07,000 --> 00:28:10,000
which operates the world's only wooden seaplane

316
00:28:10,000 --> 00:28:15,000
and provides the only direct link between Malibu and Santa Monica.

317
00:28:15,000 --> 00:28:18,000
We may not get in the air, but we'll get you there.

318
00:28:18,000 --> 00:28:22,000
Okay, everybody, here we go with march number two.

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Watch out, this is a tricky one.

320
00:28:24,000 --> 00:28:27,000
In fact, it's worth two points.

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¶¶

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¶¶

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¶¶

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¶¶

325
00:30:23,000 --> 00:30:52,000
¶¶

326
00:30:52,000 --> 00:30:55,000
All right, we are ready for round two.

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00:30:55,000 --> 00:30:57,000
Lester, what do you have?

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00:30:57,000 --> 00:30:59,000
Richard Wagner.

329
00:30:59,000 --> 00:31:00,000
Wait a minute, folks.

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00:31:00,000 --> 00:31:01,000
Wait a minute.

331
00:31:01,000 --> 00:31:02,000
Hold on.

332
00:31:02,000 --> 00:31:04,000
Just a second, everybody.

333
00:31:04,000 --> 00:31:05,000
Okay.

334
00:31:05,000 --> 00:31:07,000
I hate to be a wet blanket here,

335
00:31:07,000 --> 00:31:10,000
but I said that this was a tricky one.

336
00:31:10,000 --> 00:31:12,000
That march was by Wagner, all right,

337
00:31:12,000 --> 00:31:14,000
but not Richard Wagner.

338
00:31:14,000 --> 00:31:16,000
Sorry about that, Lester.

339
00:31:16,000 --> 00:31:19,000
That march is called, and I kid you not, folks,

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00:31:19,000 --> 00:31:21,000
Die Bosniaken kommen,

341
00:31:21,000 --> 00:31:23,000
which means here come the Bosnians,

342
00:31:23,000 --> 00:31:27,000
and it was written by E. Wagner, whoever that is.

343
00:31:27,000 --> 00:31:30,000
That's all it says on the CD, E. Wagner.

344
00:31:30,000 --> 00:31:33,000
I've looked him or her up in every music dictionary

345
00:31:33,000 --> 00:31:35,000
I could find around the station,

346
00:31:35,000 --> 00:31:36,000
Groves, Baker, Slonimski,

347
00:31:36,000 --> 00:31:39,000
and there is no listing for an E. Wagner who wrote music.

348
00:31:39,000 --> 00:31:41,000
But I'll tell you what, Lester,

349
00:31:41,000 --> 00:31:43,000
I said that that was a two-pointer.

350
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I'll give you one point for getting the last name right, okay?

351
00:31:46,000 --> 00:31:50,000
Okay, now, Doreen, what's on your piece of paper?

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00:31:50,000 --> 00:31:52,000
E. Wagner!

353
00:31:52,000 --> 00:31:54,000
Doreen!

354
00:31:54,000 --> 00:31:57,000
You are cooking with gas here.

355
00:31:57,000 --> 00:32:02,000
I've got to say, Doreen, that is just about incredible.

356
00:32:02,000 --> 00:32:05,000
Doreen, I notice that your pen isn't up there

357
00:32:05,000 --> 00:32:08,000
on the top of your podium where it's supposed to be.

358
00:32:08,000 --> 00:32:10,000
I guess you forgot to put it up there, huh?

359
00:32:10,000 --> 00:32:13,000
Well, I'm in no mood to quibble,

360
00:32:13,000 --> 00:32:18,000
although Lester looks as if he might be harboring a quibble or two.

361
00:32:18,000 --> 00:32:20,000
Hey, it's only a game, Lester.

362
00:32:20,000 --> 00:32:24,000
But, okay, it's two more points for Doreen and Sue.

363
00:32:24,000 --> 00:32:28,000
Sue, you are one loyal Palestrina fan.

