1 00:00:00,000 --> 00:00:19,560 Well, hello there, I'm Peter Sickly, and this is Sickly Mix, a program dedicated to the 2 00:00:19,560 --> 00:00:22,960 proposition that all musics are created equal. 3 00:00:22,960 --> 00:00:27,640 Or as Duke Ellington put it, if it sounds good, it is good. 4 00:00:27,640 --> 00:00:31,800 And I'm glad to say that our bills are paid by the Corporation for Public Broadcasting 5 00:00:31,800 --> 00:00:36,240 and by the National Endowment for the Arts, with additional support from the National 6 00:00:36,240 --> 00:00:41,400 Academy of Recording Arts and Sciences, and from this here radio station, within whose 7 00:00:41,400 --> 00:00:46,760 walls I crank out these carefully crafted modules of musical matter, which matter is 8 00:00:46,760 --> 00:00:54,480 then converted into energy and beamed far and wide by PRI, Public Radio International. 9 00:00:54,480 --> 00:00:59,800 I had a girlfriend in college who knew that one of my very favorite pieces is the Brahms 10 00:00:59,800 --> 00:01:03,320 Clarinet or Viola Sonata No. 2 in E-flat. 11 00:01:03,320 --> 00:01:06,040 I got to know it first as a viola piece. 12 00:01:06,040 --> 00:01:21,080 Here's how it begins. 13 00:01:21,080 --> 00:01:27,160 It's such a beautiful melody, and I love the way it just starts without any introduction, 14 00:01:27,160 --> 00:01:30,640 as if you had stepped into a flowing stream. 15 00:01:30,640 --> 00:01:36,020 Now Sarah used to like to get my goat by singing the tune with three extra notes. 16 00:01:36,020 --> 00:01:50,340 She added three notes before the downbeat, as if the piece started like this. 17 00:01:50,340 --> 00:01:52,620 It's a small but significant change. 18 00:01:52,620 --> 00:01:56,520 It makes the beginning of the piece sort of tacky, which Sarah knew, of course. 19 00:01:56,520 --> 00:01:58,160 I mean, that's why she did it. 20 00:01:58,160 --> 00:02:00,160 It's called pushing buttons. 21 00:02:00,160 --> 00:02:01,520 But it was all in good fun. 22 00:02:01,520 --> 00:02:05,260 I mean, eventually we broke up, but it wasn't because of that. 23 00:02:05,260 --> 00:02:09,560 What she was doing was adding three pickups to the melody. 24 00:02:09,560 --> 00:02:15,620 Pickups are notes at the beginning of a phrase that come before a strong beat. 25 00:02:15,620 --> 00:02:17,520 So how do you know where the strong beats are? 26 00:02:17,520 --> 00:02:21,640 Well, if you're marching, you know because it's when your left foot comes down. 27 00:02:21,640 --> 00:02:25,680 But it's not too cool to march up and down the aisles of Carnegie Hall during a Chopin 28 00:02:25,680 --> 00:02:30,080 nocturne, so there are other ways of feeling the strong beats. 29 00:02:30,080 --> 00:02:33,680 Here's a piece whose melody begins with a two-note pickup. 30 00:02:33,680 --> 00:02:37,600 And you know when the strong beat occurs, because that's when the rest of the orchestra 31 00:02:37,600 --> 00:02:42,960 comes in, and the basses play on every strong beat thereafter, and the harmonies change 32 00:02:42,960 --> 00:02:44,800 on strong beats, and... 33 00:02:44,800 --> 00:02:46,800 Well, that's enough right there, isn't it? 34 00:02:46,800 --> 00:02:50,840 I mean, what do you want, a smithy hitting an anvil on every strong beat? 35 00:02:50,840 --> 00:02:56,000 This piece is in 3-4 time, and the opening phrases are four measures long, which means 36 00:02:56,000 --> 00:02:58,960 that there are four strong beats to each phrase. 37 00:02:58,960 --> 00:03:27,880 And each one of the first five phrases has a two-note pickup. 38 00:03:27,880 --> 00:03:32,480 One of the things that melodies often do, certainly not always, but very often, is to 39 00:03:32,480 --> 00:03:38,240 have the note on the initial strong beat be longer than the pickup note or notes. 40 00:03:38,240 --> 00:03:40,520 This is called an agogic accent. 41 00:03:40,520 --> 00:03:44,200 And I'll go over that for the sake of those of you who haven't been keeping notes during 42 00:03:44,200 --> 00:03:46,960 the last 142 shows. 43 00:03:46,960 --> 00:03:51,320 An agogic accent has nothing to do with playing a note louder, punching it. 44 00:03:51,320 --> 00:03:56,680 It refers to the natural emphasis that occurs when a note is longer than the note or notes 45 00:03:56,680 --> 00:03:58,000 that precede it. 46 00:03:58,000 --> 00:04:03,800 Here, for instance, is a melody that has no harmony changes, in fact, it has no accompaniment 47 00:04:03,800 --> 00:04:09,960 at all, nothing to define the meter except rhythm and melodic patterns. 48 00:04:09,960 --> 00:04:14,400 Each phrase has a two-note pickup, and the third note of each phrase, the one on the 49 00:04:14,400 --> 00:04:35,320 strong beat, is always longer than the pickups. 50 00:04:35,320 --> 00:05:05,120 Okay, it's time to start the featured feature on today's show, Pickups on Parade. 51 00:05:05,120 --> 00:05:09,660 We're going to give you an opportunity to concentrate on this musical device, and we'll 52 00:05:09,660 --> 00:05:12,240 start with one-note pickups. 53 00:05:12,240 --> 00:05:17,120 Many melodies are predominantly isorhythmic, that is, the same rhythmic pattern is used 54 00:05:17,120 --> 00:05:22,740 in all or most of the phrases, which means, in this case, that virtually all the phrases 55 00:05:22,740 --> 00:05:27,060 in the three songs we're about to hear have one pickup note. 56 00:05:27,060 --> 00:05:37,560 See you in about four-and-a-half. 57 00:05:37,560 --> 00:05:48,920 I know a dark secluded place, a place where no one knows your face, a glass of wine, a 58 00:05:48,920 --> 00:06:00,880 last embrace, it's called Hernando's Hideaway, Ole, all you see are silhouettes, and all 59 00:06:00,880 --> 00:06:11,560 you hear are castanets, and no one cares how late it gets, not at Hernando's Hideaway, 60 00:06:11,560 --> 00:06:31,680 Ole. 61 00:06:31,680 --> 00:06:37,680 Die launischen Forelle Vorüber mir einfeiern. 