1 00:00:00,000 --> 00:00:05,200 Delighted that you've decided to join us and now let's see if Peter Shickley is there Peter 2 00:00:05,560 --> 00:00:07,560 We're counting on you 3 00:00:07,560 --> 00:00:14,560 You were gonna say that here's the theme 4 00:00:23,240 --> 00:00:24,120 Hello there 5 00:00:24,120 --> 00:00:30,200 I'm Peter sickly and this is sickly mix a program dedicated to the proposition that all 6 00:00:30,200 --> 00:00:37,740 musics are created equal or as Duke Ellington put it if it sounds good it is good and it's also good to 7 00:00:37,760 --> 00:00:45,800 Acknowledge that our bills are paid by the Corporation for public broadcasting and by this fine radio station right here on your digital dial 8 00:00:46,000 --> 00:00:51,080 where I hole up to hone these wholesome packets of perspicacity to perfection and 9 00:00:51,400 --> 00:00:58,120 Whence the finished work of art is diligently distributed by PRI public radio international 10 00:00:58,120 --> 00:01:04,680 It's a beautiful lazy summer afternoon, and you're lying on a reclining chair in your backyard 11 00:01:05,480 --> 00:01:07,480 half asleep half awake 12 00:01:10,160 --> 00:01:13,020 Gradually you become aware of an ominous sound 13 00:01:19,840 --> 00:01:21,760 It disappears around the house 14 00:01:21,760 --> 00:01:28,480 but you know you're in trouble because it has to be one of only two things a swarm of killer bees or 15 00:01:28,760 --> 00:01:36,040 An accordionist launching into Lady of Spain no time to think about which would be worse you bolt for the door 16 00:01:36,040 --> 00:01:38,120 But it's coming around the other side of the house 17 00:01:38,120 --> 00:01:45,960 You made it you're safe at least for the moment then you suddenly remember that you left a window open upstairs 18 00:01:45,960 --> 00:01:52,960 And to your horror you realize that it's already in the house. It's coming down the stairs this time 19 00:01:52,960 --> 00:02:12,960 There's no place to hide 20 00:02:12,960 --> 00:02:16,960 Wake up wake up. Come on. Come on wake up. It's okay. It's only a dream 21 00:02:16,960 --> 00:02:18,960 You're having a bad dream, but everything's gonna be all right 22 00:02:18,960 --> 00:02:26,720 It's okay. It's only a dream. You're having a bad dream, but everything's all right. You're listening to shickly mix just relax 23 00:02:27,240 --> 00:02:28,880 Everything's fine 24 00:02:28,880 --> 00:02:33,400 Listen if it makes you feel any better. You're not the first person to have that nightmare 25 00:02:33,960 --> 00:02:40,880 But I hope you won't hold it against the accordion. It's not the instruments fault that too many people play Lady of Spain 26 00:02:41,680 --> 00:02:47,120 By the way having just had one did you ever wonder where the word nightmare comes from? 27 00:02:47,120 --> 00:02:52,040 It is not as you might have guessed some kind of vampire horse 28 00:02:52,600 --> 00:02:56,160 No mare is a Middle English word akin 29 00:02:56,160 --> 00:03:00,800 I happen to know to the old high German Mara meaning incubus 30 00:03:01,120 --> 00:03:05,120 It's an evil supernatural being that causes bad dreams 31 00:03:05,880 --> 00:03:09,760 It's also related to the Serbo-Croatian word for 32 00:03:10,600 --> 00:03:12,160 Okay, okay 33 00:03:12,160 --> 00:03:15,480 Okay, I guess I can't argue with the ump on that call 34 00:03:15,480 --> 00:03:18,920 Heating the exhortations of the irrelevancy alarm 35 00:03:18,920 --> 00:03:20,920 Let's return to today's topic 36 00:03:21,360 --> 00:03:26,840 The accordion was invented in the first half of the 19th century and by the beginning of the 20th century 37 00:03:26,840 --> 00:03:30,160 It had like killer bees spread all over the world 38 00:03:30,800 --> 00:03:33,360 But it has always been and continues to be 39 00:03:34,080 --> 00:03:41,520 Primarily what the music dictionary calls an instrument of the people as if audiences at classical concerts 40 00:03:41,520 --> 00:03:43,520 Weren't people you know what I'm saying? 