364
00:32:28,000 --> 00:32:31,000
All right, Lester's got one point, Doreen has got three,

365
00:32:31,000 --> 00:32:35,000
and Sue is doing his best to keep Palestrina's name

366
00:32:35,000 --> 00:32:38,000
from slipping into the mists of oblivion.

367
00:32:38,000 --> 00:32:42,000
It's a secular, secular, secular, secular world, right, Sue?

368
00:32:42,000 --> 00:32:44,000
And somebody's got to keep the faith.

369
00:32:44,000 --> 00:32:47,000
That was the noted bandmaster Herbert von Karajan

370
00:32:47,000 --> 00:32:50,000
and the Berlin Phils again.

371
00:32:50,000 --> 00:32:54,000
We are halfway through, folks, and here's March No. 3.

372
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No more tricks like E. Wagner, contestants,

373
00:32:56,000 --> 00:33:01,000
but this is a hard one to guess, so let's make it another two-pointer.

374
00:33:01,000 --> 00:33:03,000
Take it away, maestro.

375
00:33:03,000 --> 00:33:21,000
BAND PLAYS MARCH NO. 3

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00:33:33,000 --> 00:33:43,000
BAND PLAYS MARCH NO. 3

377
00:34:03,000 --> 00:34:13,000
BAND PLAYS MARCH NO. 3

378
00:34:33,000 --> 00:34:43,000
BAND PLAYS MARCH NO. 3

379
00:34:43,000 --> 00:34:53,000
BAND PLAYS MARCH NO. 3

380
00:34:53,000 --> 00:35:13,000
BAND PLAYS MARCH NO. 3

381
00:35:13,000 --> 00:35:33,000
BAND PLAYS MARCH NO. 3

382
00:35:33,000 --> 00:35:53,000
BAND PLAYS MARCH NO. 3

383
00:35:53,000 --> 00:36:17,000
BAND PLAYS MARCH NO. 3

384
00:36:17,000 --> 00:36:22,000
The name of the composer is Barber.

385
00:36:22,000 --> 00:36:25,000
OK, hey, that was a pretty funny ending there, wasn't it?

386
00:36:25,000 --> 00:36:28,000
Well, Lester, who'd you put your money on?

387
00:36:28,000 --> 00:36:32,000
Samuel Barber. That is absolutely correct.

388
00:36:32,000 --> 00:36:36,000
What, did you play the commando march in high school or something?

389
00:36:36,000 --> 00:36:39,000
Yeah, I thought so, because it would be pretty hard to guess.

390
00:36:39,000 --> 00:36:41,000
But let's see what else we've got here.

391
00:36:41,000 --> 00:36:45,000
Doreen? Edward Elgar. No, but a good guess.

392
00:36:45,000 --> 00:36:47,000
He certainly crossed my mind.

393
00:36:47,000 --> 00:36:49,000
And how about you, Sue?

394
00:36:49,000 --> 00:36:53,000
Johann Sebastian Bach. Well, you're getting warmer, Sue, so hang in there.

395
00:36:53,000 --> 00:37:01,000
And let's see, that was a two-pointer, so the score is now Lester 3, Doreen 3, and Sue.

396
00:37:01,000 --> 00:37:05,000
By the way, that was Frederick Fennell and the Cleveland Symphonic Winds.

397
00:37:05,000 --> 00:37:08,000
All righty then, here comes the last march.

398
00:37:08,000 --> 00:37:13,000
And as usual, the last one is from the bonus bin.

399
00:37:13,000 --> 00:37:20,000
That means we give four points for the correct composer, plus two points for the title of the march.

400
00:37:20,000 --> 00:37:23,000
This is the marching moment of truth, folks.

401
00:37:23,000 --> 00:37:27,000
And here's Joplin!

402
00:37:27,000 --> 00:37:31,000
Just kidding, folks! It's not Joplin, and I'll give you another hint.

403
00:37:31,000 --> 00:37:33,000
It's not Palestrina, either.

404
00:37:33,000 --> 00:37:43,000
Okay, here we go!

405
00:38:03,000 --> 00:38:13,000
Here we go!