62 00:06:37,680 --> 00:06:43,680 Ich stand an der Gestade Und sah in süßer Ruhe 63 00:06:43,680 --> 00:06:49,680 Des muttern Fischleins Wane Im klaren Lichtlein zu. 64 00:06:49,680 --> 00:07:07,680 Ein Fische wird geruhte, Wo an dem Oberstand, 65 00:07:07,680 --> 00:07:13,680 Und saß mit kalten Blute, Wie sich das Fischlein warnt. 66 00:07:13,680 --> 00:07:19,680 Solang dem Wasser helle, Sodass sich nücht gebricht, 67 00:07:19,680 --> 00:07:31,680 So hängt er die Forelle Mit seiner Hand genickt. 68 00:07:31,680 --> 00:07:43,680 Doch endlich ward dem Dübel Die Zeit klar. 69 00:07:43,680 --> 00:07:56,680 Our Love Affair 70 00:07:56,680 --> 00:08:03,680 Our love affair Was meant to be 71 00:08:03,680 --> 00:08:09,680 It's me for you, dear And you for me 72 00:08:09,680 --> 00:08:16,680 We'll fuss, we'll quarrel And tears start to brew 73 00:08:16,680 --> 00:08:22,680 But after the tears Our love will smile through 74 00:08:22,680 --> 00:08:29,680 I'm sure that I Could never hide 75 00:08:29,680 --> 00:08:36,680 The thrill I get When you're by my side 76 00:08:36,680 --> 00:08:42,680 And when we're older We'll proudly declare 77 00:08:42,680 --> 00:09:10,680 Wasn't ours a lovely love affair? 78 00:09:13,680 --> 00:09:22,680 I'm sure that I Could never hide 79 00:09:22,680 --> 00:09:29,680 The thrill I get When you're by my side 80 00:09:29,680 --> 00:09:35,680 And when we're older We'll proudly declare 81 00:09:35,680 --> 00:09:48,680 Wasn't ours a lovely love affair? 82 00:09:48,680 --> 00:09:51,680 Three songs featuring one-note pickups. 83 00:09:51,680 --> 00:09:55,680 Johnny Ray sang part of Hernando's Hideaway, 84 00:09:55,680 --> 00:09:58,680 Felicity Lott did Schubert's The Trout, 85 00:09:58,680 --> 00:10:01,680 and Rosemary Clooney sang about our love affair, 86 00:10:01,680 --> 00:10:05,680 which I really wish she wouldn't do in public. I'm a married man. 87 00:10:05,680 --> 00:10:08,680 Speaking of that, you know, my wife is a poet, 88 00:10:08,680 --> 00:10:12,680 and while a lot of people think of poetry as a very esoteric thing, 89 00:10:12,680 --> 00:10:14,680 except maybe for cowboy poetry, 90 00:10:14,680 --> 00:10:18,680 and in certain circles a lot of thought goes into figuring out 91 00:10:18,680 --> 00:10:21,680 how to bring poetry to a wider audience. 92 00:10:21,680 --> 00:10:24,680 So, you know that famous Robert Frost poem called 93 00:10:24,680 --> 00:10:27,680 Stopping by Woods on a Snowy Evening? 94 00:10:27,680 --> 00:10:32,680 Well, for tidbit time today, I'd like to play a musical setting of that poem, 95 00:10:32,680 --> 00:10:37,680 a setting that I think could make it accessible to a much wider audience. 96 00:10:37,680 --> 00:10:39,680 Here it is. 97 00:10:51,680 --> 00:10:55,680 Whose woods these are I think I know 98 00:10:55,680 --> 00:11:00,680 His house is in the village though 99 00:11:00,680 --> 00:11:04,680 He will not see me stopping here 100 00:11:04,680 --> 00:11:08,680 To watch his woods fill up with snow 101 00:11:08,680 --> 00:11:13,680 Ole, my little horse must think it queer 102 00:11:13,680 --> 00:11:17,680 To stop without a farmhouse near 103 00:11:17,680 --> 00:11:21,680 Between the woods and frozen lake 104 00:11:21,680 --> 00:11:26,680 The darkest evening of the year, ole 105 00:11:30,680 --> 00:11:34,680 He gives his harness bells a shake 106 00:11:38,680 --> 00:11:42,680 To ask if there is some mistake 107 00:11:46,680 --> 00:11:50,680 The only other sound's the sweep 108 00:11:50,680 --> 00:11:54,680 Of easy wind, of easy wind 109 00:11:54,680 --> 00:11:57,680 And downy flake, oh 110 00:11:57,680 --> 00:12:01,680 The woods are lovely, dark and deep 111 00:12:01,680 --> 00:12:05,680 But I have promises to keep 112 00:12:05,680 --> 00:12:09,680 And miles to go before I sleep 113 00:12:09,680 --> 00:12:14,680 And miles to go before I sleep, ole 114 00:12:14,680 --> 00:12:19,680 Robert Frost's classic poem, Stopping by Woods on a Snowy Evening, 115 00:12:19,680 --> 00:12:23,680 is based on music written about three decades after the poem was written. 116 00:12:23,680 --> 00:12:26,680 The accompaniment was played by George Wright, 117 00:12:26,680 --> 00:12:29,680 although he didn't know he'd be accompanying me 118 00:12:29,680 --> 00:12:31,680 when he made the recording back in the 1950s. 119 00:12:31,680 --> 00:12:33,680 A terrific theater organist, by the way, 120 00:12:33,680 --> 00:12:36,680 and I recommend the album if you're into theater organs. 121 00:12:36,680 --> 00:12:40,680 George Wright plays Lerner and Lowe, My Fair Lady. 122 00:12:40,680 --> 00:12:43,680 Boston Skyline is the label. 123 00:12:43,680 --> 00:12:46,680 Oh, rats. Excuse me. 124 00:12:46,680 --> 00:12:51,680 Mr. Frost, I thought you were dead. 125 00:12:51,680 --> 00:12:54,680 I mean, dead but not forgotten. 126 00:12:54,680 --> 00:13:01,680 Oh, well, it was just in the spirit of fun, you know. 127 00:13:01,680 --> 00:13:05,680 Well, actually, you know, it wasn't even my idea, you know. 128 00:13:05,680 --> 00:13:08,680 I mean, actually, I was remiss if I gave the impression 129 00:13:08,680 --> 00:13:10,680 that I thought that idea up, 130 00:13:10,680 --> 00:13:14,680 because, actually, it was my good friend Mikhail Horowitz. 