1 00:00:00,000 --> 00:00:08,600 Hello there, I'm Peter Sickily and this is Sickily Mix, a program dedicated to the proposition 2 00:00:08,600 --> 00:00:11,360 that all musics are created equal. 3 00:00:11,360 --> 00:00:15,960 Or as Duke Ellington put it, if it sounds good, it is good. 4 00:00:15,960 --> 00:00:19,080 And boy do we have a treat in store for you. 5 00:00:19,080 --> 00:00:24,480 As you may know, our bills are paid by this fine radio station and our program is distributed 6 00:00:24,480 --> 00:00:27,680 by PRI, Public Radio International. 7 00:00:27,680 --> 00:00:33,400 And they are inviting you to be a guest at the Gala Benefit Concert, which is about to 8 00:00:33,400 --> 00:00:35,720 begin here in Oatson Hall. 9 00:00:35,720 --> 00:00:41,080 A beautiful chamber music auditorium, Mr. Oatson not only provided the money for building 10 00:00:41,080 --> 00:00:47,320 the hall, he has also donated its use for this glittering gathering of avid aficionados 11 00:00:47,320 --> 00:00:51,240 and stalwart supporters of real radio. 12 00:00:51,240 --> 00:00:54,080 Radio that makes a gosh darn difference. 13 00:00:54,080 --> 00:00:58,860 Now in about three quarters of an hour we are going to be witnessing the world premiere 14 00:00:58,860 --> 00:01:04,600 of a brand new quartet for flute, violin, viola and cello composed especially for this 15 00:01:04,600 --> 00:01:09,800 occasion by, well, modesty forbids. 16 00:01:09,800 --> 00:01:16,560 And I don't mind telling you, I am not only excited, I am also just a wee bit nervous 17 00:01:16,560 --> 00:01:22,400 because I am not usually called upon to write a piece in one day. 18 00:01:22,400 --> 00:01:27,360 I heard once that Darius Millot, the French composer, was commissioned to write something 19 00:01:27,360 --> 00:01:30,520 for a famous conservatory's anniversary. 20 00:01:30,520 --> 00:01:34,560 And other composers were given commissions for big orchestral and choral and chamber 21 00:01:34,560 --> 00:01:39,240 music pieces and he was only asked to write a modest piano piece. 22 00:01:39,240 --> 00:01:45,280 So he called his work Une Journée, One Day, which is how long he spent writing it. 23 00:01:45,280 --> 00:01:48,400 But listen, Millot was notoriously fertile. 24 00:01:48,400 --> 00:01:53,120 I usually like to mull material over for weeks or even months. 25 00:01:53,120 --> 00:01:57,440 But when the station manager called up the night before last and said that the vocal 26 00:01:57,440 --> 00:02:02,560 instrumental group scheduled to perform at this concert, the Pavarotti Domingo Carreras 27 00:02:02,560 --> 00:02:07,840 Chamber Music Ensemble, when they cancelled at the last minute, I was informed that I 28 00:02:07,840 --> 00:02:10,120 had to write a new piece for the occasion. 29 00:02:10,120 --> 00:02:14,960 Well, a man's got to do what a man's got to do if you catch my drift. 30 00:02:14,960 --> 00:02:21,600 So he did sweeten the pot a bit by offering to let me use his cabin on Lake Purdy to compose 31 00:02:21,600 --> 00:02:22,600 the piece. 32 00:02:22,600 --> 00:02:24,680 And I must say, it's very nice. 33 00:02:24,680 --> 00:02:27,880 But man, talk about pressure. 34 00:02:27,880 --> 00:02:33,400 So since I also had to do my show today, I decided to kill two birds with one stone by 35 00:02:33,400 --> 00:02:38,360 fulfilling a project I've always wanted to do for Shickley Mix. 36 00:02:38,360 --> 00:02:44,440 I'm sure all composers get asked, how do you actually go about writing a piece of music? 