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And now, Shickly Mix.

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Oh, uh, Mr. Shickly, can I borrow your Ferrari while you do your show?

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Hey, no prob.

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Here's the theme.

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

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that all musics are created equal.

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

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And as luck would have it, our bills are paid by the Corporation for Public Broadcasting

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and by the National Endowment for the Arts, with additional support from the National

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Academy of Recording Arts and Sciences, and from this radio station right here, right

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here where I'm sitting, to whom I am indebted every bit as much as I am to the people who

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distribute the show, PRI, Public Radio International.

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And before we get going here, folks, I'd like to share something with you.

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And let me just say, for the sake of the irrelevancy alarm up there, in case it starts getting

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trigger happy, that although this doesn't have anything directly to do with music, it

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does have to do with my standing as a scholar, so it is relevant to the show.

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Ladies and gentlemen, I am very pleased to announce that I have had a paper accepted

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by the Journal of the Modern Language Association, which, by the way, is an extremely prestigious

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publication, because I think I have traced the origin of a common term in our language,

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a term the previous research on which has been, it is my contention, seriously flawed.

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Some of you may remember that on another edition of this program, I said that the year 1150

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was an easy year to remember, because it was the year that Eric the Saint became King of

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Sweden.

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Well, that got me curious about what else happened in 1150.

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So I looked it up in a great book I have called The Timetables of History.

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And it turns out that not only did Albert the Bear inherit Brandenburg in 1150, paving

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the way for six of the greatest pieces of music ever written, but it was also the year

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that Paris University was founded.

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Now everybody knows that college students tend not to be as interested in personal cleanliness

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as real adults are.

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You know, they leave their clothes piled up in the corner for weeks at a time and don't

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bathe very often.

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Of course, in the Middle Ages, nobody bathed very often by modern standards, but students

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must have been especially grungy and aromatic in those days.

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So if you encountered a student, you knew that you were probably in for an unpleasant

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olfactory experience.

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So but after 1150, when Paris University was founded, you had all these students walking

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around in sweatshirts that said P.U. on them.

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So if you met a student...

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What?

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Hey, hey, this is about a paper I wrote that I have been invite...

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I am not answering that phone.

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Forget it.

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Listen, there is nothing wrong with me reporting.

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Go ahead.

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I'm not answering it.

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OK, folks, let's get on with it here.

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Here we go once again with...

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Marches on the march.

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Regular installment and shickly mixes ongoing.

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In-depth survey of every march ever written.

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Brother, this is a great station, but the working conditions leave something to be desired.

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I should belong to a union, that's what.

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But as usual, what I do falls between the cracks.

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I mean, there's a jurisdictional problem here.

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Should I be in the AFAMP, the American Federation of Absent-Minded Professors, or just sign

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up right here at the station with CORD, the Congress of Radio Drudges?

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I must say, I'm not in a very cooperative mood today.

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Maybe I'll start my own union called ME1, Me First.

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Or if I were a king, I could call myself Me the First.

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Oh, all right, all right.

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I guess that's not only irrelevant, it's also unfair to my parents, sort of, in a way.

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Speaking of which, both of my parents were born before the First World War.

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And in those days, at least in this country, band music was the music of the people.

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Some folks had the money and the inclination to go to symphony orchestra concerts, but

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everybody heard bands.

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And just as jazz musicians sometimes throw a fleeting quote of a well-known song into

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their improvised solos—it often has the effect of a musical wink, I feel—march composers

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used to refer to songs in a way that they knew would delight their audiences.

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It's an acknowledgment of a communal bond.

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Here are four marches, spanning the better part of a century, at least.

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Each one of them has a section that brings a smile to the listener's mind, as he or

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she thinks, hey, I know that song, which is what the suite is called.

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I'll see you in about nine-and-a-half minutes.

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I'll see you in about nine-and-a-half minutes.

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I'll see you in about nine-and-a-half minutes.

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I'll see you in about nine-and-a-half minutes.

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I'll see you in about nine-and-a-half minutes.