41 00:03:43,520 --> 00:03:47,840 Well, we all know what it means. You know, it's interesting about reverse snobbism 42 00:03:47,840 --> 00:03:50,800 I know a clothing store whose merchandise 43 00:03:51,280 --> 00:03:57,520 Includes overalls and work shirts and stuff like that and their motto is real clothes for real people 44 00:03:57,840 --> 00:04:01,920 And so of course I shop there. Hey, I don't want to risk becoming imaginary 45 00:04:02,480 --> 00:04:04,400 The store is miles from my home 46 00:04:04,400 --> 00:04:13,600 But I drive there regularly and the accordion is used in all sorts of non-classical music and listened to by all sorts of very real people 47 00:04:14,320 --> 00:04:21,040 On another edition of this show. We hear examples of the German polka band tradition the Tex-Mex tradition of Tejano music 48 00:04:21,600 --> 00:04:27,680 The Parisian tradition the tango tradition of Argentina and the Cajun tradition of Louisiana 49 00:04:28,000 --> 00:04:29,680 And there are many others 50 00:04:29,680 --> 00:04:36,080 But as a matter of fact, there is some classical music written for accordion and today we're going to check some of it out 51 00:04:36,400 --> 00:04:40,080 Don't worry. We won't be hearing enough of it to turn you into a non-person 52 00:04:40,960 --> 00:04:44,000 Like the players of other instruments with small repertoires 53 00:04:44,560 --> 00:04:50,720 Classical accordionists often resort to transcriptions, but we're going to be concentrating on original music 54 00:04:51,120 --> 00:04:57,440 Having said that I have to mention that the opening movement of our first suite was originally written for harmonium 55 00:04:57,440 --> 00:05:01,520 But playing a harmonium piece on the accordion hardly counts as a transcription 56 00:05:02,080 --> 00:05:06,260 Since in terms of sound production the two instruments are practically identical 57 00:05:07,040 --> 00:05:09,040 They're both free reed organs 58 00:05:09,120 --> 00:05:15,280 The main difference between them is that on the harmonium you work the bellows with your feet and on the accordion you do it with 59 00:05:15,280 --> 00:05:16,640 Your left arm 60 00:05:16,640 --> 00:05:23,520 Okay, the international suite for unaccompanied accordion has three movements and lasts about six and a half minutes 61 00:05:23,520 --> 00:05:27,520 I'll see you then 62 00:05:53,520 --> 00:05:56,400 So 63 00:06:23,520 --> 00:06:25,760 So 64 00:06:53,520 --> 00:06:56,320 So 65 00:07:24,480 --> 00:07:26,480 So 66 00:07:26,480 --> 00:07:40,480 So 67 00:07:56,480 --> 00:07:58,480 So 68 00:07:58,480 --> 00:08:18,480 So 69 00:08:28,480 --> 00:08:30,480 So 70 00:08:30,480 --> 00:08:40,480 So 71 00:08:40,480 --> 00:08:50,480 So 72 00:08:50,480 --> 00:09:04,480 So 73 00:09:20,480 --> 00:09:22,480 So 74 00:09:22,480 --> 00:09:44,480 So 75 00:09:52,480 --> 00:10:02,480 So 76 00:10:02,480 --> 00:10:12,480 So 77 00:10:12,480 --> 00:10:22,480 So 78 00:10:22,480 --> 00:10:34,480 So 79 00:10:34,480 --> 00:10:44,480 So 80 00:11:04,480 --> 00:11:06,480 So 81 00:11:06,480 --> 00:11:16,480 So 82 00:11:36,480 --> 00:11:38,480 So 83 00:11:48,960 --> 00:11:56,480 The three movements of the international suite for unaccompanied accordion were by max rager leaf kaiser and 84 00:11:57,100 --> 00:11:58,480 Aaronj kernes 85 00:11:58,480 --> 00:12:00,980 Rager wrote the romance in a minor in 1904 86 00:12:02,320 --> 00:12:04,640 It was performed here by helmet yacobs 87 00:12:04,640 --> 00:12:09,920 Leaf kaiser is a danish composer and the little piece we heard marked quasi waltz 88 00:12:10,480 --> 00:12:12,480 Comes from a work called confetti 89 00:12:12,880 --> 