1 00:00:00,000 --> 00:00:05,000 Oh, man, I'd really rather not be disturbed, but here's the theme. 2 00:00:21,000 --> 00:00:25,000 Hello there, I'm Peter Sickly, and this is Sickly Mix, 3 00:00:25,000 --> 00:00:30,000 a program dedicated to the proposition that all musics are created equal, 4 00:00:30,000 --> 00:00:32,000 or as Duke Ellington put it, 5 00:00:32,000 --> 00:00:35,000 if it sounds good, it is good. 6 00:00:35,000 --> 00:00:37,000 But you knew that. 7 00:00:37,000 --> 00:00:40,000 Our bills are paid by the Corporation for Public Broadcasting 8 00:00:40,000 --> 00:00:42,000 and by this radio station, 9 00:00:42,000 --> 00:00:44,000 within whose walls I usually do the show 10 00:00:44,000 --> 00:00:47,000 and whence the show is distributed by PRI, 11 00:00:47,000 --> 00:00:49,000 Public Radio International. 12 00:00:49,000 --> 00:00:51,000 The reason I say usually 13 00:00:51,000 --> 00:00:54,000 is that we're doing a Sickly Mix first this time. 14 00:00:54,000 --> 00:00:57,000 I'm doing the whole show on location, 15 00:00:57,000 --> 00:00:59,000 as you can probably tell. 16 00:00:59,000 --> 00:01:02,000 We've gone on location before for specific things, 17 00:01:02,000 --> 00:01:04,000 like the time I went to England 18 00:01:04,000 --> 00:01:06,000 to get just the right choral group 19 00:01:06,000 --> 00:01:08,000 to sing a brief musical excerpt, 20 00:01:08,000 --> 00:01:10,000 but this is the first time 21 00:01:10,000 --> 00:01:13,000 the whole program has been done on location. 22 00:01:13,000 --> 00:01:15,000 And what a location. 23 00:01:15,000 --> 00:01:17,000 I'm here in the Wigglesworth Gardens, 24 00:01:17,000 --> 00:01:19,000 about ten miles out of town. 25 00:01:19,000 --> 00:01:21,000 I don't know if you know about this place, 26 00:01:21,000 --> 00:01:23,000 but if you don't, you should. 27 00:01:23,000 --> 00:01:26,000 It's so beautiful and so peaceful here. 28 00:01:26,000 --> 00:01:29,000 The Wigglesworths were a wealthy English family 29 00:01:29,000 --> 00:01:32,000 that used to raise thoroughbred horses here. 30 00:01:32,000 --> 00:01:34,000 But at one point, their youngest daughter 31 00:01:34,000 --> 00:01:36,000 got into some kind of trouble, 32 00:01:36,000 --> 00:01:39,000 a romantic-type trouble, I think it was. 33 00:01:39,000 --> 00:01:43,000 Maybe she was the inspiration for the old vaudeville joke, 34 00:01:43,000 --> 00:01:45,000 she was only a jockey's daughter, 35 00:01:45,000 --> 00:01:47,000 but all the horsemen knew her. 36 00:01:47,000 --> 00:01:49,000 Well, anyway, the Wigglesworths decided 37 00:01:49,000 --> 00:01:52,000 to give this place up and move back to England. 38 00:01:52,000 --> 00:01:55,000 They donated these beautiful gardens to the city 39 00:01:55,000 --> 00:01:57,000 to use as a park. 40 00:01:57,000 --> 00:01:59,000 I read about a study recently 41 00:01:59,000 --> 00:02:02,000 which proved what most of us would have guessed anyway, 42 00:02:02,000 --> 00:02:05,000 namely that it's a worldwide phenomenon. 43 00:02:05,000 --> 00:02:08,000 The bigger the city, the faster the pace. 44 00:02:08,000 --> 00:02:10,000 And if you find yourself running in the rat race 45 00:02:10,000 --> 00:02:12,000 with no finish line in sight, 46 00:02:12,000 --> 00:02:15,000 a place like this could be a real escape, 47 00:02:15,000 --> 00:02:17,000 a real time-out. 48 00:02:17,000 --> 00:02:19,000 Or if there's a botanical garden in your city, 49 00:02:19,000 --> 00:02:22,000 it can be a real oasis. 50 00:02:22,000 --> 00:02:25,000 My parents lived in Rome for 11 years, 51 00:02:25,000 --> 00:02:29,000 and the Protestant cemetery in Rome was such an oasis. 52 00:02:29,000 --> 00:02:32,000 It was quite extensive and had lots of trees, 53 00:02:32,000 --> 00:02:35,000 so that even in the summer, it was cool and quiet. 54 00:02:35,000 --> 00:02:38,000 Those of us who live in the country, 55 00:02:38,000 --> 00:02:41,000 or who are lucky enough to have country places, 56 00:02:41,000 --> 00:02:44,000 can enjoy this special kind of solitude often. 57 00:02:44,000 --> 00:02:46,000 It's not total solitude. 58 00:02:46,000 --> 00:02:49,000 It's not like meditating in an unfurnished, 59 00:02:49,000 --> 00:02:51,000 well-sound insulated room. 60 00:02:51,000 --> 00:02:53,000 I suppose in those surroundings, 61 00:02:53,000 --> 00:02:56,000 you can really get into yourself and beyond, 62 00:02:56,000 --> 00:02:59,000 unless you end up climbing the walls. 63 00:02:59,000 --> 00:03:02,000 But it seems to me that being in the country 64 00:03:02,000 --> 00:03:04,000 on a beautiful summer day 65 00:03:04,000 --> 00:03:06,000 is the wild equivalent 66 00:03:06,000 --> 00:03:09,000 of sitting in a sidewalk café in the city. 67 00:03:09,000 --> 00:03:11,000 In the café, you're solitary, 68 00:03:11,000 --> 00:03:13,000 but surrounded by traffic 69 00:03:13,000 --> 00:03:15,000 and endlessly interesting people, 70 00:03:15,000 --> 00:03:18,000 whereas in the country, you're solitary, 71 00:03:18,000 --> 00:03:21,000 but also surrounded by intense activity, 72 00:03:21,000 --> 00:03:24,000 some of it due to birds and breezes, 73 00:03:24,000 --> 00:03:27,000 but most of it due to the activities of insects. 74 00:03:27,000 --> 00:03:30,000 And that's why we're doing today's show here. 75 00:03:30,000 --> 00:03:32,000 It's one of our insect shows. 