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I'll see you in about nine-and-a-half minutes.

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I'll see you in about nine-and-a-half minutes.

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I'll see you in about nine-and-a-half minutes.

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I'll see you in about nine-and-a-half minutes.

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I'll see you in about nine-and-a-half minutes.

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I'll see you in about nine-and-a-half minutes.

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I'll see you in about nine-and-a-half minutes.

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I'll see you in about nine-and-a-half minutes.

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I'll see you in about nine-and-a-half minutes.

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Hey, I know that song.

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First we heard the classic march, National Emblem, by Edwin Eugene Bagley, known to his friends as E.E. Bagley.

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Now a march has to do what a march has to do, and when it quotes the Star-Spangled Banner,

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this march does the march-ly thing by changing the national anthem from triple time to duple time.

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Military marches in triple time are not unheard of, but I don't know of any written within the last couple of centuries.

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That was Frederick Fennell conducting the Tokyo Kosei Wind Orchestra.

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Next we heard a little piece called July, from a larger work entitled Brass Calendar,

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by a composer who's a relative of mine, actually.

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He's my uncle's nephew.

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His name is Peter Shickley, and in this piece, Yankee Doodle starts out as a sort of a countermelody

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and then takes over completely.

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That was played by the Chestnut Brass Company, and quite well, too, I thought.

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The third movement of our suite was named after the Ancient and Honorable Artillery Company.

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John Philip Sousa based the trio on Auld Lang Syne, which was apparently associated with that Boston outfit.

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That was Fennell and the Eastman Wind Ensemble.

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And then the last thing we heard was called, appropriately enough, Au Près de Ma Blonde.

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It was written by someone named Mougeot and played by, let's see, either Musique des Gardiens de la Paix de Paris

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under Désir Dondin, or Musique Militaire de Paris under Roger Defoy.

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Oh, excuse me.

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You can't tell from the booklet in this CD.

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Actually, it's not even a booklet.

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It's only four pages, you know, one piece of paper.

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It's more like a bookletino.

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But what a great funky sound.

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The drums sound like cannons every time they play,

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and those natural bugles or keyless cornets or whatever they are

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have such a brash tone and intonation that is guaranteed to keep you awake.

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I love it.

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By the way, my uncle, whose name is Hans Schickly,

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tells me that his nephew, Peter Schickly, has a radio program called Schickly Mix

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from PRI, Public Radio International.

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A lot of people love marches, but what do marches think of them?

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Many marches emphasize the grand and the noble, the high and the mighty, the strong and the macho,

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and they bring to mind the discipline that is part of military life.

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It's hard not to think that there's a bit of S&M going on here.

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But other marches want to be your friends,

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and one of the ways they show their friendliness

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is by demonstrating that they know some of the same songs that you do,

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like the Star-Spangled Banner, Yankee Doodle, Auld Lang Syne, and Au Près de Ma Blonde.

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But those are very well-known tunes,

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and tunes that we're used to hearing in a variety of arrangements.

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Our next example is a more esoteric nudge-nudge, wink-wink.

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Here's the beginning of Beethoven's String Quartet, Op. 59 No. 1,

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followed by a section from the finale of PDQ Bach's Grand Serenade

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for an awful lot of winds and percussion.

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Here's the beginning of Beethoven's String Quartet, Op. 59 No. 1,

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followed by a section from the finale of PDQ Bach's Grand Serenade

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for an awful lot of winds and percussion.

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Beethoven and PDQ Bach,

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the Cleveland Quartet and the Turtle Mountain Naval Base Tactical Wind Ensemble.

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So, was that PDQ Bach's idea of a joke,

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or was it meant as a tribute to Beethoven?

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Or was he simply, as usual, stealing a theme from one of his betters?

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Well, that's a difficult question on two counts.

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Answering it presupposes that we know what was in PDQ Bach's mind when he wrote the piece,

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and we have no evidence indicating what that was.

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And secondly, it presupposes that PDQ Bach had a mind,

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and there's no evidence for that either.