00:12:15,680 The accordionist was geard drogsvold 90 00:12:16,640 --> 00:12:20,320 My apologies if my pronunciation of norwegian isn't up to snuff 91 00:12:21,280 --> 00:12:25,140 There seems to be a lot of interest in the classical accordion in scandinavia 92 00:12:25,680 --> 00:12:27,680 Hey, they go for months without sunshine 93 00:12:28,320 --> 00:12:30,320 A sweet little interlude 94 00:12:30,320 --> 00:12:38,160 Then our finale was the phantom polka by aaron j kernes, which is based on a series of visual images 95 00:12:38,720 --> 00:12:40,640 the composer says 96 00:12:40,640 --> 00:12:47,920 For a reason I can't explain soon after beginning this polka. I thought of a movie abbott and costello in the haunted house 97 00:12:48,480 --> 00:12:53,760 The specific images brought to mind were those of a translucent ghost appearing on a stairway 98 00:12:53,760 --> 00:13:00,980 And the same essentially tame yet scary apparition in a large ballroom dancing with hundreds of fellow phantoms 99 00:13:01,680 --> 00:13:06,480 This vision appeared in 30s or 40s black and white on a fuzzy 60s tv 100 00:13:07,280 --> 00:13:13,140 The polka is formed as a little story and as in many of my compositions. It is eclectic 101 00:13:14,400 --> 00:13:16,320 Aye that it is 102 00:13:16,320 --> 00:13:21,220 It was played by the man who commissioned it the american accordionist guy klusovic 103 00:13:21,220 --> 00:13:26,180 Music my apologies if my pronunciation of american isn't up to snuff 104 00:13:26,980 --> 00:13:30,840 The liner notes say that he grew up in a slavic community in western pennsylvania 105 00:13:31,700 --> 00:13:33,540 and developed 106 00:13:33,540 --> 00:13:35,540 Sorry folks 107 00:13:35,700 --> 00:13:36,740 Hello 108 00:13:36,740 --> 00:13:42,660 Yeah, but uh, but I tell you I rarely have guest artists and when I do it's planned well in advance 109 00:13:43,140 --> 00:13:45,700 You know today's show is is all mapped out 110 00:13:45,700 --> 00:13:50,740 Hey, I really can't talk right now. Okay. Uh, why don't you give me your name and number and i'll call you after the show? 111 00:13:50,740 --> 00:13:57,860 Okay. Okay. Yeah, go ahead. Lou s-q-u-e-e-z-e-a 112 00:13:59,140 --> 00:14:01,140 n-a 113 00:14:01,540 --> 00:14:06,740 Squeeziana, your name is lou squeezy. Anna. Wait a minute. Wait a minute. Lou squeezy. Anna 114 00:14:06,740 --> 00:14:12,980 Okay, don't tell me you play the accordion and you live in new orleans right an agent for accordionist same difference 115 00:14:12,980 --> 00:14:14,420 What's the number? 116 00:14:14,420 --> 00:14:19,220 Got it. Okay. I'm on the air here. I cannot talk now. I'm going to have to hang up. Bye 117 00:14:20,100 --> 00:14:26,260 I hate to do that. But agents are like door-to-door salesmen. I'm old enough to remember them. They were hard to get rid of 118 00:14:27,220 --> 00:14:30,100 Hello, i'm the fuller brush man. Do you have a minute? 119 00:14:30,100 --> 00:14:36,500 My name is peter shickley and I moonlight as the host of shickley mix from pri public radio international 120 00:14:36,980 --> 00:14:43,380 The carol flowers society recognizes those listeners who have made a commitment to wnyc's future by including 121 00:14:43,380 --> 00:14:49,140 The station in their estate plans or by making a life income gift if you've done so, please let us know 122 00:14:49,300 --> 00:14:57,140 We want to thank you to learn how to include wnyc in your estate plans call dhedra at two one two six six nine eight nine 123 00:14:57,460 --> 00:15:00,980 Eight two you have the power to make a difference 124 00:15:06,420 --> 00:15:10,100 You're listening to shickley mix on 93.9 wnyc 125 00:15:10,100 --> 00:15:12,500 93.9 wnyc 126 00:15:12,500 --> 00:15:18,660 We're talking about the accordion an instrument of the people and its relationship