131 00:13:14,680 --> 00:13:16,680 He's an excellent poet and a very funny guy. 132 00:13:16,680 --> 00:13:18,680 He calls himself a stand-up poet, 133 00:13:18,680 --> 00:13:23,680 and it was his idea to sing the poem to the music of Hernando's Hideaway. 134 00:13:23,680 --> 00:13:27,680 I just, you know, I just borrowed the idea for this program. 135 00:13:27,680 --> 00:13:30,680 And, say, would you like his telephone number? 136 00:13:30,680 --> 00:13:32,680 I'd be glad to give it to you. 137 00:13:32,680 --> 00:13:35,680 Oh, well, yeah, I suppose you can. 138 00:13:35,680 --> 00:13:37,680 Uh-huh. Well, okay. 139 00:13:37,680 --> 00:13:40,680 And, oh, by the way, I'm a big fan of yours, Mr. Frost, 140 00:13:40,680 --> 00:13:42,680 and I was even back when you were alive. 141 00:13:42,680 --> 00:13:47,680 You know, Kennedy's inauguration, and, oh, and I just love trees. 142 00:13:47,680 --> 00:13:51,680 I think that I shall never see a poem lovely as a tree. 143 00:13:51,680 --> 00:13:53,680 Huh. He hung up. 144 00:13:53,680 --> 00:13:58,680 Well, I guess we really ought to get back to pick-ups on parade here. 145 00:13:58,680 --> 00:14:00,680 We're up to two now. 146 00:14:00,680 --> 00:14:04,680 Here are four examples in which virtually every phrase has two pick-ups. 147 00:14:04,680 --> 00:14:07,680 I'll be back in five and a half minutes. 148 00:14:07,680 --> 00:14:17,680 ¦ 149 00:14:37,680 --> 00:14:47,680 ¦ 150 00:15:07,680 --> 00:15:17,680 ¦ 151 00:15:37,680 --> 00:15:47,680 ¦ 152 00:15:47,680 --> 00:15:57,680 ¦ 153 00:15:57,680 --> 00:16:07,680 ¦ 154 00:16:07,680 --> 00:16:10,680 ¦ Give me five minutes more ¦ 155 00:16:10,680 --> 00:16:14,680 ¦ Only five minutes more ¦ 156 00:16:14,680 --> 00:16:20,680 ¦ Let me stay, let me stay in your arms ¦ 157 00:16:20,680 --> 00:16:22,680 ¦ 158 00:16:22,680 --> 00:16:26,680 ¦ Here am I begging for ¦ 159 00:16:26,680 --> 00:16:30,680 ¦ Give me five minutes more ¦ 160 00:16:30,680 --> 00:16:34,680 ¦ Only five minutes more ¦ 161 00:16:34,680 --> 00:16:38,680 ¦ Of your charm ¦ 162 00:16:38,680 --> 00:16:42,680 ¦ All week long I dreamed about ¦ 163 00:16:42,680 --> 00:16:46,680 ¦ Our Saturday date ¦ 164 00:16:46,680 --> 00:16:51,680 ¦ Don't you know that Sunday morning ¦ 165 00:16:51,680 --> 00:16:53,680 ¦ You can sleep late ¦ 166 00:16:53,680 --> 00:16:57,680 ¦ Give me five minutes more ¦ 167 00:16:57,680 --> 00:17:01,680 ¦ Only five minutes more ¦ 168 00:17:01,680 --> 00:17:08,680 ¦ Let me stay, let me stay in your arms ¦ 169 00:17:08,680 --> 00:17:16,680 ¦ 170 00:17:16,680 --> 00:17:26,680 ¦ 171 00:17:26,680 --> 00:17:36,680 ¦ 172 00:17:36,680 --> 00:17:46,680 ¦ 173 00:17:46,680 --> 00:17:56,680 ¦ 174 00:17:56,680 --> 00:18:03,680 ¦ 175 00:18:03,680 --> 00:18:13,680 ¦ 176 00:18:13,680 --> 00:18:23,680 ¦ 177 00:18:23,680 --> 00:18:33,680 ¦ 178 00:18:33,680 --> 00:18:43,680 ¦ 179 00:18:43,680 --> 00:18:53,680 ¦ 180 00:18:53,680 --> 00:19:03,680 ¦ 181 00:19:03,680 --> 00:19:13,680 ¦ 182 00:19:13,680 --> 00:19:23,680 ¦ 183 00:19:23,680 --> 00:19:33,680 ¦ 184 00:19:33,680 --> 00:19:43,680 ¦ 185 00:19:43,680 --> 00:19:47,680 Two note pickups. 186 00:19:47,680 --> 00:19:51,680 I just noticed that that suite was the three Bs 187 00:19:51,680 --> 00:19:53,680 Bach, Beethoven, and Brahms, 188 00:19:53,680 --> 00:19:56,680 with Frank Sinatra thrown in for good measure. 189 00:19:56,680 --> 00:19:59,680 We heard Nathaniel Rosen playing part of the bourrée 190 00:19:59,680 --> 00:20:02,680 from Bach's third unaccompanied cello suite in C major. 191 00:20:02,680 --> 00:20:06,680 Then came the chairman of the board singing Five Minutes More, 192 00:20:06,680 --> 00:20:09,680 then part of the slow movement of Beethoven's Fifth, 193 00:20:09,680 --> 00:20:13,680 and finally the vegan lead, the lullaby by Brahms 194 00:20:13,680 --> 00:20:18,680 that has become like a folk song to a large part of the world. 195 00:20:18,680 --> 00:20:22,680 By the way, that was Norrington and the London Classical Players 196 00:20:22,680 --> 00:20:25,680 with the Beethoven and Anna-Sophie von Otter 197 00:20:25,680 --> 00:20:29,680 singing the Brahms with Bengt Forsberg on the piano. 198 00:20:29,680 --> 00:20:33,680 One of the people listening to the whole suite was Peter Schickele, 199 00:20:33,680 --> 00:20:38,680 host of Schickele Mix, from PRI, Public Radio International. 200 00:20:41,680 --> 00:20:45,680 We're in the midst of our Pickups on Parade feature here, 201 00:20:45,680 --> 00:20:49,680 and we're up to three, phrases with three pickup notes, 202 00:20:49,680 --> 00:20:52,680 including in the middle one of this trio of pieces 203 00:20:52,680 --> 00:20:56,680 what may be the three most famous pickup notes in the world. 204 00:20:56,680 --> 00:20:58,680 I'll be back in four. 205 00:20:58,680 --> 00:21:27,680 ... 206 00:21:28,680 --> 00:21:50,680 ... 207 00:21:50,680 --> 00:22:19,680 ... 208 00:22:19,680 --> 00:22:28,680 ... 209 00:22:49,680 --> 00:23:05,680 ... 210 00:23:05,680 --> 00:23:34,680 ... 211 00:23:34,680 --> 00:24:03,680 ... 212 00:24:03,680 --> 00:24:32,680 ... 213 00:24:32,680 --> 00:25:01,680 ... 214 00:25:01,680 --> 00:25:30,680 ... 215 00:25:30,680 --> 00:25:45,680 ... 216 00:25:45,680 --> 00:25:47,680 Three-note pickups. 