1 00:00:00,000 --> 00:00:04,220 Peter are you in the studio? What are you doing Peter? Well, actually 2 00:00:05,880 --> 00:00:07,880 Okay, here's the theme 3 00:00:21,120 --> 00:00:23,600 Hello there, dr. Cronkite. Oh 4 00:00:24,560 --> 00:00:26,920 I was calling for dr. Cronkite 5 00:00:26,920 --> 00:00:30,320 No, no. No, I'm a regular patient of his but 6 00:00:31,280 --> 00:00:38,400 Listen, I have to get off the phone cuz I'm doing a radio program right now. I didn't realize it would take so long get through 7 00:00:40,200 --> 00:00:42,240 Okay, the name's Peter Shickley, oh 8 00:00:43,660 --> 00:00:49,500 Well, it's Shickley mix and it's a program dedicated to the proposition that all musics are created equal 9 00:00:50,040 --> 00:00:54,480 Or as Duke Ellington put it if it sounds good. It is good. Well, it's on right now 10 00:00:54,480 --> 00:00:59,960 Yeah, okay. Look, I hope you enjoy it. But would you please have dr. Cronkite call me as soon as possible? 11 00:00:59,960 --> 00:01:05,360 It's a rather serious medical matter. He has the number. Yeah. Okay. Thanks 12 00:01:06,480 --> 00:01:08,480 Sorry about that folks 13 00:01:09,000 --> 00:01:11,000 Well, there's good news and bad news 14 00:01:11,200 --> 00:01:17,720 The good news is that our bills are paid by the Corporation for public broadcasting and by this hail-and-hardey radio station 15 00:01:18,040 --> 00:01:22,880 From which what I bring forth here wends its way to the rest of the world. Thanks to PRI 16 00:01:22,880 --> 00:01:30,160 Public Radio International and the bad news is that I'm suffering from a rather severe medical problem 17 00:01:30,920 --> 00:01:37,000 I won't bore you with the details, but but my doctor may be calling back before the hours out 18 00:01:37,000 --> 00:01:44,680 In fact, I hope he does and so I'll just apologize now in advance in case he happens to call while the microphone's on 19 00:01:45,760 --> 00:01:50,320 As a rule, I don't like to mix my private life with the radio program 20 00:01:50,320 --> 00:01:53,760 Or as my friend the geologist David Love would put it 21 00:01:53,760 --> 00:01:58,480 I don't like to have my private life and the radio program become intertwingled 22 00:01:58,480 --> 00:02:03,800 But in this case, I really need to talk to my doctor as soon as possible. So and and 23 00:02:03,800 --> 00:02:08,760 Hey, you know what's ironic about this is that today's show is called under the weather 24 00:02:08,760 --> 00:02:11,480 We're going to be talking about illness the whole time 25 00:02:11,480 --> 00:02:16,000 So it's gonna be hard for me to keep my mind off. Well, anyway 26 00:02:16,000 --> 00:02:20,480 There's nothing more boring than someone who keeps talking about his health problems, is there? 27 00:02:21,480 --> 00:02:22,520 although 28 00:02:22,520 --> 00:02:26,400 Actually when you're in pain, it's hard to concentrate on anything else 29 00:02:26,400 --> 00:02:33,000 you know and and after you get past the age of 60 health problems become a bigger and bigger part of your life and 30 00:02:36,000 --> 00:02:43,240 Excuse me. Hello. Dr. Cronkite. Oh, hello, sir. Okay health. No. No, you're right. You're right. It is boring 31 00:02:43,240 --> 00:02:46,080 I'll get on to the music. All right. Thank you, sir 32 00:02:47,120 --> 00:02:53,560 Well, the station manager seems to think that I've already gotten a little tedious on the subject of my own health and it's true 33 00:02:53,560 --> 00:02:57,160 I I know a guy who every time you see him and say how are you? 34 00:02:57,160 --> 00:03:01,400 You know, he starts telling you about his latest health problems. It is pretty tiresome 35 00:03:02,800 --> 00:03:07,720 But the thing is, you know, he's in his what mid-30s. We're clearly talking about a 36 00:03:07,720 --> 00:03:12,960 Hypochondriac here or at least a guy who doesn't have anything else in his life to talk about 37 00:03:13,320 --> 00:03:17,640 When you get to be older than 60, which I am health problems are very real 38 00:03:18,160 --> 00:03:22,000 They affect all the most basic pleasures eating sleeping 39 00:03:22,720 --> 00:03:24,720 making 40 00:03:29,720 --> 00:03:31,720 Hello 41 00:03:31,720 --> 00:03:38,720 Hello. Yes, sir. I will. Well, no, I wouldn't worry about that. The whole show is about sickness 42 00:03:38,720 --> 00:03:45,280 But some of it is quite light-hearted and and I don't think the ratings will take the nosedive they did during the death show 43 00:03:45,880 --> 00:03:47,920 No, no, and you were right about that, sir 44 00:03:47,920 --> 00:03:54,680 I have completely discarded the idea of doing a program about music associated with medical insurance 45 00:03:55,440 --> 00:03:57,440 Okay, I will 46 00:03:57,440 --> 00:04:03,520 Well, that may be the first time the phone and the irrelevancy alarm have ever sounded at the same time 47 00:04:03,520 --> 00:04:05,520 I guess I get the message 48 00:04:06,280 --> 00:04:11,680 Of course sickness can range from the very organic to the highly metaphoric 49 00:04:12,160 --> 00:04:14,280 When a lover says here 50 00:04:14,280 --> 00:04:21,240 Let me find the CD booklet here when a lover says if the pain that precedes death is equal to mine 51 00:04:21,240 --> 00:04:28,400 Every mortal would regret having been born and suffer, but I do not believe that death when it strikes and cuts 52 00:04:28,920 --> 00:04:33,080 Through life's thread causes pain that equals that in my breast 53 00:04:33,920 --> 00:04:38,160 Now his agony may be very real but going to the doctor won't help 54 00:04:38,800 --> 00:04:42,400 Especially back then when this was written, which was long before Prozac 55 00:04:42,880 --> 00:04:46,240 Now that happens to be the text of the piece you were about to hear 56 