to classical music 127 00:15:18,980 --> 00:15:22,740 You know the kind of music associated with effete snobs like myself 128 00:15:23,540 --> 00:15:26,740 I call today's show beer drinker at a cocktail party 129 00:15:27,060 --> 00:15:33,940 And we're about to hear some accordion music that is about as far from the beer barrel polka as it's possible to get 130 00:15:33,940 --> 00:15:39,780 We're dealing now with what the composer performer whose concept it is calls the expanded accordion 131 00:15:40,340 --> 00:15:44,980 This is meditative music that takes the accordion where no man has ever gone before 132 00:15:45,940 --> 00:15:47,940 Which figures because it's by a woman 133 00:15:47,940 --> 00:16:04,020 This is a section from a larger work and i'll be back in about five minutes 134 00:16:17,940 --> 00:16:20,820 So 135 00:16:47,940 --> 00:16:50,820 So 136 00:17:17,940 --> 00:17:20,420 So 137 00:17:47,940 --> 00:17:49,940 So 138 00:17:49,940 --> 00:18:04,900 So 139 00:18:20,900 --> 00:18:22,900 So 140 00:18:22,900 --> 00:18:34,900 So 141 00:18:34,900 --> 00:18:56,900 So 142 00:19:04,900 --> 00:19:14,900 So 143 00:19:14,900 --> 00:19:24,900 So 144 00:19:24,900 --> 00:19:44,900 So 145 00:19:54,900 --> 00:20:04,900 So 146 00:20:04,900 --> 00:20:14,900 So 147 00:20:14,900 --> 00:20:36,900 So 148 00:20:44,900 --> 00:20:54,900 So 149 00:21:07,220 --> 00:21:10,100 That was this great fool's stage 150 00:21:10,740 --> 00:21:12,900 the fourth section of crone music 151 00:21:12,900 --> 00:21:17,940 Which the composer pauline oliveros wrote for a production of shakespeare's lyre 152 00:21:19,140 --> 00:21:23,380 It's a beautiful engaging river of sound. I would have liked to have seen the production 153 00:21:24,580 --> 00:21:27,380 Here's a description of the expanded accordion 154 00:21:28,900 --> 00:21:33,220 Oliveros uses four digital delay processors during performance 155 00:21:33,620 --> 00:21:37,860 Each output from the right and left hand is sent separately to a processor 156 00:21:37,860 --> 00:21:43,000 Processor which she controls to accomplish layering pitch bending or modulation 157 00:21:43,780 --> 00:21:46,020 Pitch bending is controlled with foot pedals 158 00:21:46,500 --> 00:21:50,040 The results are sent to two other processors for reverberations 159 00:21:50,660 --> 00:21:56,120 Which simulate a variety of aural experiences from landscapes and indoor spaces? 160 00:21:57,060 --> 00:22:01,620 The second pair of processors and the mixing is controlled by a second person 161 00:22:02,400 --> 00:22:04,400 panaiotis 162 00:22:04,400 --> 00:22:10,640 Okay, it's tidbit time at the sickly mix accordion academy double-barreled tidbit today 163 00:22:11,200 --> 00:22:16,900 Okay, I know I said we'd be concentrating on original classical music for accordion 164 00:22:17,440 --> 00:22:19,920 But what we're about to hear is an arrangement now 165 00:22:19,920 --> 00:22:23,360 I've got a reason for making this deviation from stated policy 166 00:22:23,360 --> 00:22:34,240 But before we get to that, let's hear the original that's going to be arranged. Here's the way the composer wrote it 167 00:22:53,360 --> 00:22:56,240 So 168 00:23:23,360 --> 00:23:26,240 So 169 00:23:54,240 --> 00:23:56,240 So 170 00:23:56,240 --> 00:24:06,240 So 171 00:24:06,240 --> 00:24:18,240 So 172 00:24:36,240 --> 00:24:38,240 So 173 00:24:38,240 --> 00:25:00,240 So 174 00:25:08,240 --> 00:25:20,240 So 175 00:25:20,240 --> 00:25:30,240 So 176 00:25:30,240 --> 00:25:39,520 So 177 00:25:44,560 --> 00:25:49,520 Tango for piano by igor stravinsky played by his son selima stravinsky 178 00:25:50,400 --> 00:25:53,620 The composer had concertized in argentina in the 1930s 179 00:25:54,560 --> 00:25:57,600 So he had heard tangos from the horse's mouth as it were 180 00:25:57,600 --> 00:26:05,780 Now, of course, one of the instruments most strongly associated with tango is the accordion or its close relative the bandoneon 181 00:26:06,400 --> 00:26:08,800 So what happens if you play that tango on the accordion? 