37 00:02:44,440 --> 00:02:47,400 And I'm not kidding, people do ask that a lot. 38 00:02:47,400 --> 00:02:52,840 So what I'd like to do on today's show is share with you the composing of the piece, 39 00:02:52,840 --> 00:02:57,320 the rehearsing of the piece, and the final result. 40 00:02:57,320 --> 00:03:01,720 And I want to make a little truth in advertising announcement here. 41 00:03:01,720 --> 00:03:07,180 I will admit that I fool around a bit on this show, and that I might even be doing some 42 00:03:07,180 --> 00:03:09,600 fooling around on this edition. 43 00:03:09,600 --> 00:03:15,440 But when it comes to how I wrote and rehearsed this piece, I'm being completely on the level. 44 00:03:15,440 --> 00:03:17,120 This is no gag. 45 00:03:17,120 --> 00:03:24,800 I composed the quartet in 9 hours from 1245 to 945 pm, including a couple of breaks. 46 00:03:24,800 --> 00:03:28,760 And I kept the tape recorder rolling during the time I was at the piano. 47 00:03:28,760 --> 00:03:32,320 I also had the tape running during the rehearsal. 48 00:03:32,320 --> 00:03:36,200 And it's a straight ahead piece of chamber music, nothing outrageous. 49 00:03:36,200 --> 00:03:42,680 So you are going to witness the birth of this composition almost from its initial conception. 50 00:03:42,680 --> 00:03:48,760 And I say almost only because I did write a couple of fragmentary ideas in my sketchbook 51 00:03:48,760 --> 00:03:51,640 before I got to where I wrote the piece. 52 00:03:51,640 --> 00:03:58,020 Now I compose almost every day, with or without a piano, in hotel rooms, on airplanes, driving 53 00:03:58,020 --> 00:03:59,600 around on back roads. 54 00:03:59,600 --> 00:04:03,800 I always take my current sketchbook with me on my travels. 55 00:04:03,800 --> 00:04:08,560 And even without it, I'm usually working on something in the back of my mind. 56 00:04:08,560 --> 00:04:15,640 But what makes this a bit scary is that you can't sit down and decide to write a masterpiece, 57 00:04:15,640 --> 00:04:20,400 even if you use masterpiece in the modest sense of personal best. 58 00:04:20,400 --> 00:04:26,760 And also, even I can't talk as fast as I think, and I certainly can't write as fast as I talk, 59 00:04:26,760 --> 00:04:29,080 and I'm not much of an improviser. 60 00:04:29,080 --> 00:04:32,880 So this isn't going to be like watching Picasso paint a picture. 61 00:04:32,880 --> 00:04:36,480 It won't surprise regular listeners that I'm a very low-tech guy. 62 00:04:36,480 --> 00:04:39,200 I still work with pencil and paper. 63 00:04:39,200 --> 00:04:44,640 I chose the combination of flute, violin, viola, and cello, which combination is often 64 00:04:44,640 --> 00:04:50,340 referred to by musicians as a flute quartet, because I'd never written one before. 65 00:04:50,340 --> 00:04:53,040 And here's how it started. 66 00:04:53,040 --> 00:05:00,520 Okay, got the tape machine on, and what do we got here? 67 00:05:00,520 --> 00:05:03,080 We got an electric piano. 68 00:05:03,080 --> 00:05:06,280 Let's turn it on. 69 00:05:06,280 --> 00:05:07,280 Okay. 70 00:05:07,280 --> 00:05:08,280 It's okay. 71 00:05:08,280 --> 00:05:11,760 Those electric pianos go. 72 00:05:11,760 --> 00:05:21,360 Okay, now, what I started out with is in my sketchbook here. 73 00:05:21,360 --> 00:05:23,960 I wrote down two things. 74 00:05:23,960 --> 00:05:27,080 Got these ideas while I was driving around. 