00:04:46,240 --> 00:04:50,120 Our first suite has three numbers and lasts about eight minutes 57 00:04:50,120 --> 00:04:55,160 I call this the lovesick homesick seasick song cycle 58 00:05:20,120 --> 00:05:22,120 Oh 59 00:05:50,120 --> 00:05:52,120 Oh 60 00:06:20,120 --> 00:06:22,120 Oh 61 00:06:50,120 --> 00:06:52,120 Oh 62 00:07:20,120 --> 00:07:22,120 Oh 63 00:07:22,120 --> 00:07:27,800 Oh Kentucky 64 00:07:31,280 --> 00:07:38,320 You are the dearest land outside of heaven to me 65 00:07:38,320 --> 00:07:57,060 I miss you 66 00:07:57,060 --> 00:08:02,060 Redwood trees 67 00:08:05,060 --> 00:08:10,060 When I die 68 00:08:13,060 --> 00:08:16,060 I want to rest upon 69 00:08:16,060 --> 00:08:26,060 A graceful mountain so high 70 00:08:27,060 --> 00:08:34,060 For that is 71 00:08:35,060 --> 00:08:43,060 Where God will look for me 72 00:08:43,060 --> 00:08:51,060 Kentucky 73 00:08:52,060 --> 00:08:56,060 I miss the old folks singing 74 00:08:56,060 --> 00:09:03,060 In the silvery moonlight 75 00:09:03,060 --> 00:09:13,060 Kentucky 76 00:09:15,060 --> 00:09:23,060 I miss the hound dogs chasing cows 77 00:09:23,060 --> 00:09:33,060 I know that 78 00:09:34,060 --> 00:09:38,060 My mother, dad and sweetheart 79 00:09:38,060 --> 00:09:44,060 Are waiting for me 80 00:09:44,060 --> 00:09:55,060 Kentucky 81 00:09:56,060 --> 00:10:04,060 I will be coming soon 82 00:10:04,060 --> 00:10:17,060 Kentucky 83 00:10:24,060 --> 00:10:27,060 I gather you, good morning 84 00:10:27,060 --> 00:10:29,060 Sir, good morning 85 00:10:29,060 --> 00:10:31,060 I hope you're all quite well 86 00:10:31,060 --> 00:10:33,060 Quite well, and you sir? 87 00:10:33,060 --> 00:10:35,060 I am in reasonable health 88 00:10:35,060 --> 00:10:39,060 And happy to meet you all once more 89 00:10:40,060 --> 00:10:42,060 You do us proud, sir 90 00:10:54,060 --> 00:10:56,060 I am the captain of the men of war 91 00:10:56,060 --> 00:10:58,060 And a rightful captain too 92 00:10:58,060 --> 00:11:00,060 You're very, very good 93 00:11:00,060 --> 00:11:01,060 And be it understood 94 00:11:01,060 --> 00:11:03,060 I command a rightful crew 95 00:11:03,060 --> 00:11:05,060 You're very, very good 96 00:11:05,060 --> 00:11:06,060 And be it understood 97 00:11:06,060 --> 00:11:08,060 We command a rightful crew 98 00:11:08,060 --> 00:11:09,060 Though related to our pier 99 00:11:09,060 --> 00:11:10,060 I can hand, beat and steer 100 00:11:10,060 --> 00:11:13,060 Our ship, her sail, the hergy 101 00:11:13,060 --> 00:11:14,060 I have never known to quail 102 00:11:14,060 --> 00:11:16,060 In the fury of a gale 103 00:11:16,060 --> 00:11:19,060 And I never, never sink at sea 104 00:11:19,060 --> 00:11:20,060 What, never? 105 00:11:20,060 --> 00:11:21,060 No, never 106 00:11:21,060 --> 00:11:23,060 What, never? 107 00:11:23,060 --> 00:11:25,060 Well, hardly ever 108 00:11:25,060 --> 00:11:28,060 Is hardly ever sink at sea 109 00:11:28,060 --> 00:11:31,060 We give three cheers and one cheer more 110 00:11:31,060 --> 00:11:33,060 For the hardy captain of the men of war 111 00:11:33,060 --> 00:11:35,060 We give three cheers and one cheer more 112 00:11:35,060 --> 00:11:38,060 For the captains of the men of war 113 00:11:42,060 --> 00:11:45,060 I do my best to satisfy you all 114 00:11:45,060 --> 00:11:47,060 With human rights content 115 00:11:47,060 --> 00:11:48,060 You're exceedingly polite 116 00:11:48,060 --> 00:11:49,060 And I think you do need right 117 00:11:49,060 --> 00:11:52,060 To return the compliment 118 00:11:52,060 --> 00:11:53,060 You're exceedingly polite 119 00:11:53,060 --> 00:11:54,060 And it is your right 120 00:11:54,060 --> 00:11:57,060 To return the compliment 121 00:11:57,060 --> 00:11:58,060 I never, never use 122 00:11:58,060 --> 00:12:00,060 Whatever the emergency 123 00:12:00,060 --> 00:12:04,060 Of which I may occasionally say 124 00:12:04,060 --> 00:12:07,060 I never use a big, big D 125 00:12:07,060 --> 00:12:08,060 What, never? 126 00:12:08,060 --> 00:12:09,060 No, never 127 00:12:09,060 --> 00:12:11,060 What, never? 128 00:12:11,060 --> 00:12:13,060 Well, hardly ever 129 00:12:13,060 --> 00:12:16,060 Is hardly ever such a big, big D 130 00:12:16,060 --> 00:12:19,060 We give three cheers and one cheer more 131 00:12:19,060 --> 00:12:21,060 For the hardy captain of the men of war 132 00:12:21,060 --> 00:12:23,060 We give three cheers and one cheer more 133 00:12:23,060 --> 00:12:28,060 For the captains of the men of war 134 00:12:34,060 --> 00:12:37,060 The lovesick, homesick, seasick song cycle. 135 00:12:37,060 --> 00:12:40,060 We began with the first half of Sequel Dolore 136 00:12:40,060 --> 00:12:42,060 by Morenzio. 137 00:12:42,060 --> 00:12:44,060 The Ensemble Clément-Jeannequin 138 00:12:44,060 --> 00:12:46,060 sang that almost sinfully sensuous 139 00:12:46,060 --> 00:12:48,060 late 16th century piece 140 00:12:48,060 --> 00:12:51,060 in which the composer expresses the lover's agony 141 00:12:51,060 --> 00:12:55,060 through the use of unsettlingly chromatic harmony. 142 00:12:55,060 --> 00:12:58,060 Chromatic means, well, the more technical term 143 00:12:58,060 --> 00:13:00,060 would be creepy-crawly harmony. 144 00:13:00,060 --> 00:13:03,060 Then the Everly Brothers sang Kentucky 145 00:13:03,060 --> 00:13:05,060 with an air of quiet melancholy. 146 00:13:05,060 --> 00:13:08,060 It couldn't be more different from the Morenzio. 147 00:13:08,060 --> 00:13:10,060 Simple melody, plain harmonies, 148 00:13:10,060 --> 00:13:14,060 but it's just as appropriate to the sentiment of the words 149 00:13:14,060 --> 00:13:16,060 as the earlier music is. 150 00:13:16,060 --> 00:13:18,060 The feeling of sitting alone after supper 151 00:13:18,060 --> 00:13:21,060 wishing you were back where you came from, 152 00:13:21,060 --> 00:13:24,060 that sort of bittersweet half-trance, 153 00:13:24,060 --> 00:13:26,060 is captured just as precisely 154 00:13:26,060 --> 00:13:30,060 as is the tortured lovesickness of Morenzio's protagonist. 