76 00:03:32,000 --> 00:03:34,000 On others, we've dealt with insects, 77 00:03:34,000 --> 00:03:36,000 and I use the term loosely, 78 00:03:36,000 --> 00:03:39,000 that people tend to have some negative feelings 79 00:03:39,000 --> 00:03:42,000 about living with, fleas, cockroaches, lice. 80 00:03:42,000 --> 00:03:45,000 But today, we're going to hear from good old 81 00:03:45,000 --> 00:03:47,000 garden variety insects, 82 00:03:47,000 --> 00:03:50,000 or as a studio musician might call them, 83 00:03:50,000 --> 00:03:52,000 your standard B-flat bugs, 84 00:03:52,000 --> 00:03:54,000 such as butterflies. 85 00:03:54,000 --> 00:03:56,000 Our butterfly suite has three numbers, 86 00:03:56,000 --> 00:03:59,000 and they all have butterfly in the title, 87 00:03:59,000 --> 00:04:02,000 but I'd like to say something about the last two. 88 00:04:02,000 --> 00:04:04,000 The second number in the suite 89 00:04:04,000 --> 00:04:07,000 is the only musical work that I happen to know of, 90 00:04:07,000 --> 00:04:10,000 which endeavors to depict the transformation 91 00:04:10,000 --> 00:04:13,000 of a caterpillar into a butterfly. 92 00:04:13,000 --> 00:04:16,000 And the last number, just in case there's anyone out there 93 00:04:16,000 --> 00:04:20,000 who has the program music equivalent of perfect pitch, 94 00:04:20,000 --> 00:04:22,000 the last number has not only butterflies, 95 00:04:22,000 --> 00:04:25,000 but also hummingbirds in the title. 96 00:04:25,000 --> 00:04:29,000 Just wanted to make sure you don't get confused. 97 00:04:29,000 --> 00:04:31,000 Although, fortunately, I don't have a phone 98 00:04:31,000 --> 00:04:33,000 out here in the garden, 99 00:04:33,000 --> 00:04:35,000 so even if I hadn't announced that, 100 00:04:35,000 --> 00:04:37,000 you wouldn't be able to call me up and say, 101 00:04:37,000 --> 00:04:40,000 hey, how about a little truth in labeling here? 102 00:04:40,000 --> 00:04:42,000 That place about 27 seconds into the piece, 103 00:04:42,000 --> 00:04:44,000 that's no butterfly, that's a hummingbird, 104 00:04:44,000 --> 00:04:47,000 or my name isn't J.J. Audubon. 105 00:04:47,000 --> 00:04:50,000 Just take it easy, relax. 106 00:04:50,000 --> 00:04:53,000 I'll be back in about six and a half minutes. 107 00:04:53,000 --> 00:05:14,000 ¦ 108 00:05:14,000 --> 00:05:29,000 ¦ 109 00:05:29,000 --> 00:05:49,000 ¦ 110 00:05:49,000 --> 00:06:09,000 ¦ 111 00:06:09,000 --> 00:06:20,000 ¦ 112 00:06:20,000 --> 00:06:22,000 The caterpillar knoweth not that he 113 00:06:22,000 --> 00:06:25,000 a fleet-winged butterfly will someday be, 114 00:06:25,000 --> 00:06:28,000 nor doth the bounding butterfly recall 115 00:06:28,000 --> 00:06:31,000 his lowly childhood when he could but crawl. 116 00:06:31,000 --> 00:06:38,000 ¦ 117 00:06:38,000 --> 00:06:41,000 By what strange alchemy do nature's scythes 118 00:06:41,000 --> 00:06:44,000 turn caterpillars into butterflies? 119 00:06:44,000 --> 00:07:13,000 ¦ 120 00:07:13,000 --> 00:07:28,000 ¦ 121 00:07:28,000 --> 00:07:48,000 ¦ 122 00:07:48,000 --> 00:07:58,000 ¦ 123 00:07:58,000 --> 00:08:08,000 ¦ 124 00:08:08,000 --> 00:08:18,000 ¦ 125 00:08:18,000 --> 00:08:28,000 ¦ 126 00:08:28,000 --> 00:08:38,000 ¦ 127 00:08:38,000 --> 00:08:48,000 ¦ 128 00:08:48,000 --> 00:08:58,000 ¦ 129 00:08:58,000 --> 00:09:08,000 ¦ 130 00:09:08,000 --> 00:09:18,000 ¦ 131 00:09:18,000 --> 00:09:28,000 ¦ 132 00:09:28,000 --> 00:09:38,000 ¦ 133 00:09:38,000 --> 00:09:48,000 ¦ 134 00:09:48,000 --> 00:09:58,000 ¦ 135 00:09:58,000 --> 00:10:18,000 ¦ 136 00:10:18,000 --> 00:10:28,000 ¦ 137 00:10:28,000 --> 00:10:48,000 ¦ 138 00:10:48,000 --> 00:10:58,000 ¦ 139 00:10:58,000 --> 00:11:18,000 ¦ 140 00:11:18,000 --> 00:11:27,000 ¦ 141 00:11:27,000 --> 00:11:30,000 We began with the papillon movement of Schumann's Carnaval, 142 00:11:30,000 --> 00:11:33,000 played by Anton Quirti. 143 00:11:33,000 --> 00:11:36,000 Then we heard the butterfly movement from Bestiary, 144 00:11:36,000 --> 00:11:40,000 played by Calliope and composed, as I expect you guessed, 145 00:11:40,000 --> 00:11:44,000 by the narrator, whose name, by a remarkable coincidence, 146 00:11:44,000 --> 00:11:46,000 is Peter Shickley. 147 00:11:46,000 --> 00:11:49,000 Now, it's too bad you couldn't see that piece being performed. 148 00:11:49,000 --> 00:11:53,000 At the end of each section, each of the three wind players 149 00:11:53,000 --> 00:11:58,000 passes his instrument to his right and receives another from his left, 150 00:11:58,000 --> 00:12:03,000 so that the gradual change from the large, earth-bound sack-butts, 151 00:12:03,000 --> 00:12:07,000 or trombones, through the mid-range crumb-horns 152 00:12:07,000 --> 00:12:10,000 to the small airborne recorders 153 00:12:10,000 --> 00:12:14,000 is perceived through the eyes as well as through the ears. 154 00:12:14,000 --> 00:12:18,000 Then that delicious last piece was No. 5 155 00:12:18,000 --> 00:12:22,000 of the Twelve New Etudes for Piano by William Balcombe, 156 00:12:22,000 --> 00:12:27,000 performed by Marc-André Hamelin, or Hamelin. 157 00:12:27,000 --> 00:12:33,000 I'm not sure which it is, but he sure can play that much I know. 158 00:12:33,000 --> 00:12:38,000 By the way, I suppose, talking about truth in labeling, 159 00:12:38,000 --> 00:12:42,000 that I really ought to mention that the narration texts 160 00:12:42,000 --> 00:12:45,000 and the occasional sung lyrics in my work, Bestiary, 161 00:12:45,000 --> 00:12:49,000 come from various medieval and Renaissance sources, 162 00:12:49,000 --> 00:12:52,000 12th to 17th century writers, 163 00:12:52,000 --> 00:12:56,000 but I do have a bit of a confession to make. 164 00:12:56,000 --> 00:12:59,000 Now, this is just between you and me, okay? 165 00:12:59,000 --> 00:13:01,000 Please don't tell anybody. 