182 00:26:09,040 --> 00:26:10,000 Well personally 183 00:26:10,000 --> 00:26:14,240 I think you can make a good argument for saying that it sounds at least as good as 184 00:26:14,640 --> 00:26:20,240 And maybe even better than the original piano version. Now. I'm not completely serious about that 185 00:26:20,720 --> 00:26:24,960 One of the nice things about certain choices in this world is that you don't have to make them 186 00:26:24,960 --> 00:26:30,580 Both versions are there to be heard, but I must say the accordion version sounds pretty steamy 187 00:26:54,960 --> 00:26:57,920 So 188 00:27:24,960 --> 00:27:27,360 So 189 00:27:54,960 --> 00:27:57,360 So 190 00:28:25,760 --> 00:28:27,760 So 191 00:28:27,760 --> 00:28:41,760 So 192 00:28:57,760 --> 00:28:59,760 So 193 00:29:27,760 --> 00:29:29,760 So 194 00:29:29,760 --> 00:29:50,720 So 195 00:29:59,760 --> 00:30:06,720 So 196 00:30:06,720 --> 00:30:26,000 So 197 00:30:36,720 --> 00:30:44,000 So 198 00:30:52,720 --> 00:30:56,580 Stravinsky's tango played on the accordion by stefan husong 199 00:30:57,120 --> 00:31:01,520 Who I think made the arrangement the liner notes are not completely clear on that 200 00:31:01,520 --> 00:31:06,500 But stravinsky actually made an arrangement himself of the tango for a bunch of instruments 201 00:31:06,900 --> 00:31:11,860 And he approved of a couple of other arrangements, but none of them uses the accordion 202 00:31:12,260 --> 00:31:18,180 Now i'm not saying that just because the accordion is so strongly associated with tango music 203 00:31:18,740 --> 00:31:21,780 That you ought to use an accordion if you write a tango 204 00:31:22,260 --> 00:31:27,780 In fact composers often make a point of distancing themselves when they borrow material or styles 205 00:31:27,780 --> 00:31:33,080 And certainly stravinsky was a consummate virtuoso at distancing himself 206 00:31:34,200 --> 00:31:37,960 That is no matter what he took as a model. He always sounded like himself 207 00:31:38,760 --> 00:31:41,960 Even his piece for woody herman's jazz band sounds russian 208 00:31:42,760 --> 00:31:44,760 I met stravinsky once he was 209 00:31:49,800 --> 00:31:52,120 I met stravinsky once he was a 210 00:31:52,120 --> 00:31:55,800 Person hello 211 00:31:57,000 --> 00:31:58,120 look 212 00:31:58,120 --> 00:32:05,960 Look, mr. Squisiana. I said I couldn't yeah, look i'm sure that all the accordionists you handle are good and she may be 213 00:32:06,760 --> 00:32:10,760 Well, you see that's a problem right there. You say she's played in all the best nightclubs 214 00:32:10,920 --> 00:32:16,520 Well, this is a program about classical music for accordion. So, you know, mr. Squisiana. It's true 215 00:32:16,520 --> 00:32:21,960 It's really not going to work out. I mean lady of spain or hernando's hideaway 216 00:32:22,920 --> 00:32:28,600 Now, I don't want you to think that i'm a snob or anything, but pieces like that simply are not going to fit in 217 00:32:29,000 --> 00:32:34,920 I mean your client really wouldn't feel comfortable at the intellectual level i'm operating at here 218 00:32:34,920 --> 00:32:39,960 So so look i'm going to hang up and i'll call you after the show. Please don't call back 219 00:32:40,840 --> 00:32:43,400 Boy, I guess that's why he's an agent 220 00:32:43,400 --> 00:32:48,120 Anyway, what was I talking about? Oh, yeah meeting stravinsky in 221 00:32:48,820 --> 00:32:52,540 1959 I was part of a special one-week seminar at princeton 222 00:32:53,000 --> 00:32:56,520 And stravinsky came and answered questions and we all got to meet him 223 00:32:57,160 --> 00:33:02,760 I was 24 