155 00:13:30,060 --> 00:13:33,060 It's interesting that both songs allude to death. 156 00:13:33,060 --> 00:13:37,060 The third number was from Gilbert & Sullivan's HMS Pinafore, 157 00:13:37,060 --> 00:13:40,060 Jeffrey Skitch as Captain Corcoran 158 00:13:40,060 --> 00:13:43,060 with the Doily Cart Opera Company Chorus 159 00:13:43,060 --> 00:13:46,060 and the New Symphony Orchestra of London 160 00:13:46,060 --> 00:13:49,060 under Isidore Godfrey OBE. 161 00:13:49,060 --> 00:13:52,060 The OBE means that he's also a member 162 00:13:52,060 --> 00:13:54,060 of the Oxford Baton Ensemble, 163 00:13:54,060 --> 00:13:57,060 the world's only all-conductor orchestra, 164 00:13:57,060 --> 00:14:00,060 and it's certainly the quietest orchestra in the world. 165 00:14:00,060 --> 00:14:04,060 If you don't sit in one of the first few rows at their concerts, 166 00:14:04,060 --> 00:14:08,060 you can't even hear the swishing-through-the-air sound, you know. 167 00:14:08,060 --> 00:14:10,060 Anyway, that's a sprightly little number. 168 00:14:10,060 --> 00:14:12,060 Of course, it's not about seasickness. 169 00:14:12,060 --> 00:14:14,060 It just mentions seasickness. 170 00:14:14,060 --> 00:14:17,060 Although, you know, it might have sounded just as cheery 171 00:14:17,060 --> 00:14:19,060 even if it were about seasickness, 172 00:14:19,060 --> 00:14:21,060 because of another affliction, 173 00:14:21,060 --> 00:14:24,060 that peculiarly British facial dysfunction 174 00:14:24,060 --> 00:14:28,060 known in medical circles as the stiff upper lip. 175 00:14:28,060 --> 00:14:30,060 And you know, in the long run, 176 00:14:30,060 --> 00:14:32,060 the stiff upper lip may be more debilitating 177 00:14:32,060 --> 00:14:34,060 than the stiff lower back. 178 00:14:34,060 --> 00:14:37,060 I must say, I've been pretty lucky with my back. 179 00:14:37,060 --> 00:14:41,060 My problems are more with my insides and my extremities. 180 00:14:41,060 --> 00:14:44,060 I've started to have some arthritis... 181 00:14:44,060 --> 00:14:46,060 No, no, no, no, I am not going to do this. 182 00:14:46,060 --> 00:14:50,060 Go ahead, beat me, flog me, nod your head sympathetically. 183 00:14:50,060 --> 00:14:52,060 You won't get anything out of me 184 00:14:52,060 --> 00:14:54,060 but my name, which is Peter Sickly, 185 00:14:54,060 --> 00:14:56,060 and that of the program, which is Sickly Mix 186 00:14:56,060 --> 00:14:59,060 from PRI, Public Radio International. 187 00:14:59,060 --> 00:15:02,060 It's been said that poetry is good for the soul. 188 00:15:02,060 --> 00:15:05,060 Turns out it can also help New York Public Radio. 189 00:15:05,060 --> 00:15:09,060 Join us for Billy Collins Live, a benefit for WNYC. 190 00:15:09,060 --> 00:15:12,060 The former U.S. Poet Laureate writes poems 191 00:15:12,060 --> 00:15:16,060 that are smart, surprising, funny, and questioning. 192 00:15:16,060 --> 00:15:19,060 All the things you love about WNYC. 193 00:15:19,060 --> 00:15:21,060 Don't miss this special event, 194 00:15:21,060 --> 00:15:24,060 Wednesday, April 20th, at Symphony Space. 195 00:15:24,060 --> 00:15:29,060 Tickets at 212-864-5400 or symphonyspace.org. 196 00:15:29,060 --> 00:15:33,060 You're listening to Sickly Mix on 93.9 WNYC. 197 00:15:33,060 --> 00:15:36,060 Today's show is called Under the Weather, 198 00:15:36,060 --> 00:15:40,060 and as a matter of fact, I'm waiting for my doctor to call, 199 00:15:40,060 --> 00:15:42,060 but I'm not going to talk about my problems. 200 00:15:42,060 --> 00:15:44,060 I know how boring that is. 201 00:15:44,060 --> 00:15:47,060 I'll just sit here and suffer in silence. 202 00:15:47,060 --> 00:15:50,060 Or at least sit here and suffer. 203 00:15:50,060 --> 00:15:53,060 Now, before we visit the terminal illness ward, 204 00:15:53,060 --> 00:15:57,060 I'd like to explore sickness as a metaphor a little further. 205 00:15:57,060 --> 00:16:01,060 There's often a sexual connotation to metaphorical sickness, 206 00:16:01,060 --> 00:16:05,060 as illustrated by the first and last numbers of this next suite. 207 00:16:05,060 --> 00:16:08,060 The first piece is called The Sick Moon. 208 00:16:08,060 --> 00:16:11,060 You nocturnally mortally ill moon, 209 00:16:11,060 --> 00:16:14,060 There upon the sky's black couch, 210 00:16:14,060 --> 00:16:17,060 Your look so feverishly distended, 211 00:16:17,060 --> 00:16:20,060 Spell binds me like a strange melody. 212 00:16:20,060 --> 00:16:24,060 Of unquenchable love sickness you are dying, 213 00:16:24,060 --> 00:16:27,060 Of yearning deeply smothered, 214 00:16:27,060 --> 00:16:29,060 You nocturnal mortally ill moon, 215 00:16:29,060 --> 00:16:32,060 There upon the sky's black couch. 216 00:16:32,060 --> 00:16:36,060 The lover who in sensual rapture heedlessly steals to his beloved 217 00:16:36,060 --> 00:16:39,060 Is made merry by the play of your beams, 218 00:16:39,060 --> 00:16:42,060 Your pale blood born in agony, 219 00:16:42,060 --> 00:16:46,060 You nocturnal mortally ill moon. 220 00:16:46,060 --> 00:16:48,060 Strong stuff. 221 00:16:48,060 --> 00:16:53,060 The second song is from a culture in which singing is as natural as breathing. 222 00:16:53,060 --> 00:16:56,060 The commentator in the liner notes on this one says, 223 00:16:56,060 --> 00:17:00,060 This song shows you how we sing in our religion, in our way of life. 224 00:17:00,060 --> 00:17:04,060 Whatever you are doing, going to the market, making food, washing clothes, 225 00:17:04,060 --> 00:17:06,060 or shelling peas, you sing. 226 00:17:06,060 --> 00:17:10,060 It's not like singing is only for the times you do a big ceremony 227 00:17:10,060 --> 00:17:12,060 and the other days you're off. 228 00:17:12,060 --> 00:17:14,060 It's every day, every moment. 