75 00:05:27,080 --> 00:05:37,240 One of them I've written down this. 76 00:05:37,240 --> 00:05:42,480 I should mention, by the way, a lot of composers, probably most composers, are better pianists 77 00:05:42,480 --> 00:05:43,760 than I am. 78 00:05:43,760 --> 00:05:46,240 So you're just going to have to bear with me on that. 79 00:05:46,240 --> 00:05:52,040 Now, when I wrote that, my idea was always that you'd actually hear the lower parts first, 80 00:05:52,040 --> 00:05:55,520 and then the second time you heard it, the flute would be added on the top. 81 00:05:55,520 --> 00:06:05,840 In other words, you'd hear this. 82 00:06:05,840 --> 00:06:11,120 And then later, you'd hear the flute with it. 83 00:06:11,120 --> 00:06:19,400 Okay, but anyway, then before we get back to that, there's already something I don't 84 00:06:19,400 --> 00:06:20,400 like in that. 85 00:06:20,400 --> 00:06:24,360 But before we get back to that, it occurred to me that maybe we shouldn't start right 86 00:06:24,360 --> 00:06:25,560 out like that. 87 00:06:25,560 --> 00:06:30,560 We should start more quietly and without the flute. 88 00:06:30,560 --> 00:06:36,920 In other words, start with a slower introduction for just the string trio. 89 00:06:36,920 --> 00:06:49,680 And I wrote down this idea. 90 00:06:49,680 --> 00:06:50,680 That's all I've got. 91 00:06:50,680 --> 00:06:52,080 I've got E flat written one here. 92 00:06:52,080 --> 00:07:07,960 In other words, I had, and I wrote, maybe this should be an E flat, I don't know. 93 00:07:07,960 --> 00:07:10,840 And then I wasn't sure where that was going to go. 94 00:07:10,840 --> 00:07:16,800 Anyway, we're also going to get back to that, because just coming here, I had yet another 95 00:07:16,800 --> 00:07:23,120 idea, which is that maybe it should start even more quietly than that. 96 00:07:23,120 --> 00:07:26,320 Maybe we should start with just the cello. 97 00:07:26,320 --> 00:07:32,600 And by the way, this, that thing that I played, I'm going to call that the Sarabande rhythm. 98 00:07:32,600 --> 00:07:39,960 In the old Baroque and Pre-Baroque dance, the Sarabande, it's in three, and the motion 99 00:07:39,960 --> 00:07:41,640 stops on the second beat. 100 00:07:41,640 --> 00:07:47,720 So you get one, two, three, one, two, three, one. 101 00:07:47,720 --> 00:07:48,720 And a lot of people use it. 102 00:07:48,720 --> 00:07:52,160 I mean, Copland, the beginning of Billy the Kid, has that rhythm. 103 00:07:52,160 --> 00:07:56,660 But just to refer to it simply, I'm going to call that the Sarabande rhythm. 104 00:07:56,660 --> 00:07:58,800 So see, in the beginning, I hadn't even written this down. 105 00:07:58,800 --> 00:08:10,840 I just got this idea of the cello going all cello, just on two different strings at once. 106 00:08:10,840 --> 00:08:15,720 Maybe instead of starting right out with the Sarabande rhythm, maybe what I should do is 107 00:08:15,720 --> 00:08:20,800 have a single note first, and then go into the Sarabande rhythm, just for the sake of 108 00:08:20,800 --> 00:08:21,800 variety. 109 00:08:21,800 --> 00:08:28,680 Since the other one starts with the Sarabande rhythm, start with a long note here. 110 00:08:28,680 --> 00:08:39,600 Want to vary it a little bit there, vary the rhythm. 