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I would vote for larceny myself,

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but modern audiences, or at least the chamber music buffs therein,

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have indicated by their laughter that it's a joke,

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whatever PDQ's intentions were.

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And it is funny to hear that melody,

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which is so serene and quiet in its original setting,

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being played full blast by trombones and tubas

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with an accompaniment that Sousa himself could have written.

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So let's say it's a joke.

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Okay, well, what about the Nibelungen March by somebody named Sonntag?

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He did the same thing PDQ Bach did.

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He took themes from Wagner's grand and high-minded opera cycle,

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The Ring of the Nibelungen,

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and turned them into standard, run-of-the-mill march tunes.

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But as far as I know, this isn't a joke.

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Before we hear the march,

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I'll play you the original versions of the material that Sonntag quotes.

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These are called leitmotifs.

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I know, leitmotif sounds like an interior decorating term

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for when you have different kinds of lamps all over the house,

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but in Wagner it means thematic material

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that is associated with a particular character

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or object or quality or whatever.

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The Ring doesn't seem to have a leitmotif for extreme length,

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but everything else has one.

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Wagner was really into endless melody, and I do mean endless.

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His music is timeless, which is another word for long.

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I remember the first time I got a large dose of Wagner.

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I didn't actually see a Wagner opera till I got to New York,

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but when I was a student at Swarthmore College,

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it must have been around 1956,

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I went to an all-Wagner concert with the Philadelphia Orchestra.

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And when I came out of the Academy of Music,

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I remember thinking, I wonder if Eisenhower is still president.

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Anyway, here's Donner.

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His name, of course, means thunder.

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Here's his theme from Das Rheingold.

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♫

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♫

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That was Robert Kearns as Donner.

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Now here's Siegfried's Horn Call from Siegfried.

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♫

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And here's the sword motif as it appears in Das Rheingold.

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♫

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♫

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That's Dietrich Fischer-Dieskau as Wotan.

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Next is Siegfried's motif as it occurs in Die Walküre.

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♫

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And that's Crespen as Brunnhilde.

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And finally, the theme of Valhalla from Das Rheingold.

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♫

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Josephine Vesey and Dietrich Fischer-Dieskau.

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And all of those excerpts were with Herbert von Karajan

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and the Berlin Philharmonic.

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Okay, now we're all connoisseurs.

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Here's the Nebelungen March by Sonntag, whoever he is.

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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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The Nebelungen March by Sonntag.

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The performance, once again, was by Herbie the Kay and the Berlin Phils.

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Well, at least now I know what Sonntag's first name was,

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but I still don't know his dates.

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He's not in Grove's or Baker's dictionaries,

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but while the march was playing,

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I looked him up in Slonimski's Music Since 1900,

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which is arranged chronologically,

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and here's the entry for 8 December 1936.

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The Nazi Ministry of Propaganda issues a directive

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limiting all outdoor performances of Gottfried Sonntag's Nebelungen March

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on motives from Wagner's Ring Cycle

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only to important meetings under the aegis of the Nazi party.

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A supplementary order, signed by Hitler himself on 6 July 1937,

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made the playing of the march compulsory at all Parteitage, party days.

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Well, but did Sonntag live during the Nazi era or, like Wagner, before it?

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I don't know.

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But I think that's about as much research as I'm going to do on the subject.

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In fact, I think it's time to lighten up.

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Here's a set of three very friendly marches.

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Nobody would call these puppies pompous.

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The first is a breezy number that's almost a spoof of marches,

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and the second is definitely a parody of a famous march.

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The third is a beautifully witty arrangement

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of a march from the Afro-American tradition.

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I call this suite Hey, Lighten Up,

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and we'll meet again in about 6 1⁄2 minutes.

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Hey, we have lightened up.

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This is Jockey Bear, Spike Jones, and Billy May.

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Stephen Richman led Harmony Ensemble New York

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in that performance of the last movement

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of Hubert's Suite Symphonique Paris.

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Paris is French for Paris.

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Then came the overture from Spike Jones' version

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of Bizet's opera Carmen,

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which uses part of the March of the Toreadors,

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as arranged by Jay Somers and Eddie Brandt.