406
00:38:33,000 --> 00:39:01,000
Here we go!

407
00:39:01,000 --> 00:39:05,000
The name of the composer is Shostakovich.

408
00:39:05,000 --> 00:39:10,000
And the title is March of the Soviet Police.

409
00:39:10,000 --> 00:39:13,000
Okay, this is it, contestants.

410
00:39:13,000 --> 00:39:17,000
As they say at the end of Hamlet, the die is cast and the cast has died.

411
00:39:17,000 --> 00:39:19,000
What do you say, Lester?

412
00:39:19,000 --> 00:39:22,000
The College of Cardinals' Quick Step by Palestrina.

413
00:39:22,000 --> 00:39:26,000
You weren't listening, Lester. I said it wasn't Palestrina.

414
00:39:26,000 --> 00:39:28,000
I'm afraid you threw that one away.

415
00:39:28,000 --> 00:39:34,000
Okay, Doreen, John Philip Sousa, March of the Soviet Police.

416
00:39:34,000 --> 00:39:38,000
Well, you got the title right, Doreen, but not the composer.

417
00:39:38,000 --> 00:39:41,000
So that makes it three for Lester and five for Doreen.

418
00:39:41,000 --> 00:39:44,000
And now it's up to you, Sue.

419
00:39:44,000 --> 00:39:48,000
Dmitry Shostakovich, March of the Soviet Police!

420
00:39:48,000 --> 00:39:51,000
Amazing, Sue! Fantastic!

421
00:39:51,000 --> 00:39:54,000
A boy named Sue, how do you do?

422
00:39:54,000 --> 00:39:56,000
I don't know how much you did it.

423
00:39:56,000 --> 00:40:02,000
And that gives you six points, which means that you are the winner of today's show.

424
00:40:02,000 --> 00:40:06,000
What a comeback! What a spectacular reversal!

425
00:40:06,000 --> 00:40:12,000
And that means that you now have six frequent flyer points on Spruce Goose Airlines,

426
00:40:12,000 --> 00:40:18,000
plus not one, but two genuine 100% polyester tea cozies

427
00:40:18,000 --> 00:40:22,000
courtesy of Evelyn Tree and her husband, Crab,

428
00:40:22,000 --> 00:40:28,000
who run the KK2, as the locals call it, the quaint cottage at Cranberry Cove.

429
00:40:28,000 --> 00:40:33,000
Remember their motto, there's not much in this store you'd want to buy, but it sure smells good.

430
00:40:33,000 --> 00:40:36,000
And that's a wrap, folks. Thanks for joining us,

431
00:40:36,000 --> 00:40:41,000
and thank you, Lester, Doreen and Sue, for playing...

432
00:40:41,000 --> 00:40:52,000
Who Wrote That Thing?

433
00:40:52,000 --> 00:40:56,000
Transportation has been provided by the Wells Fargo Stage Company,

434
00:40:56,000 --> 00:41:00,000
serving America since it was knee-high to a grasshopper,

435
00:41:00,000 --> 00:41:03,000
and by Tortoise Travel, better late than never.

436
00:41:03,000 --> 00:41:09,000
Hotel accommodations have been generously donated by the Mirror, Mirror on the Ceiling Motel.

437
00:41:09,000 --> 00:41:11,000
What we don't know won't hurt us.

438
00:41:11,000 --> 00:41:16,000
And by the Topsy-Turvy Motor Inn. Remember, there's always room at the top.

439
00:41:16,000 --> 00:41:19,000
Join us again next time for...

440
00:41:19,000 --> 00:41:23,000
Who Wrote That Thing?

441
00:41:23,000 --> 00:41:27,000
Okay, by the way, you know the host of Who Wrote That Thing?

442
00:41:27,000 --> 00:41:29,000
moonlights on another show.

443
00:41:29,000 --> 00:41:32,000
His name's Peter Shickley, and the show is Shickley Mix,

444
00:41:32,000 --> 00:41:36,000
from PRI, Public Radio International.