111 00:08:39,600 --> 00:08:47,120 So now the interesting thing here that a composer has to think about is, I can't go, if I repeat 112 00:08:47,120 --> 00:08:51,400 the top note, I've got to repeat the bottom note too, because this is one instrument playing 113 00:08:51,400 --> 00:08:53,700 with only one bow. 114 00:08:53,700 --> 00:08:59,880 It's virtually impossible to re-attack that note without re-attacking the other two. 115 00:08:59,880 --> 00:09:29,300 So it's...and then maybe the trio comes in...now, I don't know that I like that a lot, but maybe 116 00:09:29,300 --> 00:09:34,920 I'm going to put off a decision on that to let me get a little bit further into it. 117 00:09:34,920 --> 00:09:38,760 As a matter of fact, I'm sure I'm going to change that. 118 00:09:38,760 --> 00:09:41,920 By the way, you know what a composer tries to do? 119 00:09:41,920 --> 00:09:48,240 Stravinsky said, when I play an A on the piano and it's a trumpet note, I'm hearing a trumpet. 120 00:09:48,240 --> 00:09:50,360 That's what a composer tries to do. 121 00:09:50,360 --> 00:09:55,000 You play this thing on the piano that you're writing for the cello, you try to hear it. 122 00:09:55,000 --> 00:10:24,100 You try to hear the cello playing it. 123 00:10:24,100 --> 00:10:38,900 So after that little cello opening, the whole string trio comes in with the chorale. 124 00:10:38,900 --> 00:10:48,680 And I like...I think I like that better than...but actually what often happens is, it might be 125 00:10:48,680 --> 00:10:57,420 nice to go to this later sometime as a little surprise after having done this. 126 00:10:57,420 --> 00:11:01,780 And then there's a little technical thing here, the cello, it's...I'm going to have 127 00:11:01,780 --> 00:11:05,300 the cello go up to here because of the way the strings are set up. 128 00:11:05,300 --> 00:11:10,180 I won't get into that, but it'll be a nice little variety of texture that you can't hear 129 00:11:10,180 --> 00:11:16,340 on this piano, but you'll hear a little bit in the strings. 130 00:11:16,340 --> 00:11:23,140 The cello will actually go up to...now, where does this go? 131 00:11:23,140 --> 00:11:24,300 That's one possibility. 132 00:11:24,300 --> 00:11:25,540 That's sort of nice and hymn-like. 133 00:11:25,540 --> 00:11:40,060 I don't know, it's a little bit too constant and too calm for what I want there, so...or 134 00:11:40,060 --> 00:11:41,060 maybe this. 135 00:11:41,060 --> 00:11:49,580 Use this C major chord, put this seventh in it. 136 00:11:49,580 --> 00:11:53,300 I like that, sort of bluesy. 137 00:11:53,300 --> 00:11:57,420 Keep it simple. 138 00:11:57,420 --> 00:12:00,180 And then there come in the strings, the other sketch there. 139 00:12:00,180 --> 00:12:01,180 I think that's good. 140 00:12:01,180 --> 00:12:02,180 It's nice and simple. 141 00:12:02,180 --> 00:12:11,660 Okay, I'm going to take a little break. 142 00:12:11,660 --> 00:12:17,260 I think it might help me...often you see things when you write it down, you actually get ideas 143 00:12:17,260 --> 00:12:22,940 by seeing things on paper that you don't necessarily get just playing it or in your head. 144 00:12:22,940 --> 00:12:32,060 So I think I'm going to take a little break and write that down, maybe walk around a little. 145 00:12:32,060 --> 00:12:38,540 But here we are, back in Oatson Hall, waiting for the world premiere of my quartet. 146 00:12:38,540 --> 00:12:44,300 Now while me, the composer, is taking a break, and having heard the initial version of the 147 00:12:44,300 --> 00:12:50,420 first section, I did make some changes, let's jump ahead now to the rehearsal and hear how 148 00:12:50,420 --> 00:12:53,780 it actually sounds on the instruments. 