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Then last, from an album called Sorta Dixie,

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Billy May's brilliant arrangement

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of South Rampart Street Parade,

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a march out of the New Orleans tradition.

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The piccolo solo was Ted Nash,

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and the clarinet solo, Matty Matlock.

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Did I ever tell you about going around to the stage door

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during the intermission of a Spike Jones show when I was a kid

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and seeing him right inside the door

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but not having the nerve to approach him?

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Man, I regret that.

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I should have marched right up to him and said,

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Hello, Mr. Jones, Mr. Lindley Armstrong Jones.

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My name is Peter Schickele, and someday I'm going to have

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a radio program called Schickele Mix

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from PRI, Public Radio International.

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Today's program is called Marches Are Your Friends,

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and our last suite on the show brings together

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three examples of marching unusualia,

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as they say in Latin.

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On another installment of Marches on the March,

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I mentioned that a slow march,

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an entry processional by Rinaldo Hahn,

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was the only time I'd ever heard

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swirling harp glissandos in a march.

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Well, here's an even more unusual example,

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because the Hahn was for orchestra

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and, as I said, not an up-tempo marching march.

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The first selection in this suite is for regular band,

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but it includes harp.

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I assume they didn't use the harp when they marched.

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Well, I suppose you could have the harp on a little wagon,

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you know, the kind of wagon that kids have

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dragged by the band's mascot,

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preferably a large dog or maybe a zebra.

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But wait a minute, the harpist has to have

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both feet free to work the pedals,

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so that's another wagon with a chair on it,

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and that wagon is pushed by a ram or maybe a baby elephant.

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Probably not worth doing.

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Anyway, this march also has various Turkish-type

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percussion instruments in it.

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Now, I mentioned earlier in the program

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that there have been some marches,

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and I don't mean just slow processionals, in triple time,

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but the middle number in this suite

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is a march in quintuple time,

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five beats to the measure.

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It is, admittedly, a concert piece,

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not a marching band piece,

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but I've tried marching to it, and it works just fine.

324
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And speaking of fine, the final piece is...

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Well, let me just say that it was written

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by a very famous march composer,

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not a Hollywood film score writer.

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This suite is called

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Hey, You're Marching Off the Beaten Path,

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and I'll find my way back to you

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in about 8 1⁄2 minutes.

332
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¦

333
00:42:20,340 --> 00:42:40,340
¦

334
00:42:40,340 --> 00:43:09,340
¦

335
00:43:09,340 --> 00:43:29,340
¦

336
00:43:29,340 --> 00:43:49,340
¦

337
00:43:49,340 --> 00:44:09,340
¦

338
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¦

339
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¦

340
00:44:49,340 --> 00:45:09,340
¦

341
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¦

342
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343
00:45:49,340 --> 00:46:09,340
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344
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345
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346
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347
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348
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349
00:47:49,340 --> 00:48:09,340
¦

350
00:48:09,340 --> 00:48:29,340
¦

351
00:48:29,340 --> 00:48:49,340
¦

352
00:48:49,340 --> 00:49:09,340
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353
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¦

354
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¦

355
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¦

356
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Hey, You're Marching Off the Beaten Path,

357
00:50:02,340 --> 00:50:05,340
and the first stop was a march by Sousa

358
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called Nobles of the Mystic Shrine,

359
00:50:08,340 --> 00:50:10,340
his only march using a harp.

360
00:50:10,340 --> 00:50:14,340
You know, if you put festive garlands up in a room,

361
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you say that the room is festooned.

362
00:50:17,340 --> 00:50:20,340
If you blow something up way beyond its normal size,

363
00:50:20,340 --> 00:50:22,340
you say it has ballooned.

364
00:50:22,340 --> 00:50:25,340
So, if you add a harp to a band,

365
00:50:25,340 --> 00:50:28,340
has the band been harpooned?

366
00:50:28,340 --> 00:50:32,340
Okay, okay, all right, I promise, I promise that I will...