445
00:41:36,000 --> 00:41:42,000
You know, I was thinking about that last march, the March of the Soviet Police.

446
00:41:42,000 --> 00:41:45,000
That title sounds so foreboding.

447
00:41:45,000 --> 00:41:49,000
And I think it's not only because of what we know about the Soviet police

448
00:41:49,000 --> 00:41:53,000
in the middle of the 20th century, when that Shostakovich march was written,

449
00:41:53,000 --> 00:41:57,000
but also because it's so foreign to modern American culture,

450
00:41:57,000 --> 00:42:03,000
the idea of a police department or agency commissioning a march

451
00:42:03,000 --> 00:42:06,000
from the foremost composer in the country.

452
00:42:06,000 --> 00:42:09,000
I mean, can you imagine Philip Glass or Elliott Carter

453
00:42:09,000 --> 00:42:12,000
being asked to write something called

454
00:42:12,000 --> 00:42:16,000
The March of the Bureau of Alcohol, Tobacco, and Firearms?

455
00:42:16,000 --> 00:42:18,000
Anyway, today's program is called

456
00:42:18,000 --> 00:42:23,000
From the Marching Field to the Concert Hall in Two Quick and Easy Steps.

457
00:42:23,000 --> 00:42:27,000
Or should it be in Two Easy and Quick Steps?

458
00:42:27,000 --> 00:42:30,000
I'm trying to get that quick step thing in here, you know?

459
00:42:30,000 --> 00:42:33,000
But hey, we got to keep moving here, so I'm going to let it ride.

460
00:42:33,000 --> 00:42:35,000
Listen, call the show anything you want.

461
00:42:35,000 --> 00:42:39,000
Okay, we've heard a bunch of marches by symphonic composers.

462
00:42:39,000 --> 00:42:41,000
Let's turn the tables here.

463
00:42:41,000 --> 00:42:43,000
Here's a pair of numbers.

464
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The first, another march for band by a predominantly symphonic composer.

465
00:42:47,000 --> 00:42:50,000
And the second, an orchestral piece by a composer

466
00:42:50,000 --> 00:42:53,000
known primarily for his work with bands.

467
00:42:53,000 --> 00:42:57,000
Here is the sound of two composers crossing the street.

468
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See you in about six minutes.

469
00:42:59,000 --> 00:43:02,000
♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

477
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♪

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♪

479
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♪

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♪

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♪

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♪

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♪

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♪

485
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♪

486
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♪

487
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♪

488
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♪

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♪

490
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♪

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♪

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♪

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♪

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♪

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♪

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♪

497
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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

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♪

522
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♪

523
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♪

524
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♪

525
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♪

526
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♪

527
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♪

528
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♪

529
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♪

530
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♪

531
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♪

532
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♪

533
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♪

534
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♪

535
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♪

536
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♪

537
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♪

538
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♪

539
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♪

540
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♪

541
00:47:56,000 --> 00:47:59,000
♪

542
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♪

543
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♪

544
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♪

545
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♪

546
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♪

547
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♪

548
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♪

549
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♪

550
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♪

551
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♪

552
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♪

553
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♪

554
00:48:35,000 --> 00:48:38,000
Two composers crossing the street there.

555
00:48:38,000 --> 00:48:41,000
First we heard a March for Military Band,

556
00:48:41,000 --> 00:48:44,000
Op. 99 by Prokofiev,

557
00:48:44,000 --> 00:48:48,000
and that was performed by the Stockholm Concert Band

558
00:48:48,000 --> 00:48:51,000
under the direction of Gennady Rodzitsvinsky.

559
00:48:51,000 --> 00:48:54,000
It's probably as close as I can get.

560
00:48:54,000 --> 00:48:57,000
And if you know any of Prokofiev's music,

561
00:48:57,000 --> 00:49:00,000
you'll see why I didn't include that on our contest show today,

562
00:49:00,000 --> 00:49:03,000
because you definitely could pretty easily spot that

563
00:49:03,000 --> 00:49:06,000
because of the funny little modulations

564
00:49:06,000 --> 00:49:09,000
between different keys he does in the middle of a melody.