229 00:17:14,060 --> 00:17:16,060 The text of the song is, 230 00:17:16,060 --> 00:17:18,060 St. James' horse is tied to the post. 231 00:17:18,060 --> 00:17:21,060 I'm not asking for anybody to set him loose for me. 232 00:17:21,060 --> 00:17:25,060 He may have worms, you might see he has sores on his back. 233 00:17:25,060 --> 00:17:28,060 St. James, oh, set him loose for me. 234 00:17:28,060 --> 00:17:30,060 Now back to the commentator. 235 00:17:30,060 --> 00:17:32,060 This song speaks in metaphors. 236 00:17:32,060 --> 00:17:34,060 It's saying that St. James' horse, 237 00:17:34,060 --> 00:17:38,060 the person who is a spirit medium for St. James, has a problem. 238 00:17:38,060 --> 00:17:42,060 The image of being tied to a post represents the problem. 239 00:17:42,060 --> 00:17:46,060 St. James is saying, I'm not asking anybody to help my medium. 240 00:17:46,060 --> 00:17:48,060 Even if you see her in a terrible state, 241 00:17:48,060 --> 00:17:52,060 I'm not asking anybody to help because I will help her. 242 00:17:52,060 --> 00:17:55,060 The third and last song in the suite is in English, 243 00:17:55,060 --> 00:17:59,060 and we're going to hear three very different musical approaches 244 00:17:59,060 --> 00:18:01,060 in the three numbers in this suite. 245 00:18:01,060 --> 00:18:05,060 The music of the first is feverish, almost drunken, 246 00:18:05,060 --> 00:18:08,060 reflecting the hyper-intense imagery of the poem. 247 00:18:08,060 --> 00:18:11,060 The second is straightforward and matter-of-fact, 248 00:18:11,060 --> 00:18:16,060 perhaps reflecting the everyday belief in healing magic of its singer. 249 00:18:16,060 --> 00:18:19,060 And the third is almost jaunty, yet removed. 250 00:18:19,060 --> 00:18:23,060 What is the attitude of the singer towards the man to whom she's singing? 251 00:18:23,060 --> 00:18:26,060 She's so cool it's hard to tell. 252 00:18:26,060 --> 00:18:29,060 In any case, the moon, the horse, and the candle. 253 00:18:29,060 --> 00:18:32,060 Song cycle lasts about seven minutes. 254 00:18:32,060 --> 00:18:34,060 I'll see you then. 255 00:18:34,060 --> 00:18:54,060 I'll see you then, sick moon, 256 00:18:54,060 --> 00:19:05,060 Dein Blick so fehlend übergroß, 257 00:19:05,060 --> 00:19:32,060 Warnt mich wie fliehende Melodie. 258 00:19:32,060 --> 00:19:45,060 An unstillbarem Liebesleid stirbst, 259 00:19:45,060 --> 00:19:54,060 Du, mein Sehnsucht, tiefer sticht, 260 00:19:54,060 --> 00:20:06,060 Du, mächtig Todeskranker Mond, 261 00:20:06,060 --> 00:20:24,060 Tod auf des himmelschwarzen Fluss. 262 00:20:24,060 --> 00:20:29,060 Den Liebsten, der im Sinnenrausch 263 00:20:29,060 --> 00:20:34,060 Gedankenlos zum Liebsten geht, 264 00:20:34,060 --> 00:20:38,060 Verlustig deinem Strahlenspiel, 265 00:20:38,060 --> 00:20:44,060 Dein bleiches, qualgeborenes Blut, 266 00:20:44,060 --> 00:21:04,060 Du, mächtig Todeskranker Mond. 267 00:21:04,060 --> 00:21:27,060 Du, mächtig Todeskranker Mond. 268 00:21:27,060 --> 00:21:51,060 Du, mächtig Todeskranker Mond. 269 00:21:58,060 --> 00:22:01,060 99.9 Fahrenheit degrees, 270 00:22:01,060 --> 00:22:05,060 Stable now with rising possibilities, 271 00:22:05,060 --> 00:22:08,060 It could be normal, but it isn't quite, 272 00:22:08,060 --> 00:22:12,060 Could make you want to stay awake at night, 273 00:22:12,060 --> 00:22:16,060 You seem to me like a man 274 00:22:16,060 --> 00:22:19,060 On the verge of burning, 275 00:22:19,060 --> 00:22:26,060 99.9 Fahrenheit degrees, 276 00:22:26,060 --> 00:22:33,060 Pale as a candle and your face is hot, 277 00:22:33,060 --> 00:22:39,060 And if I touch you I might get what you've got, 278 00:22:39,060 --> 00:22:44,060 You seem to me like a man 279 00:22:44,060 --> 00:22:47,060 On the verge of burning, 280 00:22:47,060 --> 00:23:00,060 99.9 Fahrenheit degrees, 281 00:23:00,060 --> 00:23:17,060 Something cold against the skin is what you could be, 282 00:23:17,060 --> 00:23:29,060 99.9 Fahrenheit degrees, 283 00:23:29,060 --> 00:23:42,060 You seem to me like a man 284 00:23:42,060 --> 00:23:45,060 On the verge of burning, 285 00:23:45,060 --> 00:23:59,060 99.9 Fahrenheit degrees, 286 00:23:59,060 --> 00:24:06,060 Something cold against the skin is what you could be, 287 00:24:06,060 --> 00:24:13,060 Something cold against the skin is what you could be, 288 00:24:13,060 --> 00:24:26,060 99.9 Fahrenheit degrees, 289 00:24:26,060 --> 00:24:49,060 99.9 Fahrenheit degrees, 290 00:24:49,060 --> 00:24:54,060 The Moon, the Horse, and the Candle 291 00:24:54,060 --> 00:24:57,060 The Sick Moon, from Arnold Schoenberg's Piero Lunare, 292 00:24:57,060 --> 00:25:02,060 was performed by Janda Gaitani and the Contemporary Chamber Ensemble 293 00:25:02,060 --> 00:25:04,060 under Arthur Weisberg. 294 00:25:04,060 --> 00:25:08,060 Next came a Haitian song called Song for St. James, 295 00:25:08,060 --> 00:25:10,060 sung by Michelin Forestal. 296 00:25:10,060 --> 00:25:15,060 That's off a Smithsonian Folkways album called Rhythms of Rapture, 297 00:25:15,060 --> 00:25:18,060 Sacred Musics of Haitian Voodoo. 298 00:25:18,060 --> 00:25:21,060 And then finally, and I do mean finally, 299 00:25:21,060 --> 00:25:28,060 as in a very fine song, 99.9 Fahrenheit degrees by Suzanne Vega. 300 00:25:28,060 --> 00:25:31,060 Man, I wish my doctor would call. 301 00:25:31,060 --> 00:25:34,060 But he hasn't, so let's move on. 302 00:25:34,060 --> 00:25:37,060 Okay, now we get down to the nitty-gritty. 303 00:25:37,060 --> 00:25:42,060 Our next suite deals with actual mortal illness. 