166 00:13:01,000 --> 00:13:03,000 As a matter of fact, if you're not alone, 167 00:13:03,000 --> 00:13:07,000 turn the radio down so that the people around you won't hear. 168 00:13:07,000 --> 00:13:11,000 Now, I'm not saying that I spent years combing every library I could get to 169 00:13:11,000 --> 00:13:13,000 or anything like that, 170 00:13:13,000 --> 00:13:16,000 but I did look through a lot of poetry collections, 171 00:13:16,000 --> 00:13:19,000 and I just could not find any old poems in English 172 00:13:19,000 --> 00:13:22,000 about caterpillars turning into butterflies. 173 00:13:22,000 --> 00:13:24,000 I would have thought that that transformation 174 00:13:24,000 --> 00:13:27,000 would have been used as a metaphor all over the place, 175 00:13:27,000 --> 00:13:31,000 but no, at least not in the poems I looked at. 176 00:13:31,000 --> 00:13:35,000 Now, all the other pieces in Bestiary have verbal set-ups. 177 00:13:35,000 --> 00:13:37,000 I didn't want the members of the audience 178 00:13:37,000 --> 00:13:39,000 to have to follow their printed programs. 179 00:13:39,000 --> 00:13:43,000 So what I did was, well... 180 00:13:43,000 --> 00:13:47,000 I wrote the poem myself. 181 00:13:47,000 --> 00:13:52,000 The author is listed as anonymous, but enough said. 182 00:13:52,000 --> 00:13:54,000 Our little secret, okay? 183 00:13:54,000 --> 00:13:58,000 If anyone asks you, as will almost certainly happen, 184 00:13:58,000 --> 00:14:02,000 who wrote the butterfly section of that beautiful piece, Bestiary, 185 00:14:02,000 --> 00:14:05,000 just say, ah, yes, the music is by Peter Shickley, 186 00:14:05,000 --> 00:14:14,000 host of Shickley Mix from PRI, Public Radio International. 187 00:14:14,000 --> 00:14:16,000 In very dramatic landscapes, 188 00:14:16,000 --> 00:14:19,000 like the Grand Canyon or the coast of Maine, 189 00:14:19,000 --> 00:14:22,000 high noon is often not the best time for sightseeing 190 00:14:22,000 --> 00:14:25,000 because there are no shadows to speak of. 191 00:14:25,000 --> 00:14:28,000 Early in the morning or late in the afternoon, 192 00:14:28,000 --> 00:14:31,000 you can see the contours of the land much better. 193 00:14:31,000 --> 00:14:34,000 But at our little place in upstate New York, 194 00:14:34,000 --> 00:14:39,000 noon on a peerless summer day can be absolutely magical. 195 00:14:39,000 --> 00:14:41,000 Most of the birds are resting. 196 00:14:41,000 --> 00:14:43,000 There's usually little or no wind. 197 00:14:43,000 --> 00:14:48,000 Sometimes it feels supernaturally still. 198 00:14:48,000 --> 00:14:53,000 I don't think I'm ever as serenely relaxed as I am at those times. 199 00:14:53,000 --> 00:14:57,000 It's as if everybody and everything is chilling out, 200 00:14:57,000 --> 00:14:59,000 except the insects. 201 00:14:59,000 --> 00:15:01,000 No rest for the many-legged. 202 00:15:01,000 --> 00:15:05,000 Today's show is called Your Standard B-Flat Bugs, 203 00:15:05,000 --> 00:15:09,000 and I'm broadcasting from the lovely Wigglesworth Gardens outside of town, 204 00:15:09,000 --> 00:15:12,000 which are open a very generous number of hours each day 205 00:15:12,000 --> 00:15:16,000 and which have graciously allowed me to set up my equipment here 206 00:15:16,000 --> 00:15:19,000 so that we can be close to the subject of our program. 207 00:15:19,000 --> 00:15:23,000 Okay, now I just said no rest for the many-legged, 208 00:15:23,000 --> 00:15:26,000 but strictly speaking, that's not true. 209 00:15:26,000 --> 00:15:29,000 Now that they've developed such sophisticated ways 210 00:15:29,000 --> 00:15:32,000 of tracking even the smallest animals, 211 00:15:32,000 --> 00:15:37,000 it turns out that if you actually follow one ant throughout the day, 212 00:15:37,000 --> 00:15:40,000 he has periods of rest, just like other animals. 213 00:15:40,000 --> 00:15:44,000 The reason that an anthill looks like Grand Central Station at rush hour 214 00:15:44,000 --> 00:15:46,000 is that there are so many ants, 215 00:15:46,000 --> 00:15:50,000 and since they're not members of the same race as ours, 216 00:15:50,000 --> 00:15:52,000 they all look alike. 217 00:15:52,000 --> 00:15:54,000 Our ant suite has three numbers. 218 00:15:54,000 --> 00:15:59,000 The first is a reflection on an individual ant's position in ant society, 219 00:15:59,000 --> 00:16:02,000 and by extension, that of each of us in ours. 220 00:16:02,000 --> 00:16:06,000 The second is an instrumental piece called Entrance of the Ants. 221 00:16:06,000 --> 00:16:08,000 It's part of a ballet score. 222 00:16:08,000 --> 00:16:10,000 And the third is a song that's in English, 223 00:16:10,000 --> 00:16:14,000 but it goes by so fast that I'd better give you the title. 224 00:16:14,000 --> 00:16:17,000 It's called Ant Sue's Ant Soup. 225 00:16:17,000 --> 00:16:20,000 I'll see you in about ten and a half minutes. 