149 00:12:53,780 --> 00:12:58,300 By the way, there is no piano in this work, but I should perhaps mention that the word 150 00:12:58,300 --> 00:13:01,620 piano also means soft. 151 00:13:01,620 --> 00:13:05,620 Once again, I want to remind you that I'm not pulling any legs here about the process 152 00:13:05,620 --> 00:13:07,980 of bringing this piece into being. 153 00:13:07,980 --> 00:13:13,860 The copyist took my pencil score, containing 82 measures of music, and with the aid of 154 00:13:13,860 --> 00:13:18,980 a computer, produced a much better looking score from which he extrapolated the individual 155 00:13:18,980 --> 00:13:23,520 parts for flute, violin, viola, and cello. 156 00:13:23,520 --> 00:13:28,580 When I walked into the rehearsal hall this afternoon, none of the musicians had seen 157 00:13:28,580 --> 00:13:35,580 a note of the music. 158 00:13:59,580 --> 00:14:01,580 You really want a piano high C? 159 00:14:01,580 --> 00:14:04,580 Uh, where's that? 160 00:14:04,580 --> 00:14:05,580 Measure 40. 161 00:14:05,580 --> 00:14:07,580 Oh, well, let's see what happens. 162 00:14:07,580 --> 00:14:08,580 Okay. 163 00:14:08,580 --> 00:14:10,580 You don't stay on it long. 164 00:14:10,580 --> 00:14:11,580 That's good. 165 00:14:11,580 --> 00:14:12,580 Right, right. 166 00:14:12,580 --> 00:14:14,580 You wouldn't want me to. 167 00:14:14,580 --> 00:14:16,580 So let's just start. 168 00:14:16,580 --> 00:14:22,580 And, wait a minute, hold on, let me get my metronome out here. 169 00:14:22,580 --> 00:14:27,580 Oh, and the thing is, let me say, these are, of course, the first time these parts have 170 00:14:27,580 --> 00:14:32,580 been used, so if you see even obvious mistakes, please tell me about them so I can get them 171 00:14:32,580 --> 00:14:33,580 corrected. 172 00:14:33,580 --> 00:14:34,580 63. 173 00:14:34,580 --> 00:14:39,580 Okay, here, so why don't we just start, okay? 174 00:14:39,580 --> 00:14:59,580 One, two, three. 175 00:14:59,580 --> 00:15:24,580 Okay, okay, we got off there. 176 00:15:24,580 --> 00:15:29,580 Eight, nine, ten, eleven, twelve. 177 00:15:29,580 --> 00:15:36,580 In the twelfth bar, violin and viola has dotted quarters, and the cello moves on the second 178 00:15:36,580 --> 00:15:39,580 beat, so you don't move together there. 179 00:15:39,580 --> 00:15:46,580 Cello moves on the second beat, violin and viola on the and of two. 180 00:15:46,580 --> 00:15:59,580 Should we start at eight? 181 00:15:59,580 --> 00:16:21,020 Whoa, whoa, whoa, whoa, whoa, whoa, whoa, just a second, excuse me. 182 00:16:21,020 --> 00:16:22,580 That's supposed to sound crunchier. 183 00:16:22,580 --> 00:16:25,500 Okay, mistake in the cello part. 184 00:16:25,500 --> 00:16:29,220 In bar fourteen, where's my pencil? 185 00:16:29,220 --> 00:16:31,780 In bar fourteen, that D is a D flat. 186 00:16:31,780 --> 00:16:35,780 Put a flat in front of the D, please. 187 00:16:35,780 --> 00:16:42,860 And I'll just warn you right now, the viola has a D natural, so I want that crunch there. 188 00:16:42,860 --> 00:16:49,580 Now, can we go back to the beginning, please? 189 00:16:49,580 --> 00:16:55,580 Sarah, the G sharp in bar six sounded too sharp. 190 00:16:55,580 --> 00:16:56,740 Okay. 191 00:16:56,740 --> 00:17:01,900 If it helps to think of it as an A flat, maybe it just sounded too high. 192 00:17:01,900 --> 00:17:09,500 And then, let's make a very slight comma before bar eight. 