304 00:25:42,060 --> 00:25:45,060 No metaphors, no beating about the bush, 305 00:25:45,060 --> 00:25:47,060 little hope of recovery. 306 00:25:47,060 --> 00:25:50,060 Once again, three very different musical approaches. 307 00:25:50,060 --> 00:25:53,060 The first piece is an excerpt from an opera. 308 00:25:53,060 --> 00:25:56,060 We're in the sumptuous home of a courtesan. 309 00:25:56,060 --> 00:25:59,060 She's been conversing with various guests at her party, 310 00:25:59,060 --> 00:26:03,060 and we will join them at the moment an orchestra starts playing 311 00:26:03,060 --> 00:26:05,060 in the adjoining ballroom. 312 00:26:05,060 --> 00:26:09,060 The courtesan says, Would you like to dance now? 313 00:26:09,060 --> 00:26:11,060 Everybody, oh, what a pleasant thought. 314 00:26:11,060 --> 00:26:12,060 We all accept. 315 00:26:12,060 --> 00:26:14,060 She says, Let's go then. 316 00:26:14,060 --> 00:26:16,060 The guests move towards the center door, 317 00:26:16,060 --> 00:26:18,060 but she turns suddenly pale. 318 00:26:18,060 --> 00:26:20,060 Oh, everybody says, What's the matter? 319 00:26:20,060 --> 00:26:21,060 She says, Nothing, nothing. 320 00:26:21,060 --> 00:26:23,060 She takes a few steps. 321 00:26:23,060 --> 00:26:24,060 Why do you linger? 322 00:26:24,060 --> 00:26:25,060 She says, Let's go. 323 00:26:25,060 --> 00:26:27,060 But then she's obliged to sit down. 324 00:26:27,060 --> 00:26:28,060 Oh, heavens. 325 00:26:28,060 --> 00:26:30,060 And everybody says, Again. 326 00:26:30,060 --> 00:26:32,060 And the man says, Are you ill? 327 00:26:32,060 --> 00:26:34,060 Everybody says, Heavens, what's the matter? 328 00:26:34,060 --> 00:26:36,060 She says, I'm trembling. 329 00:26:36,060 --> 00:26:37,060 She says, You go along. 330 00:26:37,060 --> 00:26:40,060 I'll join you in a moment, if you say so. 331 00:26:40,060 --> 00:26:43,060 They all go into the other room except the man. 332 00:26:43,060 --> 00:26:46,060 And she looks in the mirror and she says, How pale I am. 333 00:26:46,060 --> 00:26:48,060 You here? 334 00:26:48,060 --> 00:26:50,060 He says, Do you still feel upset? 335 00:26:50,060 --> 00:26:51,060 I'm better now. 336 00:26:51,060 --> 00:26:54,060 He says, The way you're going on, you'll kill yourself. 337 00:26:54,060 --> 00:26:56,060 You should take more care of your health. 338 00:26:56,060 --> 00:26:58,060 She says, How can I? 339 00:26:58,060 --> 00:27:00,060 He says, Oh, if only I had the right. 340 00:27:00,060 --> 00:27:03,060 I'd be the most watchful guardian of your dear life. 341 00:27:03,060 --> 00:27:04,060 She says, What a thing to say. 342 00:27:04,060 --> 00:27:06,060 Who cares what happens to me? 343 00:27:06,060 --> 00:27:09,060 He says, For no one in the world loves you. 344 00:27:09,060 --> 00:27:10,060 No one? 345 00:27:10,060 --> 00:27:12,060 Except for me. 346 00:27:12,060 --> 00:27:13,060 She laughs. 347 00:27:13,060 --> 00:27:14,060 That's true. 348 00:27:14,060 --> 00:27:16,060 That's a grand passion. 349 00:27:16,060 --> 00:27:18,060 He says, You laugh, but all the same, you have a heart. 350 00:27:18,060 --> 00:27:19,060 A heart? 351 00:27:19,060 --> 00:27:20,060 Yes, perhaps. 352 00:27:20,060 --> 00:27:21,060 Why do you ask? 353 00:27:21,060 --> 00:27:25,060 He says, Yet if you had, you wouldn't make fun of me. 354 00:27:25,060 --> 00:27:27,060 She says, Are you really serious? 355 00:27:27,060 --> 00:27:29,060 He says, I wouldn't deceive you. 356 00:27:29,060 --> 00:27:31,060 Then how long have you loved me? 357 00:27:31,060 --> 00:27:34,060 He says, For more than a year. 358 00:27:34,060 --> 00:27:37,060 They do get together, of course, at least for a while. 359 00:27:37,060 --> 00:27:42,060 But by the end of the opera, she has died at the age of 23 of tuberculosis. 360 00:27:42,060 --> 00:27:47,060 This excerpt, far from endeavoring to express the heroine's sickness, 361 00:27:47,060 --> 00:27:49,060 the dance music coming from the other room, 362 00:27:49,060 --> 00:27:55,060 serves as an ironic and wholly inappropriate backdrop for her distress. 363 00:27:55,060 --> 00:27:57,060 Well, not wholly inappropriate. 364 00:27:57,060 --> 00:28:02,060 It corresponds to her desire to continue her glittering lifestyle no matter what. 365 00:28:02,060 --> 00:28:07,060 But certainly the gaiety of the music is intended to highlight, by contrast, 366 00:28:07,060 --> 00:28:13,060 the frailty of her health and also the tragedy of her impending demise. 367 00:28:13,060 --> 00:28:16,060 The second piece in this suite is a suicide note, 368 00:28:16,060 --> 00:28:20,060 and the music is as forlorn as are the words. 369 00:28:20,060 --> 00:28:25,060 In the third and last number, the music is repetitive, almost trance-like, 370 00:28:25,060 --> 00:28:30,060 creating a background that is, it seems to me, sad yet somewhat reassuring, 371 00:28:30,060 --> 00:28:34,060 that is, reassuring without being falsely optimistic. 372 00:28:34,060 --> 00:28:38,060 The critical condition suite is about 11 minutes long. 373 00:29:04,060 --> 00:29:06,060 O friti! O gete questo! 374 00:29:06,060 --> 00:29:08,060 Un trembito che trovo! 375 00:29:08,060 --> 00:29:13,060 Ora, là, passate! Trovo quanch'io sarò! 376 00:29:13,060 --> 00:29:38,060 Ma verrà bene! 377 00:29:38,060 --> 00:29:43,060 Oh, qual pallor! 378 00:29:43,060 --> 00:29:46,060 Voi qui? 379 00:29:46,060 --> 00:29:49,060 Cessa te l'ansia che vi turmo! 380 00:29:49,060 --> 00:29:52,060 Sto meglio! 381 00:29:52,060 --> 00:29:55,060 Anco talquisa, ucciderete! 382 00:29:55,060 --> 00:30:01,060 Averve dopo, cura dell'esser vostro! 383 00:30:01,060 --> 00:30:04,060 E la potrei? 384 00:30:04,060 --> 00:30:12,060 Se mia foste, custode venirei per i vostri suabiti! 