years old and terribly enamored of his music. I mean, I still love it 224 00:33:03,000 --> 00:33:07,000 But in those days well a piece I wrote a couple of years before that seminar 225 00:33:07,080 --> 00:33:13,000 I can remember working on it with the score of stravinsky's symphony and three movements open in front of me 226 00:33:13,000 --> 00:33:15,580 That's how much I was emulating his orchestration 227 00:33:16,680 --> 00:33:21,480 Anyway, when I actually got to shake his hand naturally, I didn't know what to say 228 00:33:22,200 --> 00:33:26,120 All I could do was mumble something like i'm very pleased to meet you 229 00:33:27,160 --> 00:33:30,600 I wish I had had the courage to express what was in my heart 230 00:33:31,160 --> 00:33:32,680 I should have said 231 00:33:32,680 --> 00:33:38,680 I'm, very pleased to meet you and I hope you don't worry about people forgetting your music when you're dead and gone 232 00:33:38,680 --> 00:33:44,520 Because long after you've kicked the bucket, mr. Stravinsky, i'll be playing your works on the radio program 233 00:33:44,600 --> 00:33:46,280 I'm going to have someday 234 00:33:46,280 --> 00:33:52,620 My name is peter shickley and the show will be called shickley mix from pri public radio international 235 00:33:53,320 --> 00:33:55,500 You're listening to shickley mix on wnyc 236 00:33:56,440 --> 00:33:59,640 Today's show is called beer drinker at a cocktail party 237 00:34:00,040 --> 00:34:03,320 We're talking about the accordion in the world of classical music 238 00:34:03,320 --> 00:34:08,120 About how the proletarian image of the accordion is not the whole story 239 00:34:08,840 --> 00:34:13,400 And I have to say that researching this program was a real ear opener for me 240 00:34:13,880 --> 00:34:18,280 I hadn't realized what an excellent chamber music instrument the accordion is 241 00:34:18,920 --> 00:34:23,580 It blends very well and interestingly with other wind and string instruments 242 00:34:24,200 --> 00:34:29,160 We're going to hear two suites of chamber music including accordion. They both have three movements 243 00:34:29,160 --> 00:34:33,080 The first suite is the more introspective of the two 244 00:34:33,400 --> 00:34:37,080 The composer of the opening number points out something that hadn't occurred to me 245 00:34:37,240 --> 00:34:44,040 And that's that part of the reason the instruments blend so well is that they're all reed instruments clarinets bassoon 246 00:34:44,500 --> 00:34:50,360 Saxophone and accordion in the middle work. We hear the accordion with a string instrument and a piano 247 00:34:51,080 --> 00:34:56,360 And the last piece is a song set to a truly heartbreaking text 248 00:34:56,360 --> 00:35:01,160 It's a poem called the garden a little garden fragrant and full of roses 249 00:35:01,160 --> 00:35:06,520 The path is narrow and a little boy walks along it a little boy a sweet boy 250 00:35:06,920 --> 00:35:12,120 Like that growing blossom when the blossom comes to bloom the little boy will be no more 251 00:35:12,120 --> 00:35:25,560 We'll call this chamber suite number one il penseroso. I'll be back in about seven minutes 252 00:35:42,120 --> 00:35:44,520 So 253 00:36:12,120 --> 00:36:14,520 So 254 00:36:42,120 --> 00:36:45,080 So 255 00:37:12,120 --> 00:37:15,080 So 256 00:37:42,120 --> 00:37:44,120 So 257 00:38:12,120 --> 00:38:15,080 So 258 00:38:42,120 --> 00:38:45,080 So 259 00:39:13,080 --> 00:39:15,080 So 260 00:39:15,080 --> 00:39:27,080 So 261 00:39:45,080 --> 00:39:47,080 So 262 00:40:15,080 --> 00:40:17,080 Hmm 263 00:40:45,080 --> 00:40:47,080 So 264 00:40:47,080 --> 00:40:57,080 So 265 00:41:17,080 --> 00:41:19,080 Foreign 266 00:41:47,080 --> 00:41:49,080 Foreign 267 00:42:17,800 --> 00:42:20,300 Chamber suite number one il penseroso 268 00:42:22,200 --> 00:42:27,240 To