217 00:25:47,680 --> 00:25:50,680 Jerry Mulligan played Barry Sachs on his arrangement of 218 00:25:50,680 --> 00:25:52,680 Macon Whoopie with Chet Baker on trumpet, 219 00:25:52,680 --> 00:25:55,680 Norrington again with Beethoven's Fifth, 220 00:25:55,680 --> 00:26:00,680 and those three pickup notes absolutely permeate that whole first movement, 221 00:26:00,680 --> 00:26:03,680 even in the accompaniment parts. 222 00:26:03,680 --> 00:26:06,680 Then finally, we heard the F major fugue from PDQ Bach's 223 00:26:06,680 --> 00:26:08,680 The Short-Tempered Clavier, 224 00:26:08,680 --> 00:26:12,680 the subtitle is Preludes and Fugues in All the Major and Minor Keys 225 00:26:12,680 --> 00:26:14,680 Except for the Really Hard Ones, 226 00:26:14,680 --> 00:26:16,680 performed by Christopher O'Reilly. 227 00:26:16,680 --> 00:26:18,680 Okay, don't try to stop me now. 228 00:26:18,680 --> 00:26:22,680 We're up to four. Count them. Four pickup notes. 229 00:26:22,680 --> 00:26:25,680 We've got three pieces, and don't be thrown off 230 00:26:25,680 --> 00:26:29,680 by the very first phrase you hear with its three-note pickup, 231 00:26:29,680 --> 00:26:31,680 not to mention its rather noisy audience. 232 00:26:31,680 --> 00:26:34,680 It immediately settles in to what may be 233 00:26:34,680 --> 00:26:37,680 the most famous four pickup notes in the world. 234 00:26:37,680 --> 00:26:53,680 Hasta la vista. 235 00:27:07,680 --> 00:27:17,680 Hasta la vista. 236 00:27:37,680 --> 00:27:47,680 Hasta la vista. 237 00:27:47,680 --> 00:27:51,680 Treat me like a fool 238 00:27:51,680 --> 00:27:56,680 Treat me mean and cruel 239 00:27:56,680 --> 00:28:01,680 But love me 240 00:28:01,680 --> 00:28:05,680 Bring my faithful heart 241 00:28:05,680 --> 00:28:09,680 Tear it all apart 242 00:28:09,680 --> 00:28:12,680 But love me 243 00:28:12,680 --> 00:28:14,680 Won't you love me 244 00:28:14,680 --> 00:28:19,680 Believe her whoever goes 245 00:28:19,680 --> 00:28:29,680 Darling, I'll be oh so lonely 246 00:28:29,680 --> 00:28:32,680 I'll be sad and blue 247 00:28:32,680 --> 00:28:36,680 Crying over you 248 00:28:36,680 --> 00:28:41,680 Dear me 249 00:28:41,680 --> 00:28:47,680 I would beg and steal 250 00:28:47,680 --> 00:28:54,680 Just to feel 251 00:28:54,680 --> 00:29:01,680 Your heart 252 00:29:01,680 --> 00:29:06,680 Feeding close to mine 253 00:29:06,680 --> 00:29:11,680 Darling, wherever you ever go 254 00:29:11,680 --> 00:29:21,680 Darling, I'll be oh so lonely 255 00:29:21,680 --> 00:29:24,680 I'll be sad and blue 256 00:29:24,680 --> 00:29:28,680 Crying over you 257 00:29:28,680 --> 00:29:33,680 Dear me 258 00:29:33,680 --> 00:29:38,680 I would beg and steal 259 00:29:38,680 --> 00:29:45,680 Just to feel 260 00:29:45,680 --> 00:29:52,680 Your heart 261 00:29:52,680 --> 00:29:58,680 Feeding close to mine 262 00:29:58,680 --> 00:30:02,680 Wherever you ever go 263 00:30:02,680 --> 00:30:12,680 Darling, I'll be oh so lonely 264 00:30:12,680 --> 00:30:15,680 Begging on my knees 265 00:30:15,680 --> 00:30:19,680 All I ask is please 266 00:30:19,680 --> 00:30:27,680 Love me, oh yeah 267 00:30:27,680 --> 00:30:29,680 Okay, four-note pickups. 268 00:30:29,680 --> 00:30:32,680 Johann Strauss, Jr. on the beautiful blue Danube. 269 00:30:32,680 --> 00:30:34,680 I don't know who was playing 270 00:30:34,680 --> 00:30:36,680 because I took it off a CD called 271 00:30:36,680 --> 00:30:39,680 The Idiot's Guide to Classical Music. 272 00:30:39,680 --> 00:30:42,680 Must have been compiled by Dostoevsky. 273 00:30:42,680 --> 00:30:45,680 Anyway, it tells you the movies you might have heard each theme in 274 00:30:45,680 --> 00:30:47,680 but not who's playing it. 275 00:30:47,680 --> 00:30:49,680 Then the Eastman Wind Ensemble 276 00:30:49,680 --> 00:30:51,680 under Donald Hunsberger 277 00:30:51,680 --> 00:30:53,680 with part of Sousa's Stars and Stripes Forever. 278 00:30:53,680 --> 00:30:55,680 I know that was a little frustrating. Sorry about that. 279 00:30:55,680 --> 00:30:58,680 But that's the only section that has four-note pickups. 280 00:30:58,680 --> 00:31:01,680 And finally Elvis singing Love Me. 281 00:31:01,680 --> 00:31:03,680 Elvis Presley, not Costello. 282 00:31:03,680 --> 00:31:06,680 Okay, we're going to get a little bit less exhaustive here. 283 00:31:06,680 --> 00:31:09,680 Just one example of five-note pickups 284 00:31:09,680 --> 00:31:12,680 but it is a perfect example. 285 00:31:12,680 --> 00:31:14,680 The song has ten phrases 286 00:31:14,680 --> 00:31:17,680 and every one starts with a five-note pickup. 287 00:31:17,680 --> 00:31:20,680 It's an old song that you don't hear much anymore. 288 00:31:20,680 --> 00:31:23,680 All I could find was this live recording 289 00:31:23,680 --> 00:31:26,680 in which the audience is even noisier 290 00:31:26,680 --> 00:31:28,680 than they were on the blue Danube. 291 00:31:28,680 --> 00:31:31,680 Thank you, thank you. 292 00:31:35,680 --> 00:31:41,680 In dreams I kiss your hand, madame 293 00:31:41,680 --> 00:31:47,680 Your dating fingertips 294 00:31:47,680 --> 00:31:53,680 And while in slumberland, madame 295 00:31:53,680 --> 00:31:59,680 I'm begging for your lips 296 00:31:59,680 --> 00:32:05,680 I haven't any right, madame 297 00:32:05,680 --> 00:32:11,680 To do the things I do 298 00:32:11,680 --> 00:32:17,680 Just when I hold you tight, madame 299 00:32:17,680 --> 00:32:23,680 You vanish in the night, madame 300 00:32:23,680 --> 00:32:29,680 In dreams I kiss your hand, madame 301 00:32:29,680 --> 00:32:42,680 And pray my dreams come true 302 00:32:42,680 --> 00:32:44,680 Thank you, thank you. 303 00:32:44,680 --> 00:32:45,680 I love you. 304 00:32:45,680 --> 00:32:46,680 I love you a lot. 305 00:32:46,680 --> 00:32:48,680 Thank you. 306 00:32:48,680 --> 00:32:50,680 You know, it's a funny thing about crooners 307 00:32:50,680 --> 00:32:52,680 in the second half of the 20th century. 