226 00:16:20,000 --> 00:16:25,000 Here we go. 227 00:16:51,000 --> 00:16:55,000 Mm-mm-mm 228 00:16:55,000 --> 00:17:00,000 And not so long as I'm afraid 229 00:17:04,000 --> 00:17:07,000 It goes into the swamp 230 00:17:07,000 --> 00:17:11,000 Oh, let's refrain 231 00:17:11,000 --> 00:17:19,000 And not so long as I'm afraid 232 00:17:21,000 --> 00:17:24,000 Holdin' for his breath 233 00:17:24,000 --> 00:17:26,000 Won't go away 234 00:17:26,000 --> 00:17:28,000 No way, no, no 235 00:17:28,000 --> 00:17:32,000 I know he's lookin' for his mother 236 00:17:35,000 --> 00:17:39,000 And hurtin' not to go to church 237 00:17:39,000 --> 00:17:41,000 One night or another 238 00:17:41,000 --> 00:17:43,000 One night or another 239 00:17:43,000 --> 00:17:44,000 Say it 240 00:17:44,000 --> 00:17:49,000 Take me, Lord, I wanna be 241 00:17:49,000 --> 00:17:52,000 Smaller than I'd like to be 242 00:17:52,000 --> 00:17:57,000 And not so long as I'm afraid 243 00:18:01,000 --> 00:18:04,000 He won't go upstairs 244 00:18:04,000 --> 00:18:09,000 He won't go to bed 245 00:18:10,000 --> 00:18:12,000 But enough of that grace 246 00:18:12,000 --> 00:18:15,000 He's an ant in grace 247 00:18:15,000 --> 00:18:17,000 Sure enough in grace 248 00:18:17,000 --> 00:18:19,000 Right 249 00:18:19,000 --> 00:18:21,000 He's an ant in grace 250 00:18:21,000 --> 00:18:24,000 All over the place 251 00:18:24,000 --> 00:18:27,000 All over the place 252 00:18:27,000 --> 00:18:29,000 That's growing all around him 253 00:18:29,000 --> 00:18:33,000 You know he's all around you 254 00:18:33,000 --> 00:18:36,000 Yes, an ant will kiss the grass 255 00:18:36,000 --> 00:18:39,000 He's all around you 256 00:18:39,000 --> 00:18:41,000 Singin' 257 00:18:41,000 --> 00:18:45,000 Take me, Lord, I wanna be 258 00:18:45,000 --> 00:18:49,000 Smaller than I'd like to be 259 00:18:49,000 --> 00:19:00,000 Yeah, oh yeah 260 00:19:10,000 --> 00:19:12,000 Low boy, low boy 261 00:19:12,000 --> 00:19:19,000 Why don't you come on, low boy 262 00:19:23,000 --> 00:19:25,000 Go all alone 263 00:19:25,000 --> 00:19:28,000 Don't worry 264 00:19:28,000 --> 00:19:32,000 You don't wanna feel alone 265 00:19:32,000 --> 00:19:34,000 Go all alone 266 00:19:34,000 --> 00:19:36,000 Don't worry 267 00:19:36,000 --> 00:19:39,000 Sometimes it feels like you're 268 00:19:39,000 --> 00:19:43,000 All alone 269 00:19:43,000 --> 00:19:46,000 Don't worry 270 00:19:46,000 --> 00:19:50,000 Nobody to try as we feel 271 00:19:50,000 --> 00:19:52,000 All alone 272 00:19:52,000 --> 00:19:55,000 Don't worry 273 00:19:55,000 --> 00:19:57,000 Sometimes I feel like I'm 274 00:19:57,000 --> 00:19:59,000 All alone myself 275 00:19:59,000 --> 00:20:01,000 And I know I ain't feel 276 00:20:01,000 --> 00:20:03,000 In this world 277 00:20:03,000 --> 00:20:06,000 Sometimes, sometimes 278 00:20:06,000 --> 00:20:08,000 I have to fall down on my knees 279 00:20:08,000 --> 00:20:10,000 Because I feel like I'm all alone 280 00:20:10,000 --> 00:20:12,000 In the world 281 00:20:12,000 --> 00:20:14,000 Ain't got nobody, nobody 282 00:20:14,000 --> 00:20:17,000 On my side 283 00:20:17,000 --> 00:20:20,000 Oh, oh 284 00:20:20,000 --> 00:20:49,000 Oh, oh 285 00:20:49,000 --> 00:20:53,000 He's all alone 286 00:20:53,000 --> 00:20:55,000 In the world 287 00:20:55,000 --> 00:20:57,000 Ain't got nobody 288 00:20:57,000 --> 00:21:00,000 To wipe his eyes 289 00:21:00,000 --> 00:21:02,000 I know he's afraid 290 00:21:02,000 --> 00:21:05,000 I know he's so scared 291 00:21:05,000 --> 00:21:09,000 Feelin' so lonely, lonely 292 00:21:09,000 --> 00:21:11,000 All alone 293 00:21:11,000 --> 00:21:13,000 In this world 294 00:21:13,000 --> 00:21:15,000 All alone 295 00:21:15,000 --> 00:21:17,000 No, no, no, no, no 296 00:21:17,000 --> 00:21:19,000 Don't wanna be all alone now 297 00:21:19,000 --> 00:21:21,000 In the world 298 00:21:21,000 --> 00:21:48,000 Ain't got nobody, nobody 299 00:21:48,000 --> 00:21:51,000 Don't wanna be all alone now 300 00:22:18,000 --> 00:22:20,000 Don't wanna be all alone now 301 00:22:20,000 --> 00:22:22,000 In the world 302 00:22:22,000 --> 00:22:24,000 Ain't got nobody 303 00:22:24,000 --> 00:22:26,000 To wipe his eyes 304 00:22:26,000 --> 00:22:28,000 I know he's afraid 305 00:22:28,000 --> 00:22:30,000 I know he's so scared 306 00:22:30,000 --> 00:22:32,000 Feelin' so lonely, lonely 307 00:22:32,000 --> 00:22:34,000 All alone 308 00:22:34,000 --> 00:22:36,000 In the world 309 00:22:36,000 --> 00:22:38,000 Ain't got nobody 310 00:22:38,000 --> 00:22:40,000 To wipe his eyes 311 00:22:40,000 --> 00:22:42,000 I know he's so scared 312 00:22:42,000 --> 00:22:44,000 Feelin' so lonely, lonely 313 00:22:44,000 --> 00:22:46,000 All alone 314 00:22:46,000 --> 00:22:48,000 No, no, no, no, no 315 00:22:48,000 --> 00:22:50,000 Don't wanna be all alone now 316 00:22:50,000 --> 00:22:52,000 In the world 317 00:22:52,000 --> 00:22:54,000 Ain't got nobody 318 00:22:54,000 --> 00:22:56,000 To wipe his eyes 319 00:22:56,000 --> 00:22:58,000 I know he's so scared 320 00:22:58,000 --> 00:23:00,000 Feelin' so lonely, lonely 321 00:23:00,000 --> 00:23:02,000 All alone 322 00:23:02,000 --> 00:23:04,000 In the world 323 00:23:04,000 --> 00:23:06,000 Ain't got nobody 324 00:23:06,000 --> 00:23:08,000 To wipe his eyes 325 00:23:08,000 --> 00:23:10,000 I know he's so scared 326 00:23:10,000 --> 00:23:12,000 Feelin' so lonely, lonely 327 00:23:12,000 --> 00:23:14,000 All alone 328 00:23:14,000 --> 00:23:16,000 Ain't got nobody 329 00:23:16,000 --> 00:23:18,000 To wipe his eyes 330 00:23:18,000 --> 00:23:20,000 I know he's so scared 331 00:23:20,000 --> 00:23:22,000 Feelin' so lonely, lonely 332 00:23:22,000 --> 00:23:24,000 All alone 333 00:23:24,000 --> 00:23:26,000 Ain't got nobody 334 00:23:26,000 --> 00:23:28,000 To wipe his eyes 335 00:23:28,000 --> 00:23:30,000 He says he's lonely 336 00:23:30,000 --> 00:23:32,000 He says he loves his daddy 337 00:23:32,000 --> 00:23:34,000 Ain't got nobody 338 00:23:34,000 --> 00:23:36,000 To wipe his eyes 339 00:23:36,000 --> 00:23:38,000 He says he's lonely 340 00:23:38,000 --> 00:23:40,000 All alone 341 00:23:40,000 --> 00:23:42,000 There's another thing 342 00:23:42,000 --> 00:23:44,000 Compare to last year's lovely little dish 343 00:23:44,000 --> 00:23:46,000 When we all ate at Susan's 344 00:23:46,000 --> 00:23:48,000 She's got lots of charm 345 00:23:48,000 --> 00:23:50,000 She's great at the art bar 346 00:23:50,000 --> 00:23:52,000 The neighborhood is excellent 347 00:23:52,000 --> 00:23:54,000 I have reason to be alarmed 348 00:23:54,000 --> 00:23:56,000 Huzzah! 