385 00:30:12,060 --> 00:30:14,060 Che dite? 386 00:30:14,060 --> 00:30:17,060 Ha forse alcuno cura di me? 387 00:30:17,060 --> 00:30:20,060 Perché nessuno al mondo ama! 388 00:30:20,060 --> 00:30:21,060 Nessuno? 389 00:30:21,060 --> 00:30:23,060 Tranne soli io! 390 00:30:23,060 --> 00:30:27,060 E' vero, si, grande amor dimenticato via! 391 00:30:27,060 --> 00:30:31,060 Cridete? E in voi va ancora? 392 00:30:31,060 --> 00:30:36,060 Sì, forse, e a chi lo richiedete? 393 00:30:36,060 --> 00:30:40,060 Ah, se ciò fosse, non potreste allora cioliar! 394 00:30:40,060 --> 00:30:42,060 Dite davvero? 395 00:30:42,060 --> 00:30:44,060 Io non m'inganno! 396 00:30:44,060 --> 00:30:46,060 Da molto viste mia foste? 397 00:30:46,060 --> 00:31:09,060 Ah, sì, da un anno! 398 00:31:09,060 --> 00:31:23,060 Mio caro Filthy, mia moglie, tutti quell'uomo che ho raggiunto questo 399 00:31:23,060 --> 00:31:30,060 Penso che ho vissuto troppo a lungo 400 00:31:30,060 --> 00:31:38,060 Con tutta la mia promessa incompleta 401 00:31:38,060 --> 00:32:03,060 Ma c'è un vento su tutto questo 402 00:32:03,060 --> 00:32:09,060 I know you'll probably say 403 00:32:09,060 --> 00:32:16,060 Spoilers, the melodrama 404 00:32:16,060 --> 00:32:23,060 I don't know how he chose 405 00:32:23,060 --> 00:32:28,060 The pills or the stupid revolver 406 00:32:28,060 --> 00:32:35,060 I'm out of luck 407 00:32:35,060 --> 00:32:42,060 I'm not that strong 408 00:32:42,060 --> 00:32:49,060 My hands, your neck 409 00:32:49,060 --> 00:33:05,060 I might have wrong 410 00:33:05,060 --> 00:33:14,060 Don't try to find me 411 00:33:14,060 --> 00:33:25,060 I'm not worth anything anymore 412 00:33:25,060 --> 00:33:34,060 I am not leaving you 413 00:33:34,060 --> 00:33:41,060 With all of your problems 414 00:33:41,060 --> 00:33:47,060 The biggest one is me 415 00:33:47,060 --> 00:34:00,060 Life is dark and cold as the sea 416 00:34:00,060 --> 00:34:05,060 Embrace me in my anguish 417 00:34:05,060 --> 00:34:10,060 Put seaweed in my hair 418 00:34:10,060 --> 00:34:14,060 And vow that you won't cry 419 00:34:14,060 --> 00:34:16,060 Because I've gone 420 00:34:16,060 --> 00:34:28,060 I can't go on 421 00:34:28,060 --> 00:34:42,060 I must close now 422 00:34:59,060 --> 00:35:07,060 I must close now 423 00:35:07,060 --> 00:35:35,060 I must close now 424 00:35:35,060 --> 00:35:45,060 I must close now 425 00:35:45,060 --> 00:35:55,060 I must close now 426 00:35:55,060 --> 00:36:03,060 I must close now 427 00:36:03,060 --> 00:36:11,060 I must close now 428 00:36:11,060 --> 00:36:19,060 I must close now 429 00:36:19,060 --> 00:36:29,060 I must close now 430 00:36:29,060 --> 00:36:37,060 At Hanukkah, the following winter, as blood counts dwindled and surgery loomed closer, 431 00:36:37,060 --> 00:36:45,060 I invited a family of six at the last minute for potato latkes. 432 00:36:45,060 --> 00:36:51,060 Relishing the anxiety of not being able to grate enough potatoes in time, 433 00:36:51,060 --> 00:36:58,060 I magically produced the golden latkes. 434 00:36:58,060 --> 00:37:13,060 A good stand-in for the blood platelets I was unable to maintain. 435 00:37:13,060 --> 00:37:22,060 This week, when a friend was sick and dying, and my own fear filled me with helplessness, 436 00:37:22,060 --> 00:37:29,060 at seven in the morning I prepared a pot of chicken soup to deliver, believing that it contained 437 00:37:29,060 --> 00:37:36,060 the healing rituals passed on by my mother and grandmother, 438 00:37:36,060 --> 00:37:42,060 the joy of feeding so genetically a part of me, 439 00:37:42,060 --> 00:37:52,060 more potent than any stress management activity. 440 00:38:12,060 --> 00:38:28,060 I have an ongoing fantasy that someday the New England Journal of Medicine will publish an article 441 00:38:28,060 --> 00:38:35,060 about phase three testing, showing promising results, both antiviral and immune-boosting, 442 00:38:35,060 --> 00:38:42,060 from warm chocolate chip cookies, fresh out of the oven, 443 00:38:42,060 --> 00:38:51,060 chocolate melting on the tongue like holy wafers, outperforming AZT and pantamidine, 444 00:38:51,060 --> 00:39:00,060 brimming with non-toxicity and sweetness and joy, 445 00:39:00,060 --> 00:39:07,060 and irrefutable clinical evidence that these cookies can immobilize the virus 446 00:39:07,060 --> 00:39:36,060 and restore the T-cell counts to normal levels. 447 00:39:36,060 --> 00:39:46,060 The Critical Conditions Suite 448 00:39:46,060 --> 00:39:50,060 We began with part of the first scene of Verdi's La Traviata. 449 00:39:50,060 --> 00:39:56,060 Eliana Kotrebas was Violetta and Placido Domingo was Alfredo. 450 00:39:56,060 --> 00:40:02,060 Carlos Kleiber conducted the Bavarian State Orchestra and Opera Choir. 451 00:40:02,060 --> 00:40:10,060 We continued with Dear Sweet Filthy World from Elvis Costello's album The Juliet Letters. 452 00:40:10,060 --> 00:40:13,060 He was accompanied by the Brodsky Quartet. 453 00:40:13,060 --> 00:40:19,060 And we ended with Positive Women, Susan, from a CD called Heartbeats, 454 00:40:19,060 --> 00:40:24,060 New Songs from Minnesota for the AIDS Quilt Songbook. 455 00:40:24,060 --> 00:40:29,060 The text was by Susan Gladstone and the music by Janneke van der Velde. 456 00:40:29,060 --> 00:40:35,060 Carolyn Geltzer narrated and Janice Hunton conducted violinist Georgia Flizanes 457 00:40:35,060 --> 00:40:40,060 and the Minnesota Center for Arts Education Women's Choir. 458 00:40:40,060 --> 00:40:48,060 My name is Peter Schickele and the program is Schickele Mix from PRI, Public Radio International. 459 00:40:48,060 --> 00:40:52,060 You're listening to Schickele Mix on WNYC. 460 00:40:52,060 --> 00:40:55,060 We're talking about music associated with sickness, 461 00:40:55,060 --> 00:41:00,060 and I'm glad to report that we will now leave the bleakness of that last suite, 462 00:41:00,060 --> 00:41:04,060 no matter how touching and how true to life it might have been, 463 00:41:04,060 --> 00:41:08,060 and turn to a pair of medical stories with happy endings. 