308 00:32:52,680 --> 00:32:54,680 They used to have just regular names 309 00:32:54,680 --> 00:32:56,680 but in the last few decades 310 00:32:56,680 --> 00:33:00,680 Tom Jones named himself after a novel by Fielding 311 00:33:00,680 --> 00:33:04,680 Engelbert Humperdinck after the composer of Hansel and Gretel 312 00:33:04,680 --> 00:33:06,680 and now this guy, whom we just heard singing 313 00:33:06,680 --> 00:33:07,680 I kiss your hand, madame. 314 00:33:07,680 --> 00:33:10,680 He calls himself Jean-Paul Sartre. 315 00:33:10,680 --> 00:33:13,680 Well, anyway, the song might as well have been composed 316 00:33:13,680 --> 00:33:16,680 specifically to illustrate five-note pickups. 317 00:33:16,680 --> 00:33:19,680 But all good things must come to an end 318 00:33:19,680 --> 00:33:23,680 and I'm afraid we've come to the end of Pickups on Parade. 319 00:33:23,680 --> 00:33:26,680 Our last little suite has three excerpts 320 00:33:26,680 --> 00:33:29,680 featuring six- and seven-note pickups 321 00:33:29,680 --> 00:33:31,680 not consistently, but mostly. 322 00:33:31,680 --> 00:33:35,680 The first number contains beautiful six-note pickups. 323 00:33:35,680 --> 00:33:37,680 The middle number begins with seven 324 00:33:37,680 --> 00:33:40,680 but the phrases in the central section have six 325 00:33:40,680 --> 00:33:43,680 and the last number, if you can concentrate on the melody 326 00:33:43,680 --> 00:33:48,680 has four phrases with very tasty seven-note pickups. 327 00:33:48,680 --> 00:33:53,680 This is about as far as we're going to go, pickup-wise speaking. 328 00:34:19,680 --> 00:34:29,680 Führer, stell dich ein beim Ampelschein 329 00:34:29,680 --> 00:34:35,680 Wenn der Sekt im Glase sprüht 330 00:34:35,680 --> 00:34:41,680 Und die Zigarette glüht 331 00:34:41,680 --> 00:34:52,680 Fühlst du, kleine Maus, dich wie zu Haus 332 00:34:52,680 --> 00:35:01,680 Schatz, ich bitt dich, komm heut Nacht 333 00:35:01,680 --> 00:35:11,680 Alles, was dir Freude macht, geb ich gerne dir 334 00:35:11,680 --> 00:35:17,680 Ach, komm zu mir 335 00:35:17,680 --> 00:35:23,680 Fünf Minuten nach halb neun 336 00:35:23,680 --> 00:35:31,680 Werd ich an der Türe sein 337 00:35:31,680 --> 00:35:35,680 Niemand wird dich sehen 338 00:35:35,680 --> 00:35:42,680 Beim Kommen und beim Gehen 339 00:35:42,680 --> 00:35:54,680 Kein Glück gewinnt so viel noch nie 340 00:36:12,680 --> 00:36:20,680 Fünf Minuten nach halb neun 341 00:36:20,680 --> 00:36:28,680 Werd ich an der Türe sein 342 00:36:28,680 --> 00:36:36,680 Niemand wird dich sehen 343 00:36:36,680 --> 00:36:53,680 In some secluded rendezvous 344 00:36:53,680 --> 00:36:56,680 That overlooks the avenue 345 00:36:56,680 --> 00:36:59,680 With someone sharing a delightful chat 346 00:36:59,680 --> 00:37:02,680 With some vat of cocktails for two 347 00:37:02,680 --> 00:37:05,680 As we enjoy a cigarette 348 00:37:05,680 --> 00:37:08,680 To some exquisite chansonette 349 00:37:08,680 --> 00:37:11,680 Two hands are sure to slyly meet beneath 350 00:37:11,680 --> 00:37:15,680 A serviette with cocktails for two 351 00:37:15,680 --> 00:37:18,680 My head may go reeling 352 00:37:18,680 --> 00:37:21,680 But my heart will be obedient 353 00:37:21,680 --> 00:37:27,680 With intoxicating kisses for the principal ingredient 354 00:37:27,680 --> 00:37:31,680 Most any afternoon at five 355 00:37:31,680 --> 00:37:34,680 We'll be so glad we're both alive 356 00:37:34,680 --> 00:37:36,680 Then maybe fortune will complete 357 00:37:36,680 --> 00:37:41,680 The plan that all began with cocktails for two 358 00:37:47,680 --> 00:37:49,680 Six and seven note pickups 359 00:37:49,680 --> 00:37:52,680 From Franz Lehar's operetta Fraschita 360 00:37:52,680 --> 00:37:54,680 Nikolaj Gedda sang 361 00:37:54,680 --> 00:37:58,680 Schatz, ich bit dich, komm heut Nacht 362 00:37:58,680 --> 00:38:01,680 Then Jerry Mulligan again with Frenesy 363 00:38:01,680 --> 00:38:03,680 And finally a bit of the classic Spike Jonze version 364 00:38:03,680 --> 00:38:05,680 of Cocktails for Two. 365 00:38:05,680 --> 00:38:08,680 You know, it's too bad that that's such a topical song. 366 00:38:08,680 --> 00:38:10,680 It celebrated the end of Prohibition 367 00:38:10,680 --> 00:38:12,680 because it's really a nice melody 368 00:38:12,680 --> 00:38:14,680 and it's all in the pickups. 369 00:38:14,680 --> 00:38:18,680 La-da-da-da-dee-dee-da-dee 370 00:38:18,680 --> 00:38:19,680 Isn't that nice? 371 00:38:19,680 --> 00:38:23,680 La-da-da-da-dee-dee-da-dee 372 00:38:23,680 --> 00:38:25,680 Now completely different. 373 00:38:25,680 --> 00:38:34,680 La-da-da-da-dee-dee-da-dee 374 00:38:34,680 --> 00:38:36,680 Well, we're going to hang it up at seven. 375 00:38:36,680 --> 00:38:37,680 If you have too many pickups, 376 00:38:37,680 --> 00:38:40,680 you run the risk of starting before the previous strong beat 377 00:38:40,680 --> 00:38:42,680 and then they wouldn't sound like pickups. 378 00:38:42,680 --> 00:38:44,680 Well, if they're very fast, 379 00:38:44,680 --> 00:38:47,680 you can have an almost uncountable number of pickups, 380 00:38:47,680 --> 00:38:59,680 as in this time-honored intro formula. 