349 00:23:56,000 --> 00:24:07,000 Huzzah! 350 00:24:19,000 --> 00:24:21,000 The bar, the broths, the cream, the crocks 351 00:24:21,000 --> 00:24:23,000 I have feelings, you know exactly 352 00:24:23,000 --> 00:24:25,000 Dad says that her mind is on vacation 353 00:24:25,000 --> 00:24:27,000 She doesn't taste, nothing goes to waste 354 00:24:27,000 --> 00:24:29,000 There's critters and hair all over the place 355 00:24:29,000 --> 00:24:31,000 Resulting in a lack of sanitation 356 00:24:32,000 --> 00:24:33,000 Is that it? 357 00:24:33,000 --> 00:24:34,000 No! 358 00:24:34,000 --> 00:24:35,000 Oh 359 00:24:41,000 --> 00:24:44,000 Today is the second Sunday of July 360 00:24:44,000 --> 00:24:47,000 And that can only mean one thing 361 00:24:47,000 --> 00:24:49,000 The family is expecting me for supper 362 00:24:49,000 --> 00:24:51,000 And I salute my love 363 00:24:51,000 --> 00:24:52,000 She's quite... 364 00:24:52,000 --> 00:24:54,000 ASMR, darling! 365 00:24:54,000 --> 00:24:55,000 She's got lots of charm 366 00:24:55,000 --> 00:24:57,000 She's shaking the art bar 367 00:24:57,000 --> 00:24:59,000 The neighborhood is excellent 368 00:24:59,000 --> 00:25:00,000 I have reason to be alarmed 369 00:25:00,000 --> 00:25:12,000 Huzzah! 370 00:25:12,000 --> 00:25:14,000 Hey, Aunt Sue, where's your little dog, Ginger? 371 00:25:14,000 --> 00:25:16,000 Oh, the little fella at Spicetown? 372 00:25:16,000 --> 00:25:28,000 Huzzah! 373 00:25:28,000 --> 00:25:30,000 Hey, Aunt Sue, where's Uncle Stu? 374 00:25:30,000 --> 00:25:32,000 Oh, he's cooking... something 375 00:25:32,000 --> 00:25:47,000 Huzzah! 376 00:25:47,000 --> 00:25:51,000 She's such a sweetie, but 377 00:25:51,000 --> 00:25:57,000 Still kind of creepy 378 00:25:57,000 --> 00:26:09,000 She's my Aunt Sue 379 00:26:09,000 --> 00:26:13,000 Whoooo 380 00:26:13,000 --> 00:26:16,000 We really mean it 381 00:26:16,000 --> 00:26:23,000 Na-na-na-na-na-na-na, na-na-na-na-na 382 00:26:23,000 --> 00:26:25,000 Na-na-na-na-na-na-na, na-na-na-na-na 383 00:26:25,000 --> 00:26:37,700 Dang 384 00:26:37,700 --> 00:26:45,820 Is that it? 385 00:26:45,820 --> 00:26:53,060 I guess so. 386 00:26:53,060 --> 00:26:54,380 The ant suite! 387 00:26:54,380 --> 00:27:00,060 It began with An Ant Alone, one of the songs from a theatrical production called The Warrior 388 00:27:00,060 --> 00:27:08,180 Ant, words by Leib Royer, music by Bob Telson, who leads the instrumental group Little Village. 389 00:27:08,180 --> 00:27:10,980 The lead vocalist was Sam Butler. 390 00:27:10,980 --> 00:27:16,260 Then came The Entrance of the Ants from The Spider's Banquet, Symphonic Fragments, by 391 00:27:16,260 --> 00:27:18,540 Albert Roussel. 392 00:27:18,540 --> 00:27:25,620 That was André Clouton conducting the, uh oh, this is one of those mile-long orchestra 393 00:27:25,620 --> 00:27:32,820 names, Orchestre de la Société des Concerts du Conservatoire de la Crème de la Crème 394 00:27:32,820 --> 00:27:38,380 de la Plume du Montant du Pain du Page 2 de Facto de Moyne. 395 00:27:38,380 --> 00:27:42,380 Really makes you appreciate that rock group called The Band, doesn't it? 396 00:27:42,380 --> 00:27:48,540 Anyway, last was Aunt Sue's Ant Soup, by The Blenders, which of course I really had to 397 00:27:48,540 --> 00:27:55,060 put last in the suite, because it has that incredible ending to end all endings. 398 00:27:55,060 --> 00:27:58,140 Well I've said it before, and I'm sure I'll say it again. 399 00:27:58,140 --> 00:28:04,380 It's hard to think of any area of human endeavor or interest that hasn't been treated musically. 400 00:28:04,380 --> 00:28:08,940 Who would have thought that I would be able, and quite easily at that, to put together 401 00:28:08,940 --> 00:28:09,940 our next suite? 402 00:28:09,940 --> 00:28:12,820 I'm not even going to tell you what it's about. 403 00:28:12,820 --> 00:28:17,780 It's got three numbers, and, what, what is that? 404 00:28:17,780 --> 00:28:26,060 Oh man, the caretaker here at Wigglesworth Gardens has moved the sprinkler, oh brother. 405 00:28:26,060 --> 00:28:32,220 I'd better put my jacket over the CD player and the remote mixer here, and I should go 406 00:28:32,220 --> 00:28:38,980 over and see if I can, oh no, here it comes again. 407 00:28:38,980 --> 00:28:43,260 Tell you what, I'm going to start the suite, and while you're listening to it, I'll see 408 00:28:43,260 --> 00:28:45,460 about getting the sprinkler moved back. 409 00:28:45,460 --> 00:28:48,540 I'm sure that won't take more than eight and a half minutes. 410 00:28:48,540 --> 00:28:56,940 Here, let me reach under my jacket and find the mic volume, okay, okay folks, here's one 411 00:28:56,940 --> 00:29:10,580 of our more unusual suites. 412 00:29:10,580 --> 00:29:16,060 There's a new sound, the newest sound around, the strangest sound that you have ever heard, 413 00:29:16,060 --> 00:29:22,260 not like a wild boar or a jungle lion's roar, it isn't like the cry of any bird, but there's 414 00:29:22,260 --> 00:29:27,860 a new sound, it's deep down in the ground, and everyone who listens to it squirms, because 415 00:29:27,860 --> 00:29:37,620 it's a new sound, so deep down in the ground is the sound that's made by worms. 