464 00:41:08,060 --> 00:41:12,060 We're going to hear two pieces about surgical operations. 465 00:41:12,060 --> 00:41:15,060 That's right. You heard me. Surgical operations. 466 00:41:15,060 --> 00:41:20,060 Hey, there is almost nothing that is beyond the scope of Schickele Mix. 467 00:41:20,060 --> 00:41:24,060 And I'm certainly not going to let the fact that I don't have a degree in medicine 468 00:41:24,060 --> 00:41:27,060 or the fact that my own doctor won't even return my calls 469 00:41:27,060 --> 00:41:32,060 prevent me from setting myself up as an expert on the music of surgery. 470 00:41:32,060 --> 00:41:35,060 The next suite has two pieces, 471 00:41:35,060 --> 00:41:41,060 and you wouldn't know that the first had anything to do with an operation from the music alone, 472 00:41:41,060 --> 00:41:45,060 but I'm including it because I thought you might be interested in the story behind it. 473 00:41:45,060 --> 00:41:51,060 People who know I've written film scores sometimes ask me how it gets decided 474 00:41:51,060 --> 00:41:56,060 which scenes will have music and how much discussion there is about the nature of the music, 475 00:41:56,060 --> 00:41:59,060 since music is so hard to describe. 476 00:41:59,060 --> 00:42:03,060 Naturally, the director and the composer talk about which scenes should have music, 477 00:42:03,060 --> 00:42:05,060 but they don't always agree. 478 00:42:05,060 --> 00:42:09,060 In 1971, I wrote the music for Silent Running. 479 00:42:09,060 --> 00:42:13,060 No, it's not a submarine movie. That's Run Silent Run Deep. 480 00:42:13,060 --> 00:42:17,060 This is a rather unusual conservationist sci-fi film 481 00:42:17,060 --> 00:42:23,060 with Bruce Dern and three very charming little robots named Huey, Dewey, and Louie. 482 00:42:23,060 --> 00:42:28,060 There's a quite touching scene in which Bruce Dern, the only remaining astronaut on the ship, 483 00:42:28,060 --> 00:42:32,060 has to operate on Huey, and I thought it should have music, 484 00:42:32,060 --> 00:42:34,060 and the director, Douglas Trumbull, didn't. 485 00:42:34,060 --> 00:42:38,060 By the way, I should say right here that I am not a composer 486 00:42:38,060 --> 00:42:41,060 who thinks that there should always be more music. 487 00:42:41,060 --> 00:42:44,060 In fact, I think most American movies have too much music. 488 00:42:44,060 --> 00:42:48,060 But I did think that the operation scene was ripe for scoring. 489 00:42:48,060 --> 00:42:50,060 Very subdued, not dramatic. 490 00:42:50,060 --> 00:42:54,060 And Trumbull said, OK, I still don't think the scene needs music, 491 00:42:54,060 --> 00:42:56,060 but go ahead and write it and we'll see. 492 00:42:56,060 --> 00:43:00,060 After we recorded it and saw it with a picture, he liked how it worked and kept it. 493 00:43:00,060 --> 00:43:04,060 I don't mean to be bragging here. I wrote other things that didn't work and were thrown out. 494 00:43:04,060 --> 00:43:10,060 But the point is, with movie music, the only thing that matters is how it works with the movie. 495 00:43:10,060 --> 00:43:15,060 It can be the greatest piece of music since Beethoven's Ninth Symphony or the Pachelbel Canon, 496 00:43:15,060 --> 00:43:18,060 but if it doesn't feel right with the picture, out it goes. 497 00:43:18,060 --> 00:43:24,060 Conversely, some thin, sparse thing that would bore you out of your mind in the concert hall 498 00:43:24,060 --> 00:43:28,060 might make a scene in a film have just the right temperature. 499 00:43:28,060 --> 00:43:30,060 So anyway, that's the first piece in the suitelet. 500 00:43:30,060 --> 00:43:33,060 The second piece is self-explanatory. 501 00:43:33,060 --> 00:43:39,060 In fact, it's one of the most self-explanatory pieces of adult program music that I've ever heard. 502 00:43:39,060 --> 00:43:45,060 It might be worth mentioning, however, that the work was written in the first half of the 18th century, 503 00:43:45,060 --> 00:43:48,060 long before the development of anesthesia. 504 00:43:48,060 --> 00:43:54,060 We'll switch to a military mode for this title and call the suitelet Operation, Operation. 505 00:43:54,060 --> 00:43:56,060 The second one's in quotation marks, right? 506 00:43:56,060 --> 00:44:11,060 I'll see you in eight and a half minutes. 507 00:44:27,060 --> 00:44:55,060 I'll see you in eight and a half minutes. 508 00:46:25,060 --> 00:46:54,780 The 509 00:46:54,780 --> 00:47:09,780 Apparatus 510 00:47:09,780 --> 00:47:30,940 The 511 00:47:30,940 --> 00:47:47,980 Apparatus descends 512 00:47:47,980 --> 00:48:06,100 with reflections of a serious nature, 513 00:48:06,100 --> 00:48:27,460 tying down the arms and legs. 514 00:48:27,460 --> 00:48:34,580 The incision is made. 515 00:48:34,580 --> 00:48:39,380 The forceps are inserted. 516 00:48:39,380 --> 00:48:45,220 The stone is removed. 517 00:48:45,220 --> 00:48:49,420 Even his voice falters. 518 00:48:49,420 --> 00:49:08,980 The blood flows out. 519 00:49:08,980 --> 00:49:23,420 The binding cords are loosened. 520 00:49:23,420 --> 00:49:44,220 The patient is put to bed. 521 00:49:44,220 --> 00:50:06,220 Convalescence 522 00:50:06,220 --> 00:50:16,220 Convalescence 523 00:50:16,220 --> 00:50:26,220 Convalescence 524 00:50:26,220 --> 00:50:48,220 Convalescence 525 00:50:48,220 --> 00:51:08,220 Convalescence 526 00:51:08,220 --> 00:51:28,220 Convalescence 527 00:51:28,220 --> 00:51:48,220 Convalescence 528 00:51:48,220 --> 00:52:08,220 Convalescence 529 00:52:08,220 --> 00:52:27,820 Convalescence 530 00:52:27,820 --> 00:52:32,060 Not often we have an all-LP suite these days. 531 00:52:32,060 --> 00:52:38,020 Operation Operation began with Tending to Huey from the movie Silent Running. 