381 00:38:59,680 --> 00:39:02,680 If you recognize that, you're really a Sinatra fan. 382 00:39:02,680 --> 00:39:05,680 Now sometimes a note can look in the printed music 383 00:39:05,680 --> 00:39:07,680 as if it's on a strong beat 384 00:39:07,680 --> 00:39:09,680 because it's on the downbeat, 385 00:39:09,680 --> 00:39:10,680 but it's not really. 386 00:39:10,680 --> 00:39:13,680 Like Beethoven's Scherzos are usually in 3-4 time, 387 00:39:13,680 --> 00:39:14,680 but very fast. 388 00:39:14,680 --> 00:39:17,680 It can be as fast as, well, like the Ninth Symphony. 389 00:39:17,680 --> 00:39:19,680 Ya-ba-da-ba-ba-ba-ba-ba-ba-ba 390 00:39:19,680 --> 00:39:21,680 1-2-3, 1-2-3, 1-2-3, 1-2-3, 1-2-3. 391 00:39:21,680 --> 00:39:23,680 So in a case like that, 392 00:39:23,680 --> 00:39:26,680 instead of having two or three or four beats to a measure, 393 00:39:26,680 --> 00:39:28,680 each measure is a single beat. 394 00:39:28,680 --> 00:39:32,680 So you can talk about strong measures and weak measures. 395 00:39:32,680 --> 00:39:35,680 So a group of three notes may, technically speaking, 396 00:39:35,680 --> 00:39:38,680 start on a downbeat, the first beat of a bar, 397 00:39:38,680 --> 00:39:40,680 but if it's a weak bar, 398 00:39:40,680 --> 00:40:00,680 they'll still sound like pickups. 399 00:40:00,680 --> 00:40:02,680 In a situation like that, 400 00:40:02,680 --> 00:40:05,680 the whole first bar sounds like a pickup bar. 401 00:40:05,680 --> 00:40:07,680 Here's another example of something 402 00:40:07,680 --> 00:40:10,680 that sounds like a pickup bar. 403 00:40:10,680 --> 00:40:12,680 Hi, how's it going? 404 00:40:12,680 --> 00:40:13,680 What's your name? 405 00:40:13,680 --> 00:40:15,680 Jennifer. 406 00:40:15,680 --> 00:40:17,680 I'm Peter Schickele. 407 00:40:17,680 --> 00:40:19,680 I have a program called Schickele Mix 408 00:40:19,680 --> 00:40:26,680 from PRI, Public Radio International. 409 00:40:26,680 --> 00:40:29,680 Today's show is called Pickup Schticks. 410 00:40:29,680 --> 00:40:31,680 We're talking about melodic phrases 411 00:40:31,680 --> 00:40:34,680 that begin before the strong beat. 412 00:40:34,680 --> 00:40:36,680 Pieces that start right out with upbeats 413 00:40:36,680 --> 00:40:38,680 are often tricky to conduct, 414 00:40:38,680 --> 00:40:41,680 at least for your less experienced maestros, 415 00:40:41,680 --> 00:40:43,680 and the beginning of Beethoven's Fifth 416 00:40:43,680 --> 00:40:47,680 is a notorious sand trap for intrepid tyros. 417 00:40:47,680 --> 00:40:49,680 There's a nice old musician's joke 418 00:40:49,680 --> 00:40:51,680 about the aging Broadway conductor 419 00:40:51,680 --> 00:40:54,680 with unfulfilled symphonic aspirations, 420 00:40:54,680 --> 00:40:57,680 and the musicians among whom this joke circulated 421 00:40:57,680 --> 00:40:59,680 knew that on Broadway, 422 00:40:59,680 --> 00:41:02,680 where you make constant changes during rehearsals, 423 00:41:02,680 --> 00:41:04,680 the way you indicated that something should be deleted 424 00:41:04,680 --> 00:41:06,680 was to circle it. 425 00:41:06,680 --> 00:41:07,680 If the conductor said, 426 00:41:07,680 --> 00:41:09,680 First trumpet, circle the last two notes, 427 00:41:09,680 --> 00:41:12,680 the trumpet player circled them and didn't play them. 428 00:41:12,680 --> 00:41:14,680 You didn't want to scratch them out completely 429 00:41:14,680 --> 00:41:16,680 because they might change their minds later 430 00:41:16,680 --> 00:41:18,680 and put them back in. 431 00:41:18,680 --> 00:41:20,680 So, anyway, this guy has been working 432 00:41:20,680 --> 00:41:23,680 in the orchestra pits of Broadway theaters for years, 433 00:41:23,680 --> 00:41:26,680 and one day, finally and suddenly, 434 00:41:26,680 --> 00:41:30,680 he gets a chance to conduct the New York Philharmonic. 435 00:41:30,680 --> 00:41:32,680 Don't ask, it's a long story. 436 00:41:32,680 --> 00:41:36,680 So he programs the piece he's always wanted to conduct, 437 00:41:36,680 --> 00:41:38,680 Beethoven's Fifth. 438 00:41:38,680 --> 00:41:40,680 But when he gets up on the podium at the rehearsal, 439 00:41:40,680 --> 00:41:43,680 he's so excited and so intimidated 440 00:41:43,680 --> 00:41:46,680 that his beat isn't clear and it's a mess. 441 00:41:46,680 --> 00:41:47,680 Everybody's all over the place, 442 00:41:47,680 --> 00:41:50,680 and he just cannot get them together. 443 00:41:50,680 --> 00:41:52,680 Finally, he sighs and says, 444 00:41:52,680 --> 00:41:55,680 Okay, circle the upbeats. 445 00:41:55,680 --> 00:41:58,680 This is what the opening of Beethoven's Fifth 446 00:41:58,680 --> 00:42:01,680 would sound like with the upbeats circled. 447 00:42:01,680 --> 00:42:13,680 ¶¶ 448 00:42:13,680 --> 00:42:16,680 Not, I think, what the composer had in mind. 449 00:42:16,680 --> 00:42:20,680 Okay, most melodies either start on the first strong beat 450 00:42:20,680 --> 00:42:23,680 or start with pickups to the first strong beat, 451 00:42:23,680 --> 00:42:27,680 but there are some tunes that start after the first strong beat. 452 00:42:27,680 --> 00:42:30,680 Almost by definition, it's hard to imagine this occurring 453 00:42:30,680 --> 00:42:32,680 with an unaccompanied melody. 454 00:42:32,680 --> 00:42:35,680 The accompaniment lays down the first strong beat of the section, 455 00:42:35,680 --> 00:42:37,680 and the melody starts afterwards. 456 00:42:37,680 --> 00:42:39,680 And I'm not talking about intros here. 457 00:42:39,680 --> 00:42:42,680 I'm talking about the beginning of the section with the melody. 458 00:42:42,680 --> 00:42:44,680 I tend to like this kind of melody. 