416 00:29:37,620 --> 00:29:43,060 There's a new sound, the newest sound around, the strangest sound that you have ever heard, 417 00:29:43,060 --> 00:29:49,140 not like a wild boar or a jungle lion's roar, it isn't like the cry of any bird, but there's 418 00:29:49,140 --> 00:29:54,780 a new sound, it's deep down in the ground, and everyone who listens to it squirms, because 419 00:29:54,780 --> 00:30:00,780 it's a new sound, so deep down in the ground is the sound that's made by worms. 420 00:30:00,780 --> 00:30:08,740 There's a new sound, the newest sound around, the strangest sound that you have ever heard, 421 00:30:08,740 --> 00:30:14,860 not like a wild boar or a jungle lion's roar, it isn't like the cry of any bird, but there's 422 00:30:14,860 --> 00:30:20,460 a new sound, it's deep down in the ground, and everyone who listens to it squirms, because 423 00:30:20,460 --> 00:30:26,300 it's a new sound, so deep down in the ground is the sound that's made by worms. 424 00:30:26,300 --> 00:30:33,700 There's a new sound, the newest sound around, the strangest sound that you have ever heard, 425 00:30:33,700 --> 00:30:40,260 not like a wild boar or a jungle lion's roar, it isn't like the cry of any bird, but there's 426 00:30:40,260 --> 00:30:45,780 a new sound, it's deep down in the ground, and everyone who listens to it squirms, because 427 00:30:45,780 --> 00:30:51,300 it's a new sound, so deep down in the ground is the sound that's made by worms. 428 00:30:51,300 --> 00:30:59,540 There's a new sound, the newest sound around, the strangest sound that you have ever heard, 429 00:30:59,540 --> 00:31:05,540 not like a wild boar or a jungle lion's roar, it isn't like the cry of any bird, but there's 430 00:31:05,540 --> 00:31:10,980 a new sound, it's deep down in the ground, and everyone who listens to it squirms, because 431 00:31:10,980 --> 00:31:38,740 it's a new sound, so deep down in the ground is the sound that's made by worms. 432 00:31:38,740 --> 00:31:55,540 Two and two are four, four and four are eight, eight and eight are sixteen, sixteen and sixteen 433 00:31:55,540 --> 00:31:56,540 are great. 434 00:31:56,540 --> 00:32:03,940 Two and two are four, four and four are eight, that's all you have on your business-like 435 00:32:03,940 --> 00:32:19,460 mind, two and two are four, four and four are eight, how can you be so blind? 436 00:32:19,460 --> 00:32:35,220 Inchworm, inchworm, measuring the marigolds, you and your arithmetic, you'll probably go 437 00:32:35,220 --> 00:32:52,780 far, inchworm, inchworm, measuring the marigolds, seems to me you'd stop and see how beautiful 438 00:32:52,780 --> 00:33:22,500 those marigolds look when they're ripe. 439 00:33:22,500 --> 00:33:37,260 Inchworm, inchworm, measuring the marigolds, you and your arithmetic, you'll probably go 440 00:33:37,260 --> 00:33:55,340 far, inchworm, inchworm, measuring the marigolds, seems to me you'd stop and see how beautiful 441 00:33:55,340 --> 00:34:12,380 those marigolds look when they're ripe, inchworm, inchworm, measuring the marigolds, seems to 442 00:34:12,380 --> 00:34:42,340 me you'd stop and see how beautiful those marigolds look when they're ripe, inchworm, 443 00:34:42,340 --> 00:35:03,420 inchworm, inchworm, measuring the marigolds, seems to me you'd stop and see how beautiful 444 00:35:03,420 --> 00:35:20,180 those marigolds look when they're ripe, inchworm, inchworm, measuring the marigolds, seems to 445 00:35:20,180 --> 00:35:42,660 me you'd stop and see how beautiful those marigolds look when they're ripe, inchworm, 446 00:35:42,660 --> 00:36:00,500 inchworm, measuring the marigolds, seems to me you'd stop and see how beautiful those 447 00:36:00,500 --> 00:36:15,820 marigolds look when they're ripe, inchworm, inchworm, measuring the marigolds, seems to 448 00:36:15,820 --> 00:36:36,900 me you'd stop and see how beautiful those marigolds look when they're ripe, inchworm, 449 00:36:36,900 --> 00:37:06,500 inchworm, inchworm, measuring the marigolds, seems to me you'd stop and see how beautiful 450 00:37:06,500 --> 00:37:35,260 those marigolds look when they're ripe, inchworm, inchworm, measuring the marigolds, seems to 451 00:37:35,260 --> 00:37:55,900 me you'd stop and see how beautiful those marigolds look when they're ripe, inchworm, 452 00:37:55,900 --> 00:38:17,860 inchworm, measuring the marigolds, seems to me you'd stop and see how beautiful those 453 00:38:17,860 --> 00:38:38,300 marigolds look when they're ripe, inchworm, inchworm, measuring the marigolds, seems to 454 00:38:38,300 --> 00:39:00,700 me you'd stop and see how beautiful those marigolds look when they're ripe, inchworm, 455 00:39:00,700 --> 00:39:18,580 inchworm, measuring the marigolds, seems to me you'd stop and see how beautiful those 456 00:39:18,580 --> 00:39:33,340 marigolds look when they're ripe, inchworm, inchworm, measuring the marigolds, seems to 457 00:39:33,340 --> 00:40:00,900 me you'd stop and see how beautiful those marigolds look when they're ripe, inchworm, 458 00:40:00,900 --> 00:40:22,340 measuring the marigolds, seems to me you'd stop and see how beautiful those marigolds 459 00:40:22,340 --> 00:40:43,100 look when they're ripe, inchworm, measuring the marigolds, seems to me you'd stop and 460 00:40:43,100 --> 00:40:52,300 see how beautiful those marigolds look when they're ripe, inchworm, measuring the marigolds, 461 00:40:52,300 --> 00:41:06,540 seems to me you'd stop and see how beautiful those marigolds look when they're ripe, inchworm, 462 00:41:06,540 --> 00:41:17,740 