367
00:50:32,340 --> 00:50:35,340
Okay, I promise, no more.

368
00:50:35,340 --> 00:50:38,340
That's it, folks. I'll behave.

369
00:50:38,340 --> 00:50:40,340
I'm not going to answer that.

370
00:50:40,340 --> 00:50:43,340
I'm just going to move along here.

371
00:50:43,340 --> 00:50:47,340
The middle piece, that strutting, emphatic, deliberate march,

372
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was from a work called What Did You Do Today at Jeffy's House,

373
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and was written by a relative of the composer of Brass Calendar,

374
00:50:56,340 --> 00:50:59,340
part of which we heard earlier in the show.

375
00:50:59,340 --> 00:51:01,340
It's a complicated family.

376
00:51:01,340 --> 00:51:05,340
This guy is the only sibling of my uncle's oldest nephew's brother,

377
00:51:05,340 --> 00:51:09,340
and believe it or not, his name is also Peter Shickley.

378
00:51:09,340 --> 00:51:12,340
That movement was called First We Had a Parade,

379
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and the performers were Tom Bacon on French horn

380
00:51:15,340 --> 00:51:18,340
and Brian Connolly on piano.

381
00:51:18,340 --> 00:51:22,340
Then the last piece was another Sousa march called New Mexico,

382
00:51:22,340 --> 00:51:25,340
in which the composer endeavored to encapsulate

383
00:51:25,340 --> 00:51:29,340
the history of that area in a few choice musical morsels.

384
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Both Sousa marches were done by Frederick Fennell

385
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and the Eastman Wind Ensemble.

386
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And we've got time for one more march here,

387
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so this is a march that the music isn't funny in it,

388
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but it has a great title and it's a very nice march.

389
00:51:44,340 --> 00:51:48,340
It's from Vaughan Williams' incidental music for The Wasps,

390
00:51:48,340 --> 00:51:50,340
the Aristophanes play,

391
00:51:50,340 --> 00:51:53,340
and it's called March Past of the Kitchen Utensils.

392
00:51:53,340 --> 00:51:56,340
And according to the booklet, in the original score,

393
00:51:56,340 --> 00:51:58,340
March Past of the Kitchen Utensils

394
00:51:58,340 --> 00:52:01,340
was called March Past of the Witnesses,

395
00:52:01,340 --> 00:52:06,340
a parody of a trial presided over by the Athenian demagogue Cleon,

396
00:52:06,340 --> 00:52:10,340
who is induced to satisfy his judicial passion at home

397
00:52:10,340 --> 00:52:14,340
by trying the dog accused of stealing some cheese.

398
00:52:14,340 --> 00:52:18,340
The dog, for his part, calls his character witnesses his messmates,

399
00:52:18,340 --> 00:52:21,340
the pot, pestle, and water jug.

400
00:52:21,340 --> 00:52:25,340
This risible situation is accompanied by a quaint little march,

401
00:52:25,340 --> 00:52:28,340
delightfully scored with just a hint of

402
00:52:28,340 --> 00:52:32,340
here's a health unto his majesty in its theme.

403
00:52:32,340 --> 00:52:55,340
♪

404
00:52:55,340 --> 00:53:13,340
♪

405
00:53:13,340 --> 00:53:31,340
♪

406
00:53:31,340 --> 00:53:49,340
♪

407
00:53:49,340 --> 00:54:07,340
♪

408
00:54:07,340 --> 00:54:27,340
♪

409
00:54:27,340 --> 00:54:47,340
♪

410
00:54:47,340 --> 00:55:12,340
♪

411
00:55:12,340 --> 00:55:31,340
♪

412
00:55:31,340 --> 00:55:53,340
♪

413
00:55:53,340 --> 00:55:56,340
The March Past of the Kitchen Utensils

414
00:55:56,340 --> 00:55:58,340
from Vaughn Williams Music

415
00:55:58,340 --> 00:56:02,340
for a production of The Wasps by Aristophanes.