459 00:42:44,680 --> 00:42:46,680 It has the effect, 460 00:42:46,680 --> 00:42:49,680 remember when I was talking about strong measures and weak measures? 461 00:42:49,680 --> 00:42:52,680 In this situation, the first notes of the melody 462 00:42:52,680 --> 00:42:55,680 sort of sound as if they're pickups to the weak measure 463 00:42:55,680 --> 00:42:57,680 or pickups to a weak beat. 464 00:42:57,680 --> 00:43:00,680 Our last suite features four songs 465 00:43:00,680 --> 00:43:03,680 whose melodies begin after the initial strong beat. 466 00:43:03,680 --> 00:43:05,680 I'll do some counting to point it out, 467 00:43:05,680 --> 00:43:07,680 but don't worry, I won't keep it up long. 468 00:43:07,680 --> 00:43:10,680 To start with, I'll count down the last weak measure 469 00:43:10,680 --> 00:43:12,680 before the strong downbeat. 470 00:43:12,680 --> 00:43:14,680 Sounds more complicated than it is. 471 00:43:14,680 --> 00:43:16,680 And we've had so many excerpts today 472 00:43:16,680 --> 00:43:20,680 that I thought it would be nice to hear all three of these in their entirety. 473 00:43:20,680 --> 00:43:23,680 I call this suite, You Go Ahead, I'll Catch Up. 474 00:43:23,680 --> 00:43:25,680 We'll meet again in about eight minutes. 475 00:43:25,680 --> 00:43:33,680 ¦ 476 00:43:33,680 --> 00:43:35,680 1-2-3-4-1 477 00:43:35,680 --> 00:43:38,680 ¦ 478 00:43:38,680 --> 00:43:40,680 1-2-3-4-1 479 00:43:40,680 --> 00:44:09,680 ¦ 480 00:44:09,680 --> 00:44:11,680 1-2-3-4-1 481 00:44:11,680 --> 00:44:19,680 ¦ 482 00:44:19,680 --> 00:44:21,680 1-2-3-4-1 483 00:44:21,680 --> 00:44:41,680 ¦ 484 00:44:41,680 --> 00:44:51,680 ¦ 485 00:44:51,680 --> 00:45:01,680 ¦ 486 00:45:01,680 --> 00:45:11,680 ¦ 487 00:45:11,680 --> 00:45:21,680 ¦ 488 00:45:21,680 --> 00:45:31,680 ¦ 489 00:45:31,680 --> 00:45:41,680 ¦ 490 00:45:41,680 --> 00:45:51,680 ¦ 491 00:45:51,680 --> 00:46:01,680 ¦ 492 00:46:01,680 --> 00:46:11,680 ¦ 493 00:46:11,680 --> 00:46:18,680 ¦ 494 00:46:18,680 --> 00:46:21,680 1-2-3-4-1 495 00:46:21,680 --> 00:46:31,680 ¦ 496 00:46:31,680 --> 00:46:35,680 1-2-3-4-1 497 00:46:35,680 --> 00:46:44,680 ¦ 498 00:46:44,680 --> 00:46:48,680 1-2-3-4-1 499 00:46:48,680 --> 00:46:58,680 ¦ 500 00:46:58,680 --> 00:47:18,680 ¦ 501 00:47:18,680 --> 00:47:28,680 ¦ 502 00:47:28,680 --> 00:47:48,680 ¦ 503 00:47:48,680 --> 00:47:58,680 ¦ 504 00:47:58,680 --> 00:48:08,680 ¦ 505 00:48:08,680 --> 00:48:18,680 ¦ 506 00:48:18,680 --> 00:48:38,680 ¦ 507 00:48:38,680 --> 00:48:48,680 ¦ 508 00:48:48,680 --> 00:48:58,680 ¦ 509 00:48:58,680 --> 00:49:12,680 ¦ 510 00:49:12,680 --> 00:49:15,680 1-2-3-4-1 511 00:49:15,680 --> 00:49:18,680 ¦ 512 00:49:18,680 --> 00:49:21,680 1-2-3-4-1 513 00:49:21,680 --> 00:49:25,680 ¦ 514 00:49:25,680 --> 00:49:28,680 1-2-3-4-1 515 00:49:28,680 --> 00:49:38,680 ¦ 516 00:49:38,680 --> 00:49:58,680 ¦ 517 00:49:58,680 --> 00:50:08,680 ¦ 518 00:50:08,680 --> 00:50:18,680 ¦ 519 00:50:18,680 --> 00:50:28,680 ¦ 520 00:50:28,680 --> 00:50:38,680 ¦ 521 00:50:38,680 --> 00:50:48,680 ¦ 522 00:50:48,680 --> 00:50:58,680 ¦ 523 00:50:58,680 --> 00:51:08,680 ¦ 524 00:51:08,680 --> 00:51:14,680 ¦ 525 00:51:14,680 --> 00:51:17,680 You go ahead, I'll catch up. 526 00:51:17,680 --> 00:51:20,680 We began with another Jerry Mulligan cut, Bernie's tune, 527 00:51:20,680 --> 00:51:23,680 with Chet Baker on trumpet, Bob Whitlock on bass, 528 00:51:23,680 --> 00:51:25,680 and Chico Hamilton on drums. 529 00:51:25,680 --> 00:51:28,680 Then Janet Baker... 530 00:51:28,680 --> 00:51:31,680 Yeah, I wonder if she's related to Chet Baker. 531 00:51:31,680 --> 00:51:34,680 Anyway, Janet Baker sang Schubert's Ande Musique 532 00:51:34,680 --> 00:51:37,680 with Jeffrey Parsons at the piano. 533 00:51:37,680 --> 00:51:39,680 And finally, the Love and Spoonful, 534 00:51:39,680 --> 00:51:41,680 with John Sebastian's song, 535 00:51:41,680 --> 00:51:44,680 You Didn't Have to Be So Nice. 536 00:51:44,680 --> 00:51:47,680 Hey, you know, I just realized that 537 00:51:47,680 --> 00:51:50,680 John Sebastian's the only non-classical composer 538 00:51:50,680 --> 00:51:52,680 I've credited on this show, isn't he? 539 00:51:52,680 --> 00:51:54,680 Doesn't seem fair. 540 00:51:54,680 --> 00:51:56,680 Well, that's because I know him. 541 00:51:56,680 --> 00:51:59,680 I don't know Richard Adler and Jerry Ross, 542 00:51:59,680 --> 00:52:01,680 and Arthur Freed and Roger Edens, 543 00:52:01,680 --> 00:52:03,680 and Sammy Kahn and Julie Stein, 544 00:52:03,680 --> 00:52:07,680 and Walter Donaldson and Jerry Lieber and Mike Stoller, 545 00:52:07,680 --> 00:52:09,680 well, I met one of them once, 546 00:52:09,680 --> 00:52:11,680 and R. Irwin and somebody Dominguez, 547 00:52:11,680 --> 00:52:14,680 and Sam Costlow and Arthur Johnston 548 00:52:14,680 --> 00:52:16,680 and somebody Miller. 549 00:52:16,680 --> 00:52:19,680 You know, actually, pop songs can be tricky, 550 00:52:19,680 --> 00:52:21,680 researching a show like this, 551 00:52:21,680 --> 00:52:24,680 because different singers sing them so differently. 552 00:52:24,680 --> 00:52:26,680 It's not the way they were written, 553 00:52:26,680 --> 00:52:28,680 the way it tends to be with classical songs. 554 00:52:28,680 --> 00:52:31,680 I was thinking of including My Funny Valentine 555 00:52:31,680 --> 00:52:33,680 in that last suite of songs that begin 556 00:52:33,680 --> 00:52:35,680 after the first strong beat, 557 00:52:35,680 --> 00:52:37,680 and that's because I got to know that song 558 00:52:37,680 --> 00:52:40,680 from the old Jerry Mulligan version. 