measuring the marigolds, seems to me you'd stop and see how beautiful those marigolds 463 00:41:17,740 --> 00:41:27,860 look when they're ripe, inchworm, measuring the marigolds, seems to me you'd stop and 464 00:41:27,860 --> 00:41:37,700 see how beautiful those marigolds look when they're ripe, inchworm, measuring the marigolds, 465 00:41:37,700 --> 00:41:50,260 seems to me you'd stop and see how beautiful those marigolds look when they're ripe, inchworm, 466 00:41:50,260 --> 00:42:01,140 measuring the marigolds, seems to me you'd stop and see how beautiful those marigolds 467 00:42:01,140 --> 00:42:14,120 look when they're ripe, inchworm, measuring the marigolds, seems to me you'd stop and 468 00:42:14,120 --> 00:42:25,200 see how beautiful those marigolds look when they're ripe, inchworm, measuring the marigolds, 469 00:42:25,200 --> 00:42:43,660 seems to me you'd stop and see how beautiful those marigolds look when they're ripe, inchworm, 470 00:42:43,660 --> 00:42:49,660 love. And the second one goes like this. The cricket is a good singer who holds a 471 00:42:49,660 --> 00:42:54,060 long note. Go ahead, drink and sing, cricket, but he is not like the other 472 00:42:54,060 --> 00:42:58,140 birds who sing a little and then go elsewhere. The cricket always stands firm. 473 00:42:58,140 --> 00:43:04,180 When it is hottest, he sings alone for love. In that number you'll hear not only 474 00:43:04,180 --> 00:43:09,380 rhythms imitating the crickets, but also rapid alternation between different parts 475 00:43:09,380 --> 00:43:16,220 imitating the virtuoso antiphonal technique of crickets. Then the third 476 00:43:16,220 --> 00:43:21,980 piece is called The Beetle. Nanny, dear nanny, think how awful, let me tell you. On 477 00:43:21,980 --> 00:43:26,900 the grass I sat while playing by the arbor near the beaches. Busy building 478 00:43:26,900 --> 00:43:30,780 such a pretty house of maple with the pieces mummy dear herself has cut me. 479 00:43:30,780 --> 00:43:35,140 Finished was my little cottage with a roof on, like a proper cottage. Then 480 00:43:35,140 --> 00:43:41,220 there came a beetle and sat on my roof, a big black one, thick and fat, oh so fat. 481 00:43:41,220 --> 00:43:46,580 His beard started wagging up and down, his wicked eyes fixed upon me. I was 482 00:43:46,580 --> 00:43:51,220 terrified. And then he buzzed loudly, spread his wings wide open and flew 483 00:43:51,220 --> 00:43:56,340 towards me quickly. And with a bound he hit me on my temple, so I bent down, oh 484 00:43:56,340 --> 00:44:01,740 nanny dear, sat still and hardly dared to breathe. One little peep I gave out of my 485 00:44:01,740 --> 00:44:06,900 eyes. And fancy, what do you think nanny? On his back there lay the beetle, held 486 00:44:06,900 --> 00:44:11,580 both feet together folded, no longer angry and his beard had ceased to waggle. 487 00:44:11,580 --> 00:44:16,780 No buzz left in him, just his wings could move a bit. Was he dead then or only 488 00:44:16,780 --> 00:44:22,220 foxing? What was he up to? Oh tell me nanny, what's your opinion? A blow he gave 489 00:44:22,220 --> 00:44:28,460 me, perhaps his last one. What was he up to, that beetle? And finally, the fourth 490 00:44:28,460 --> 00:44:33,100 and last piece, Dragonflies, is instrumental. Today's show is called Your 491 00:44:33,100 --> 00:44:38,460 Standard B-Flat Bugs, and our last suite deals with four of them, ladybug, cricket, 492 00:44:38,460 --> 00:44:43,060 beetle, dragonfly, that I've seen right here in the central plaza of the gardens. 493 00:44:43,060 --> 00:44:48,540 So we've had a butterfly suite, an ant suite, and a worm suite. Let's call this 494 00:44:48,540 --> 00:45:01,020 one Plaza Suite. I'll see you in eight and a half minutes. 495 00:45:18,540 --> 00:45:25,540 I'll see you in eight and a half minutes. 496 00:45:48,540 --> 00:45:55,540 I'll see you in eight and a half minutes. 497 00:46:18,540 --> 00:46:25,540 I'll see you in eight and a half minutes. 498 00:46:48,540 --> 00:46:56,540 I'll see you in eight and a half minutes. 499 00:47:18,540 --> 00:47:26,540 I'll see you in eight and a half minutes. 500 00:47:48,540 --> 00:47:56,540 I'll see you in eight and a half minutes. 501 00:48:18,540 --> 00:48:27,540 He's a good singer, he's a good singer, he's a good singer. 502 00:48:31,540 --> 00:48:34,540 Nanny, Nanny, what happened? 503 00:48:34,540 --> 00:48:37,540 Don't be upset. 504 00:48:37,540 --> 00:48:39,540 I was playing on the porch, 505 00:48:39,540 --> 00:48:41,540 I took the mushrooms and the birches, 506 00:48:41,540 --> 00:48:43,540 I built a little house, 507 00:48:43,540 --> 00:48:45,540 And the sound of our vines, 508 00:48:45,540 --> 00:48:48,540 Of those that my mother, 509 00:48:48,540 --> 00:48:50,540 My mother herself, 510 00:48:50,540 --> 00:48:52,540 Built a little house, 511 00:48:52,540 --> 00:48:54,540 A little house with a roof, 512 00:48:54,540 --> 00:48:56,540 A real little house, 513 00:48:56,540 --> 00:48:58,540 Suddenly... 