193 00:17:09,500 --> 00:17:18,060 Just very slight, not a great big pause, but just E. 194 00:17:18,060 --> 00:17:28,220 And also, can I hear the beginning without mutes, please? 195 00:17:28,220 --> 00:17:34,200 And let's also put a little comma, eight, nine, ten, eleven, a comma for a little breath 196 00:17:34,200 --> 00:17:40,900 at the end of ten, eleven, please, eleven, a little comma there. 197 00:17:40,900 --> 00:17:49,780 Okay, let's start at the top, and I'll just get the tempo. 198 00:17:49,780 --> 00:17:52,780 Let me get it. 199 00:17:52,780 --> 00:17:55,780 Let me do that. 200 00:17:55,780 --> 00:17:56,780 You start with your... 201 00:17:56,780 --> 00:17:57,780 No, I'm not. 202 00:17:57,780 --> 00:17:58,780 I'm not. 203 00:17:58,780 --> 00:17:59,780 I can, though. 204 00:17:59,780 --> 00:18:00,780 You want me to? 205 00:18:00,780 --> 00:18:01,780 No. 206 00:18:01,780 --> 00:18:02,780 Sarah. 207 00:18:02,780 --> 00:18:21,080 Let me get it. 208 00:18:21,080 --> 00:18:34,920 I feel like I need a little more violin. 209 00:18:34,920 --> 00:18:35,920 Yeah. 210 00:18:35,920 --> 00:18:36,920 We've got eight. 211 00:18:36,920 --> 00:18:37,920 I'm sorry. 212 00:18:37,920 --> 00:18:41,040 A little bit less violin, a little bit more violin. 213 00:18:41,040 --> 00:18:52,040 Can we do right on eight? 214 00:18:52,040 --> 00:19:14,080 Okay, let's make more, more, a real common. 215 00:19:14,080 --> 00:19:36,160 I think I might. 216 00:19:36,160 --> 00:20:00,800 Man, it is a thrill, let me tell you, it's a kick and a half to hear those tiny little 217 00:20:00,800 --> 00:20:08,520 specks of graphite you put on pieces of paper turn into flesh and blood music. 218 00:20:08,520 --> 00:20:14,400 And what a serendipitous piece of serendipity that the St. Paul Chamber Orchestra just happened 219 00:20:14,400 --> 00:20:20,880 to be in town on tour here and I got four of their best musicians to play my piece. 220 00:20:20,880 --> 00:20:27,280 Julia Bogorod, Stephen Copes, Sabina Thatcher, and Sarah Lewis. 221 00:20:27,280 --> 00:20:31,080 I must say that it couldn't have happened to a nicer guy. 222 00:20:31,080 --> 00:20:37,060 And I'm referring, of course, to Peter Schickele, the host of Schickele Mix, from PRI, Public 223 00:20:37,060 --> 00:20:42,360 Radio International. 224 00:20:42,360 --> 00:20:48,240 Our program is coming to you today from Oatson Hall, where the Grand Gala Benefit concert 225 00:20:48,240 --> 00:20:53,640 will soon begin, a concert featuring the first performance of a piece which I decided at 226 00:20:53,640 --> 00:20:59,400 the last moment, as I prepared to send the music off to the copyist, to call Pastoral. 227 00:20:59,400 --> 00:21:05,760 I composed this piece at the request of the station manager, knowing, as I do, which side 228 00:21:05,760 --> 00:21:10,720 of my bread is buttered, and he let me hole up in his cabin on Lake Purdy while I wrote 229 00:21:10,720 --> 00:21:12,480 it. 230 00:21:12,480 --> 00:21:16,160 There is a tradition of incarcerated composing. 231 00:21:16,160 --> 00:21:20,280 The child Mozart was once locked in a room so that he could prove that he really wrote 232 00:21:20,280 --> 00:21:25,800 his music, and they used to lock Rossini up just to get him to finish the damn opera. 233 00:21:25,800 --> 00:21:27,520 He was a party animal. 234 00:21:27,520 --> 00:21:33,140 Dmitri Shostakovich, on a dare from a conductor, sequestered himself in a room and produced 235 00:21:33,140 --> 00:21:37,620 an orchestral arrangement of T for Two in 45 minutes. 