559 00:52:40,680 --> 00:52:42,680 And now this one hasn't been re-released, 560 00:52:42,680 --> 00:52:44,680 as far as I know, on CD, 561 00:52:44,680 --> 00:52:47,680 so I've got to warn you, this is a 10-inch LP here. 562 00:52:47,680 --> 00:52:50,680 We'll hear just a little bit of the beginning 563 00:52:50,680 --> 00:52:52,680 of My Funny Valentine, and you'll hear 564 00:52:52,680 --> 00:52:56,680 how Chet Baker starts the phrases after the downbeats. 565 00:52:56,680 --> 00:53:25,680 ... 566 00:53:25,680 --> 00:53:30,680 ... 567 00:53:30,680 --> 00:53:32,680 Man, I wish I could get that on CD. 568 00:53:32,680 --> 00:53:35,680 Parts of that album, I've played it so much, 569 00:53:35,680 --> 00:53:38,680 sound like they were recorded next to a campfire. 570 00:53:38,680 --> 00:53:43,680 Anyway, My Funny Valentine, Jerry Mulligan Quartet. 571 00:53:43,680 --> 00:53:45,680 Now, I've heard other versions 572 00:53:45,680 --> 00:53:47,680 with singers who start right on it. 573 00:53:47,680 --> 00:53:54,680 ... 574 00:53:54,680 --> 00:53:56,680 And I'll bet that's the way it's written. 575 00:53:56,680 --> 00:53:57,680 I've never looked up the music, 576 00:53:57,680 --> 00:53:58,680 but it doesn't really matter, 577 00:53:58,680 --> 00:54:00,680 because in pop and jazz, 578 00:54:00,680 --> 00:54:02,680 you play it the way you want to. 579 00:54:02,680 --> 00:54:04,680 But in any case, it's a beautiful song, 580 00:54:04,680 --> 00:54:06,680 and why don't we go out with it? 581 00:54:06,680 --> 00:54:09,680 Here's the saxophonist who sometimes is after the beat 582 00:54:09,680 --> 00:54:12,680 and sometimes on the beat with this melody. 583 00:54:12,680 --> 00:54:15,680 Here is My Funny Valentine. 584 00:54:15,680 --> 00:54:44,680 ... 585 00:54:44,680 --> 00:54:51,680 ... 586 00:54:51,680 --> 00:54:53,680 My Funny Valentine. 587 00:54:53,680 --> 00:54:56,680 Okay, I agree that tenor sax player 588 00:54:56,680 --> 00:54:58,680 is a little bit sharp sometimes, 589 00:54:58,680 --> 00:54:59,680 a little bit out of tune, 590 00:54:59,680 --> 00:55:02,680 but I think you've got to cut him a little slack. 591 00:55:02,680 --> 00:55:04,680 I think you'll agree when you hear the circumstances. 592 00:55:04,680 --> 00:55:08,680 That tenor saxophone player is President Bill Clinton, 593 00:55:08,680 --> 00:55:15,680 and he was on a state journey to Czechoslovakia in 1994, 594 00:55:15,680 --> 00:55:17,680 and he visited a jazz club, 595 00:55:17,680 --> 00:55:21,680 and the president of Czechoslovakia, 596 00:55:21,680 --> 00:55:23,680 Václav Havel, 597 00:55:23,680 --> 00:55:26,680 presented him with a Czech-made saxophone, 598 00:55:26,680 --> 00:55:29,680 and then the president joined the jazz group there 599 00:55:29,680 --> 00:55:33,680 for Summertime and My Funny Valentine. 600 00:55:33,680 --> 00:55:36,680 That's Bill Clinton on tenor saxophone, 601 00:55:36,680 --> 00:55:40,680 Jan Kona Pasek on baritone saxophone, 602 00:55:40,680 --> 00:55:42,680 Unidentified on flugelhorn, 603 00:55:42,680 --> 00:55:45,680 and I must say that's the best I've ever heard him play, 604 00:55:45,680 --> 00:55:47,680 Stanislav Macha on piano, 605 00:55:47,680 --> 00:55:49,680 Robert Balkar on bass, 606 00:55:49,680 --> 00:55:52,680 and Pavel Zibril on drums. 607 00:55:52,680 --> 00:55:55,680 Recorded live at the Reduda Jazz Club Prague, 608 00:55:55,680 --> 00:55:59,680 the Czech Republic, January 11, 1994. 609 00:55:59,680 --> 00:56:02,680 And that's about it for Sickly Mix for this week. 610 00:56:02,680 --> 00:56:04,680 Our program is made possible with funds provided 611 00:56:04,680 --> 00:56:06,680 by the Corporation for Public Broadcasting 612 00:56:06,680 --> 00:56:09,680 and by the National Endowment for the Arts, 613 00:56:09,680 --> 00:56:11,680 with additional support from the National Academy 614 00:56:11,680 --> 00:56:13,680 of Recording Arts and Sciences 615 00:56:13,680 --> 00:56:16,680 and from this radio station and its members. 616 00:56:16,680 --> 00:56:17,680 Thank you, members. 617 00:56:17,680 --> 00:56:18,680 And not only that, 618 00:56:18,680 --> 00:56:20,680 our program is distributed by PRI, 619 00:56:20,680 --> 00:56:23,680 Public Radio International. 620 00:56:23,680 --> 00:56:24,680 We'll tell you in a moment 621 00:56:24,680 --> 00:56:26,680 how you can get an official playlist 622 00:56:26,680 --> 00:56:28,680 of all the music on today's program 623 00:56:28,680 --> 00:56:29,680 with album numbers and everything. 624 00:56:29,680 --> 00:56:31,680 Just refer to the program number. 625 00:56:31,680 --> 00:56:34,680 This is program number 143. 626 00:56:34,680 --> 00:56:36,680 And this is Peter Sickly saying goodbye 627 00:56:36,680 --> 00:56:38,680 and reminding you that it don't mean a thing 628 00:56:38,680 --> 00:56:41,680 if it ain't got that certain je ne sais quoi. 629 00:56:41,680 --> 00:56:42,680 You're looking good. 630 00:56:42,680 --> 00:56:44,680 See you next week. 631 00:56:51,680 --> 00:56:53,680 If you'd like a copy of that playlist I mentioned, 632 00:56:53,680 --> 00:56:55,680 send a stamped, self-addressed envelope 633 00:56:55,680 --> 00:56:57,680 to Sickly Mix. 634 00:56:57,680 --> 00:57:02,680 That's S-C-H-I-C-K-E-L-E, Sickly Mix. 635 00:57:02,680 --> 00:57:04,680 Care of Public Radio International, 636 00:57:04,680 --> 00:57:07,680 100 North 6th Street, Suite 900A, 637 00:57:07,680 --> 00:57:11,680 Minneapolis, Minnesota, 55403. 638 00:57:11,680 --> 00:57:28,680 PRI, Public Radio International.