begin with we heard the first section of a work called parterre by mary ellen childs 269 00:42:27,720 --> 00:42:29,480 performed by relish 270 00:42:29,480 --> 00:42:31,480 the ensemble for contemporary music 271 00:42:32,200 --> 00:42:36,520 Parterre refers to an ornamental patterned garden good title for the piece 272 00:42:37,400 --> 00:42:41,480 The other two composers are new to me. The next piece was the interlude from ted 273 00:42:41,480 --> 00:42:48,220 Zarlengo's suite for accordion cello and piano played by robert devine and richard slavich 274 00:42:48,620 --> 00:42:50,620 with the composer on piano 275 00:42:51,020 --> 00:42:53,420 And the final song was by andy pape 276 00:42:54,140 --> 00:43:01,100 P-a-p-e once again, i'm not sure of the pronunciation. He was born in california, but seems to live in denmark 277 00:43:02,220 --> 00:43:04,140 Just a beautiful setting 278 00:43:04,140 --> 00:43:07,100 of a wrenching poem from a collection of texts 279 00:43:07,100 --> 00:43:13,200 Written by children and adolescents in the nazi extermination camp at teresienstadt 280 00:43:14,720 --> 00:43:19,040 The soprano was lisa lotta nielsen singing in that childlike voice 281 00:43:19,520 --> 00:43:23,280 The violinist was soren kass kleysen and the accordionist 282 00:43:24,000 --> 00:43:28,720 Gerd drogsvold whom we heard earlier in the opening suite on the program 283 00:43:30,000 --> 00:43:35,280 The accordion provided such an effective bass in that song strong, but not intrusive 284 00:43:35,280 --> 00:43:38,640 Those three pieces have definitely given me some things to think about 285 00:43:39,520 --> 00:43:44,560 And you know, that's one of the highest compliments a composer can give it usually concerns orchestration 286 00:43:45,200 --> 00:43:50,640 Several years ago after a world premiere. I heard another composer tell the composer of the new work 287 00:43:50,960 --> 00:43:53,600 There are definitely some things in there. I plan to steal 288 00:43:54,640 --> 00:43:57,920 Our chamber suite number two is subtitled l'allegro 289 00:43:58,480 --> 00:44:00,880 You know allegro has come to mean fast in music 290 00:44:00,880 --> 00:44:09,060 But the italian word actually means lively or spirited again three movements and they last about seven and a half minutes 291 00:44:30,880 --> 00:44:33,440 So 292 00:45:00,880 --> 00:45:02,880 Foreign 293 00:45:30,880 --> 00:45:33,840 So 294 00:46:00,880 --> 00:46:02,880 So 295 00:46:30,880 --> 00:46:33,440 So 296 00:47:00,880 --> 00:47:03,440 So 297 00:47:30,880 --> 00:47:33,600 So 298 00:48:00,880 --> 00:48:03,840 So 299 00:48:30,880 --> 00:48:32,880 So 300 00:49:00,880 --> 00:49:02,880 So 301 00:49:02,880 --> 00:49:14,880 So 302 00:49:32,880 --> 00:49:34,880 So 303 00:50:02,880 --> 00:50:04,880 So 304 00:50:32,880 --> 00:50:34,880 So 305 00:51:02,960 --> 00:51:04,960 So 306 00:51:17,760 --> 00:51:19,760 Chamber suite number two l'allegro 307 00:51:20,240 --> 00:51:22,880 we began with an argentine tango from the 308 00:51:23,580 --> 00:51:30,160 1940s or 50s that to me feels much more like a piece of chamber music than like music for social dancing 309 00:51:30,160 --> 00:51:35,760 It's called a fuego lento and it's by the pianist composer. Horacio. Salgan 310 00:51:36,720 --> 00:51:42,020 The middle piece was christian marclay's ping-pong polka for accordion and turntables 311 00:51:42,640 --> 00:51:47,920 The title refers according to the composer to the old stereo aesthetic the ping-pong effect 312 00:51:48,400 --> 00:51:52,720 As well as the exchange between the live and the pre-recorded material 313 00:51:53,280 --> 00:51:58,980 Guy klusevec composed and performed the accordion part christian marclay himself was on the turntables 314 00:51:58,980 --> 00:52:02,020 The last piece comes from the middle of the 19th century 315 