416
00:56:02,340 --> 00:56:06,340
And it's interesting, that was the London Philharmonic Orchestra

417
00:56:06,340 --> 00:56:08,340
conducted by Vernon Handley,

418
00:56:08,340 --> 00:56:11,340
and the credits on this album are rather interesting.

419
00:56:11,340 --> 00:56:16,340
Liner notes, John Nicole, producer, Andrew Keener,

420
00:56:16,340 --> 00:56:19,340
recording engineer, Mr. Bear.

421
00:56:19,340 --> 00:56:22,340
That's what it says, no first name, just Mr. Bear.

422
00:56:22,340 --> 00:56:24,340
So I assume that's Papa Bear, right?

423
00:56:24,340 --> 00:56:27,340
I mean, it can't be Mama Bear, and it wouldn't be Baby Bear.

424
00:56:27,340 --> 00:56:30,340
I mean, they have child labor laws in England, don't they?

425
00:56:30,340 --> 00:56:32,340
Okay, okay.

426
00:56:32,340 --> 00:56:35,340
Hey, I'm out of here. Thanks, folks.

427
00:56:35,340 --> 00:56:37,340
Thanks for joining us for another...

428
00:56:37,340 --> 00:56:47,340
♪

429
00:56:47,340 --> 00:56:49,340
Marches on the March.

430
00:56:49,340 --> 00:56:56,340
♪

431
00:56:56,340 --> 00:56:59,340
And that's Sickly Mix for this week.

432
00:56:59,340 --> 00:57:02,340
The march at the beginning of the show was

433
00:57:02,340 --> 00:57:05,340
Gyp the Blood, or Hearst, which is Worst, by Charles Ives,

434
00:57:05,340 --> 00:57:09,340
played by the Ensemble Moderne under Ingo Metzmacher.

435
00:57:09,340 --> 00:57:12,340
Right now we're hearing Thunder and Blazes by Fucik,

436
00:57:12,340 --> 00:57:15,340
played by the Gürzenich Bassoon Quintet.

437
00:57:15,340 --> 00:57:18,340
Our program is made possible with funds provided

438
00:57:18,340 --> 00:57:20,340
by the Corporation for Public Broadcasting

439
00:57:20,340 --> 00:57:23,340
and by the National Endowment for the Arts,

440
00:57:23,340 --> 00:57:27,340
with additional support from the National Academy of Recording Arts and Sciences,

441
00:57:27,340 --> 00:57:30,340
and from this radio station and its members.

442
00:57:30,340 --> 00:57:32,340
Thank you, members.

443
00:57:32,340 --> 00:57:35,340
And not only that, our program is distributed by PRI,

444
00:57:35,340 --> 00:57:37,340
Public Radio International.

445
00:57:37,340 --> 00:57:40,340
We'll tell you in a moment how you can get an official playlist

446
00:57:40,340 --> 00:57:43,340
of all the music on today's program with album numbers and everything.

447
00:57:43,340 --> 00:57:45,340
Just refer to the program number.

448
00:57:45,340 --> 00:57:48,340
This is program number 141.

449
00:57:48,340 --> 00:57:51,340
And this is Peter Sickly saying goodbye

450
00:57:51,340 --> 00:57:55,340
reminding you that it don't mean a thing if it ain't got that certain je ne sais quoi.

451
00:57:55,340 --> 00:57:58,340
You're looking good. See you next week.

452
00:58:02,340 --> 00:58:05,340
If you'd like a copy of that playlist I mentioned,

453
00:58:05,340 --> 00:58:08,340
send a stamped, self-addressed envelope to Sickly Mix.

454
00:58:08,340 --> 00:58:13,340
That's S-C-H-I-C-K-E-L-E, Sickly Mix.

455
00:58:13,340 --> 00:58:15,340
Care of Public Radio International,

456
00:58:15,340 --> 00:58:18,340
100 North 6th Street, Suite 900A,

457
00:58:18,340 --> 00:58:22,340
Minneapolis, Minnesota 55403.

458
00:58:22,340 --> 00:58:49,340
PRI, Public Radio International.