532 00:52:38,020 --> 00:52:43,380 Made by yet another serious composer who sold his soul for a fist full of dollars to the 533 00:52:43,380 --> 00:52:49,340 Hollywood moguls, Peter Shickley, who was also conducting the studio orchestra that 534 00:52:49,340 --> 00:52:54,500 included, as a matter of fact, Leonard Slatkin's mother on cello. 535 00:52:54,500 --> 00:52:57,780 It's interesting looking at these credits. 536 00:52:57,780 --> 00:53:03,340 Steve Boczko was one of the writers on that flick, and a young Ron Rifkin was one of the 537 00:53:03,340 --> 00:53:04,820 other astronauts. 538 00:53:04,820 --> 00:53:11,740 Okay, and then we heard one of the most unusual pieces I know, Le Tableau de l'Operation 539 00:53:11,740 --> 00:53:19,740 de la Taille by Marin Marais, the French viol player and composer of the late 17th and early 540 00:53:19,740 --> 00:53:21,620 18th centuries. 541 00:53:21,620 --> 00:53:28,020 This is a piece about a gallbladder operation, which presumably the composer went through. 542 00:53:28,020 --> 00:53:32,980 And as I mentioned before, he had to be tied down, partly because there was no anesthesia 543 00:53:32,980 --> 00:53:34,860 in those days. 544 00:53:34,860 --> 00:53:39,620 And those phrases read by the narrator are in the score. 545 00:53:39,620 --> 00:53:46,780 The narrator, by the way, was Russell Borud, and we heard Nancy Froseth on viola da gamba, 546 00:53:46,780 --> 00:53:51,700 and it's a little confusing, but I guess on harpsichord was BWM Ben. 547 00:53:51,700 --> 00:53:57,740 That's on a sound environment LP. 548 00:53:57,740 --> 00:54:03,180 By the way, when I was talking about Steve Boczko and Ron Rifkin, I didn't meet them. 549 00:54:03,180 --> 00:54:11,340 The composer is often the last person to be brought in on a film, and the... Okay, excuse 550 00:54:11,340 --> 00:54:12,340 me. 551 00:54:12,340 --> 00:54:13,340 Hello? 552 00:54:13,340 --> 00:54:16,340 Dr. Cronkite, I'm glad you finally called. 553 00:54:16,340 --> 00:54:22,220 Well, I've got a very serious condition here, and I'd like to know if it's possible to operate 554 00:54:22,220 --> 00:54:27,660 on my lower lip without it's affecting my speech or singing, because that's how I make 555 00:54:27,660 --> 00:54:29,140 much of my living. 556 00:54:29,140 --> 00:54:31,700 Well, it's a canker sore, actually. 557 00:54:31,700 --> 00:54:35,300 Yeah, but Dr. Cronkite, I've had this thing for days. 558 00:54:35,300 --> 00:54:37,740 I'm not sure how much longer I can bear up. 559 00:54:37,740 --> 00:54:42,380 Well, not all the time, but it hurts a lot when I eat candy bars, especially if they 560 00:54:42,380 --> 00:54:45,820 have a lot of nuts, you know, like a payday or a goo-goo cluster. 561 00:54:45,820 --> 00:54:46,820 Okay. 562 00:54:46,820 --> 00:54:47,820 Okay. 563 00:54:47,820 --> 00:54:48,820 I'll be there tomorrow. 564 00:54:48,820 --> 00:54:49,820 First thing. 565 00:54:49,820 --> 00:54:51,820 In the meantime, is there any, like, anesthetic? 566 00:54:51,820 --> 00:54:52,820 Yeah. 567 00:54:52,820 --> 00:54:53,820 Okay. 568 00:54:53,820 --> 00:54:54,820 Wait a minute. 569 00:54:54,820 --> 00:54:56,820 Take one every 15 minutes, right? 570 00:54:56,820 --> 00:54:57,820 Very dry. 571 00:54:57,820 --> 00:54:58,820 Gin or vodka. 572 00:54:58,820 --> 00:54:59,820 Doesn't matter. 573 00:54:59,820 --> 00:55:00,820 Okay. 574 00:55:00,820 --> 00:55:01,820 Thanks, Dr. Cronkite. 575 00:55:01,820 --> 00:55:05,980 Sorry, folks, but I don't want to let it get to the point where I have to give up the entrees 576 00:55:05,980 --> 00:55:13,020 I love ordering, you know, baklava and cotton candy and meringue glacé, and, well, it is 577 00:55:13,020 --> 00:55:14,020 time to go. 578 00:55:14,020 --> 00:55:16,500 We'll go out with Richard Strauss. 579 00:55:16,500 --> 00:55:22,060 This is members of the Orpheus Chamber Orchestra playing the first movement of the composer's 580 00:55:22,060 --> 00:55:29,060 Sonatine No. 1 for 16 wind instruments, subtitled, From an Invalid's Workshop. 581 00:55:52,060 --> 00:55:58,460 And that's Sickly Mix for this week. 582 00:55:58,460 --> 00:56:03,220 Our program is made possible with funds provided by the Corporation for Public Broadcasting 583 00:56:03,220 --> 00:56:05,900 and by this radio station and its members. 584 00:56:05,900 --> 00:56:07,340 Thank you, members. 585 00:56:07,340 --> 00:56:11,100 Our program is distributed by PRI, Public Radio International. 586 00:56:11,100 --> 00:56:13,900 Hey, I'm feeling better already. 587 00:56:13,900 --> 00:56:17,620 We'll tell you in a moment how you can get an official playlist of all the music on today's 588 00:56:17,620 --> 00:56:20,560 program with album numbers and everything. 589 00:56:20,560 --> 00:56:22,180 Just refer to the program number. 590 00:56:22,180 --> 00:56:25,740 This is program number 155. 591 00:56:25,740 --> 00:56:29,860 And this is Peter Sickly saying goodbye and reminding you that it don't mean a thing if 592 00:56:29,860 --> 00:56:32,660 it ain't got that certain je ne sais quoi. 593 00:56:32,660 --> 00:56:33,660 You're looking good. 594 00:56:33,660 --> 00:56:47,940 See you next week. 595 00:56:47,940 --> 00:56:52,300 If you'd like a copy of that playlist I mentioned, send a stamped, self-addressed envelope to 596 00:56:52,300 --> 00:56:53,860 Sickly Mix. 597 00:56:53,860 --> 00:56:58,300 That's S-C-H-I-C-K-E-L-E, Sickly Mix. 598 00:56:58,300 --> 00:57:05,180 Care of Public Radio International, 100 North 6th Street, Suite 900A, Minneapolis, Minnesota, 599 00:57:05,180 --> 00:57:06,180 55403. 600 00:57:06,180 --> 00:57:19,140 PRI, Public Radio International.