00:52:02,020 --> 00:52:08,340 it was the eighth of a set of pieces called leisure moments by giulio regandi a 316 00:52:08,740 --> 00:52:16,740 Composer for and virtuoso on the guitar and the concertina which is a smaller cousin of the accordion and that's what we heard 317 00:52:17,940 --> 00:52:24,440 Quintessential parlor music from victorian england played here by douglas rogers. The pianist was julie lustman 318 00:52:24,440 --> 00:52:26,440 Uh 319 00:52:26,920 --> 00:52:29,160 Well, ladies and gentlemen i've been finessed here 320 00:52:29,880 --> 00:52:36,840 Remember louisouisiana the agent who called earlier trying to get me to put an accordionist he represents on the show 321 00:52:37,400 --> 00:52:38,840 Well, she's here 322 00:52:38,840 --> 00:52:42,280 She's not only here. She brought three other musicians with her 323 00:52:42,600 --> 00:52:46,860 I don't know what it is about the accordion every time I do a program on accordions 324 00:52:47,080 --> 00:52:49,400 Somebody shows up at the studio wanting to play 325 00:52:49,400 --> 00:52:54,920 Anyway, so what am I going to do? I've told her she can go ahead and do one number but she knows that there's not 326 00:52:54,920 --> 00:53:19,340 Going to be any chit chat and she has promised to play a classical selection. Okay, miss castle. It's all yours 327 00:53:24,920 --> 00:53:27,880 So 328 00:53:54,920 --> 00:53:57,880 So 329 00:54:24,920 --> 00:54:27,880 So 330 00:54:54,920 --> 00:54:56,920 Uh 331 00:54:58,760 --> 00:55:00,520 Uh, yes 332 00:55:00,520 --> 00:55:04,680 well, uh, that was miss joanne castle and a 333 00:55:05,880 --> 00:55:07,400 chamber ensemble 334 00:55:07,400 --> 00:55:11,560 Performing an excerpt from rimsky-korsakov's opera the czar sultan 335 00:55:12,920 --> 00:55:17,580 That instrumental interlude is called flyetsky bumblebee. Anna vichka 336 00:55:18,280 --> 00:55:19,560 and uh 337 00:55:19,560 --> 00:55:26,460 I feel duty bound to mention that unlike most of the other music on today's program. That is an arrangement 338 00:55:28,040 --> 00:55:30,040 Okay now miss castle if you and your 339 00:55:30,680 --> 00:55:36,700 Colleagues would kindly just wait a moment before packing up. I'll i'll get some music on here so I can kill the microphones 340 00:55:37,560 --> 00:55:41,180 We're going to go out with some more music by. Mr. Giulio ragondi 341 00:55:41,180 --> 00:55:50,560 Serenade in a for concertina and piano 342 00:56:02,800 --> 00:56:04,800 And that's sickly mix for this week 343 00:56:04,800 --> 00:56:11,680 Our program is made possible with funds provided by the corporation for public broadcasting and by this radio station and its members 344 00:56:11,760 --> 00:56:13,200 Thank you members 345 00:56:13,200 --> 00:56:17,620 And not only that our program is distributed by pri public radio international 346 00:56:18,800 --> 00:56:25,040 We'll tell you in a moment how you can get an official playlist of all the music on today's program with album numbers and everything 347 00:56:25,520 --> 00:56:28,820 Just refer to the program number. This is program number 158 348 00:56:28,820 --> 00:56:36,100 158 and this is peter sickly saying goodbye and reminding you that it don't mean a thing if it ain't got that certain 349 00:56:37,460 --> 00:56:39,460 You're looking good. See you next week 350 00:56:46,020 --> 00:56:52,100 If you'd like a copy of that playlist I mentioned send a stamped self-addressed envelope to sickly mix that's 351 00:56:52,100 --> 00:56:58,280 S-c-h-i-c-k-e-l-e sickly mix care of public radio international 352 00:56:58,820 --> 00:57:01,380 100 north 6th street suite 900 a 353 00:57:02,000 --> 00:57:04,000 minneapolis, minnesota 354 00:57:04,000 --> 00:57:06,000 55403 355 00:57:06,000 --> 00:57:08,000 p-r-i 356 00:57:08,000 --> 00:57:23,000 public radio international