565
00:49:09,000 --> 00:49:12,000
And then the second number was the prelude

566
00:49:12,000 --> 00:49:15,000
to the comic opera El Capitan by John Philip Sousa.

567
00:49:15,000 --> 00:49:19,000
That was Eric Kunzel conducting the Cincinnati Pops Orchestra.

568
00:49:19,000 --> 00:49:22,000
And of course at the end of that prelude

569
00:49:22,000 --> 00:49:25,000
you do hear a very familiar tune

570
00:49:25,000 --> 00:49:28,000
because Sousa took that march out of the opera

571
00:49:28,000 --> 00:49:31,000
into one of his most beloved marches.

572
00:49:31,000 --> 00:49:35,000
Hey, we've got time for another tidbit here, folks.

573
00:49:35,000 --> 00:49:38,000
So, you know, on another edition of this program

574
00:49:38,000 --> 00:49:41,000
I mention that marches have come quite close

575
00:49:41,000 --> 00:49:44,000
to various dances throughout their history.

576
00:49:44,000 --> 00:49:47,000
Some of the Sousa marches, for instance,

577
00:49:47,000 --> 00:49:50,000
were very popular as dances

578
00:49:50,000 --> 00:49:53,000
because the characteristics of marches were so close

579
00:49:53,000 --> 00:49:56,000
to certain dances like the cakewalk and the two-step.

580
00:49:56,000 --> 00:49:59,000
But it's not very often that you find

581
00:49:59,000 --> 00:50:27,000
the march and the minuet coming together as you do here.

582
00:50:27,000 --> 00:50:47,000
One, two, three, one, two, three.

583
00:50:47,000 --> 00:51:10,000
One, two, three, one, two, three.

584
00:51:10,000 --> 00:51:37,000
One, two, three, one, two, three.

585
00:51:37,000 --> 00:52:01,000
One, two, three, one, two, three.

586
00:52:01,000 --> 00:52:21,000
One, two, three, one, two, three.

587
00:52:21,000 --> 00:52:43,000
One, two, three, one, two, three.

588
00:52:43,000 --> 00:53:11,000
One, two, three, one, two, three.

589
00:53:11,000 --> 00:53:35,000
One, two, three, one, two, three.

590
00:53:35,000 --> 00:53:43,000
One, two, three, one, two, three.

591
00:53:43,000 --> 00:53:46,000
That was the Minuet Militaire,

592
00:53:46,000 --> 00:53:50,000
Sicily No. 1A, by P.D.Q. Bach.

593
00:53:50,000 --> 00:53:53,000
And that was the Greater Hoople Area

594
00:53:53,000 --> 00:53:59,000
off-season Philharmonic, conducted by Walter Bruno.

595
00:53:59,000 --> 00:54:03,000
You classical music buffs know that that name,

596
00:54:03,000 --> 00:54:08,000
Walter Bruno, has got to be a nom de tape there.

597
00:54:08,000 --> 00:54:11,000
And it is true that the conductor was actually

598
00:54:11,000 --> 00:54:15,000
a well-known conductor who, for contractual reasons,

599
00:54:15,000 --> 00:54:17,000
couldn't use his real name there.

600
00:54:17,000 --> 00:54:20,000
But, you know, it's been several years

601
00:54:20,000 --> 00:54:22,000
since this album came out.

602
00:54:22,000 --> 00:54:25,000
I think that I can probably say who it was.

603
00:54:25,000 --> 00:54:26,000
The actual name of the...

604
00:54:26,000 --> 00:54:33,000
Oh, hold on just a second, folks.

605
00:54:33,000 --> 00:54:36,000
Hello? Oh, hello.

606
00:54:36,000 --> 00:54:38,000
Oh, no, certainly.

607
00:54:38,000 --> 00:54:40,000
I don't want to give the name

608
00:54:40,000 --> 00:54:42,000
if you feel strongly about it.

609
00:54:42,000 --> 00:54:45,000
You know, I thought it wouldn't matter anymore.