514 00:49:01,540 --> 00:49:04,540 On the very roof, 515 00:49:04,540 --> 00:49:06,540 Suddenly sits, 516 00:49:06,540 --> 00:49:08,540 A huge, black, 517 00:49:08,540 --> 00:49:10,540 Such a monster, 518 00:49:10,540 --> 00:49:13,540 With his moustache, 519 00:49:13,540 --> 00:49:15,540 So scary, 520 00:49:15,540 --> 00:49:17,540 And he looks at me, 521 00:49:17,540 --> 00:49:19,540 At me all the time, 522 00:49:21,540 --> 00:49:23,540 And he got scared, 523 00:49:23,540 --> 00:49:25,540 And the sound of his moustache, 524 00:49:25,540 --> 00:49:27,540 With his moustache, 525 00:49:27,540 --> 00:49:29,540 And he got scared, 526 00:49:29,540 --> 00:49:31,540 And he wants to catch me, 527 00:49:33,540 --> 00:49:34,540 And he flew, 528 00:49:34,540 --> 00:49:35,540 And the sound of his moustache, 529 00:49:35,540 --> 00:49:37,540 Crushed me, 530 00:49:38,540 --> 00:49:39,540 I hid, 531 00:49:39,540 --> 00:49:41,540 Nanny, 532 00:49:41,540 --> 00:49:42,540 I sat down, 533 00:49:42,540 --> 00:49:44,540 And I'm afraid to move, 534 00:49:46,540 --> 00:49:48,540 Only the thunder, 535 00:49:48,540 --> 00:49:50,540 As if by a miracle, 536 00:49:50,540 --> 00:49:52,540 Covered me, 537 00:49:52,540 --> 00:49:54,540 And what? 538 00:49:54,540 --> 00:49:56,540 Listen, Nanny, 539 00:49:56,540 --> 00:49:58,540 The beetle is lying, 540 00:49:58,540 --> 00:50:00,540 On the porch, 541 00:50:00,540 --> 00:50:02,540 On the porch, 542 00:50:02,540 --> 00:50:04,540 And he won't move, 543 00:50:04,540 --> 00:50:06,540 And he won't move, 544 00:50:06,540 --> 00:50:08,540 And he won't bite, 545 00:50:08,540 --> 00:50:10,540 Only the wings tremble, 546 00:50:10,540 --> 00:50:12,540 What will he do? 547 00:50:12,540 --> 00:50:14,540 He pretended, 548 00:50:14,540 --> 00:50:16,540 What is it? 549 00:50:16,540 --> 00:50:18,540 What is it? 550 00:50:18,540 --> 00:50:20,540 Tell me, Nanny, 551 00:50:20,540 --> 00:50:22,540 The beetle is lying, 552 00:50:22,540 --> 00:50:24,540 He hit me, 553 00:50:24,540 --> 00:50:26,540 And he fell down, 554 00:50:26,540 --> 00:50:28,540 What is it? 555 00:50:28,540 --> 00:50:40,540 What is it? 556 00:51:28,540 --> 00:51:30,540 What is it? 557 00:51:58,540 --> 00:52:00,540 What is it? 558 00:52:28,540 --> 00:52:42,540 What is it? 559 00:52:44,540 --> 00:52:45,540 And he won't move, 560 00:52:45,540 --> 00:52:47,540 And he won't bite, 561 00:52:47,540 --> 00:52:49,540 Only the wings tremble, 562 00:52:49,540 --> 00:52:51,540 What will he do? 563 00:52:51,540 --> 00:52:53,540 He pretended, 564 00:52:53,540 --> 00:52:55,540 What is it? 565 00:52:55,540 --> 00:53:12,540 The composers in the Plaza Suite were Schumann, Josquin, Mussorgsky, and Chaminade. 566 00:53:12,540 --> 00:53:19,540 Schumann's Marienbrümschen, which means Lady Bird, is from the songbook for children, Op. 567 00:53:19,540 --> 00:53:24,780 79, and it was sung by Margaret Price, accompanied by Thomas Dewey. 568 00:53:24,780 --> 00:53:32,580 Not the same Thomas Dewey, I assume, who famously didn't beat Harry Truman in the 1948 presidential 569 00:53:32,580 --> 00:53:33,580 election. 570 00:53:33,580 --> 00:53:39,900 Next, El Grillo, or The Cricket, was performed by the Hilliard Ensemble on a CD of motets 571 00:53:39,900 --> 00:53:42,340 and songs by Josquin Desprez. 572 00:53:42,340 --> 00:53:49,180 Mussorgsky's The Beetle was sung by Aga Haugland with Paul Rosenbaum at the piano. 573 00:53:49,180 --> 00:53:55,620 And Cecile Chaminade's Dragonflies was performed by the pianist Enid Catan. 574 00:53:55,620 --> 00:53:58,260 Listen for the insects. 575 00:53:58,260 --> 00:54:02,340 These gardens are a great place to do it. 576 00:54:02,340 --> 00:54:07,620 Just to emphasize the cyclical nature of life, let's go out with the same insect we came 577 00:54:07,620 --> 00:54:08,620 in with. 578 00:54:08,620 --> 00:54:12,940 In general, that's a good policy, whether it's a lady or a bug. 579 00:54:12,940 --> 00:54:19,300 The Dance of the Butterfly is another section of Roussel's ballet score, The Spider's Banquet. 580 00:54:19,300 --> 00:54:25,500 In fact, it's the section immediately following The Entrance of the Ants, which we heard earlier. 581 00:54:25,500 --> 00:54:31,100 The conductor is André Clouton, and the orchestra, I'll give you just the facts this time, is 582 00:54:31,100 --> 00:54:35,980 the Orchestre de la Société des Concerts du Conservatoire. 583 00:54:35,980 --> 00:54:39,980 Enjoy, and get out there and listen to the insects while you can. 584 00:54:39,980 --> 00:54:45,140 Remember, to a mountain, our lives are no longer than a mayfly's is to us. 585 00:55:39,980 --> 00:55:47,500 And that's Sickly Mix for this week. 586 00:55:47,500 --> 00:55:52,220 Our program is made possible with funds provided by the Corporation for Public Broadcasting 587 00:55:52,220 --> 00:55:54,700 and by this radio station and its members. 588 00:55:54,700 --> 00:55:56,220 Thank you, members. 589 00:55:56,220 --> 00:56:02,140 And not only that, our program is distributed by PRI, Public Radio International. 590 00:56:02,140 --> 00:56:06,060 We'll tell you in a moment how you can get an official playlist of all the music on today's 591 00:56:06,060 --> 00:56:08,940 program with album numbers and everything. 592 00:56:08,940 --> 00:56:14,700 Refer to the program number, and this is program number 154. 593 00:56:14,700 --> 00:56:18,700 And this is Peter Sickly saying goodbye and reminding you that it don't mean a thing if 594 00:56:18,700 --> 00:56:21,420 it ain't got that certain je ne sais quoi. 595 00:56:21,420 --> 00:56:22,420 You're looking good. 596 00:56:22,420 --> 00:56:41,740 See you next week. 597 00:57:52,740 --> 00:57:57,380 If you'd like a copy of that playlist I mentioned, send a stamped, self-addressed envelope to 598 00:57:57,380 --> 00:57:58,660 Sickly Mix. 599 00:57:58,660 --> 00:58:03,540 That's S-C-H-I-C-K-E-L-E, Sickly Mix. 600 00:58:03,540 --> 00:58:05,700 Care of Public Radio International. 601 00:58:05,700 --> 00:58:12,900 100 North 6th Street, Suite 900A, Minneapolis, Minnesota, 55403. 602 00:58:12,900 --> 00:58:22,900 P-R-I, Public Radio International.