610
00:54:45,000 --> 00:54:48,000
No, no. No, that's perfectly fine, Mr. Walter.

611
00:54:48,000 --> 00:54:51,000
That's fine. Okay, thanks for calling. Bye.

612
00:54:51,000 --> 00:54:53,000
Well, I tell you what, that's about it, folks.

613
00:54:53,000 --> 00:54:55,000
But before we march out of here,

614
00:54:55,000 --> 00:54:57,000
let me lay a little factoid on you.

615
00:54:57,000 --> 00:55:00,000
Did you know that John Philip Sousa,

616
00:55:00,000 --> 00:55:03,000
in addition to writing marches and operettas,

617
00:55:03,000 --> 00:55:05,000
wrote novels?

618
00:55:05,000 --> 00:55:34,000
marches on the march

619
00:55:34,000 --> 00:55:38,000
And that's Sickly Mix for this week.

620
00:55:38,000 --> 00:55:40,000
The march at the beginning of the show

621
00:55:40,000 --> 00:55:43,000
was Jip the Blood, or Hurst, Witches Worst,

622
00:55:43,000 --> 00:55:45,000
by Charles Ives,

623
00:55:45,000 --> 00:55:47,000
played by the Ensemble Moderne

624
00:55:47,000 --> 00:55:49,000
under Ingo Metzmacher.

625
00:55:49,000 --> 00:55:52,000
Right now, we're hearing Entrance of the Gladiators,

626
00:55:52,000 --> 00:55:55,000
or Thunder and Blazes, by Fuchic,

627
00:55:55,000 --> 00:55:59,000
played by the Gürzenich Bassoon Quintet.

628
00:55:59,000 --> 00:56:01,000
Our program is made possible with funds

629
00:56:01,000 --> 00:56:03,000
provided by the Corporation for Public Broadcasting

630
00:56:03,000 --> 00:56:06,000
and by the National Endowment for the Arts,

631
00:56:06,000 --> 00:56:08,000
with additional support from the National Academy

632
00:56:08,000 --> 00:56:10,000
of Recording Arts and Sciences,

633
00:56:10,000 --> 00:56:13,000
and from this radio station and its members.

634
00:56:13,000 --> 00:56:15,000
Thank you, members.

635
00:56:15,000 --> 00:56:17,000
And not only that, our program is distributed

636
00:56:17,000 --> 00:56:20,000
by PRI, Public Radio International.

637
00:56:20,000 --> 00:56:22,000
We'll tell you in a moment how you can get

638
00:56:22,000 --> 00:56:25,000
an official playlist of all the music on today's program

639
00:56:25,000 --> 00:56:27,000
with album numbers and everything.

640
00:56:27,000 --> 00:56:29,000
Just refer to the program number.

641
00:56:29,000 --> 00:56:32,000
This is program number 138.

642
00:56:32,000 --> 00:56:35,000
And this is Peter Sicily saying goodbye

643
00:56:35,000 --> 00:56:37,000
and reminding you that it don't mean a thing

644
00:56:37,000 --> 00:56:39,000
if it ain't got that certain je ne sais quoi.

645
00:56:39,000 --> 00:57:04,000
You're looking good. See you next week.

646
00:57:04,000 --> 00:57:17,000
¦

647
00:57:17,000 --> 00:57:45,000
¦

648
00:57:48,000 --> 00:57:51,000
If you'd like a copy of that playlist I mentioned,

649
00:57:51,000 --> 00:57:54,000
send a stamped, self-addressed envelope to Sicily Mix.

650
00:57:54,000 --> 00:57:59,000
That's S-C-H-I-C-K-E-L-E, Sicily Mix.

651
00:57:59,000 --> 00:58:01,000
Care of Public Radio International,

652
00:58:01,000 --> 00:58:04,000
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653
00:58:04,000 --> 00:58:09,000
Minneapolis, Minnesota, 55403.

654
00:58:09,000 --> 00:58:17,000
PRI, Public Radio International.