236 00:21:37,620 --> 00:21:44,460 And in 1936, when King George V died, Hindemith wrote a piece for viola and string orchestra 237 00:21:44,460 --> 00:21:49,340 in one day and played it the next at the public ceremony. 238 00:21:49,340 --> 00:21:50,940 If they can do it, so can I. 239 00:21:50,940 --> 00:21:52,700 And so I did. 240 00:21:52,700 --> 00:21:57,660 Let's return to the composer of my quartet as he works on the middle section. 241 00:21:57,660 --> 00:22:01,780 Okay, we're back here. 242 00:22:01,780 --> 00:22:05,300 I think, yes, that is rolling. 243 00:22:05,300 --> 00:22:08,700 And a lot has been going on here. 244 00:22:08,700 --> 00:22:13,780 I not only took a little walk, but I also, I got going, I'm afraid I got going. 245 00:22:13,780 --> 00:22:17,980 I've done actually quite a bit here without you, sorry about that. 246 00:22:17,980 --> 00:22:22,980 But the thing is that, like I said, sometimes it just works better on paper. 247 00:22:22,980 --> 00:22:24,900 So what I want to do is tell you what I've done. 248 00:22:24,900 --> 00:22:32,540 I got up to that, what I think of as the second section here, that original sketch. 249 00:22:32,540 --> 00:22:37,620 And now it's going to be a little bit faster. 250 00:22:37,620 --> 00:22:41,140 I've written faster comma flowing. 251 00:22:41,140 --> 00:22:42,780 Composers are very different about this. 252 00:22:42,780 --> 00:22:48,780 I just noticed recently in John Adams' Violin Concerto, the first movement, it just says 253 00:22:48,780 --> 00:22:56,220 quarter note equals whatever it is, 76, and that means 76 beats to the minute. 254 00:22:56,220 --> 00:23:00,100 It's actually something that involves a certain amount of controversy. 255 00:23:00,100 --> 00:23:07,620 Beethoven wrote metronome markings that most people think are sort of off the wall, although 256 00:23:07,620 --> 00:23:10,420 more and more people are beginning to take them seriously. 257 00:23:10,420 --> 00:23:13,380 Brahms wouldn't use metronome markings. 258 00:23:13,380 --> 00:23:17,900 And my feeling is you should learn it. 259 00:23:17,900 --> 00:23:21,820 The first time you read through the piece or something, use my metronome markings, and 260 00:23:21,820 --> 00:23:26,180 then when you know the piece and you feel it going differently, go ahead and do it differently. 261 00:23:26,180 --> 00:23:30,500 I probably do it differently myself at different times, and also I don't expect it to keep 262 00:23:30,500 --> 00:23:32,700 exactly the same all the time. 263 00:23:32,700 --> 00:23:34,620 Anyway, I'm going to do the metronome markings later. 264 00:23:34,620 --> 00:23:46,700 I'm not going to worry about that right now. 265 00:23:46,700 --> 00:23:51,260 I want to put something on the third beat because of the way the motion's been. 266 00:23:51,260 --> 00:23:57,080 I'm going to put on the third beat the cello doing a pizzicato harmonic, and a harmonic 267 00:23:57,080 --> 00:24:01,300 is when with the left hand, the fingers of the left hand, instead of pushing one of the 268 00:24:01,300 --> 00:24:06,380 strings all the way down to the fingerboard, you just touch the string without pushing 269 00:24:06,380 --> 00:24:15,620 it down to the fingerboard, and you get this flute-like sound, and when you pluck it, it's 270 00:24:15,620 --> 00:24:36,020 hard to describe and completely impossible to imitate on a piano. 271 00:24:36,020 --> 00:24:53,900 Here comes the flute, oops, like this, I'm trying to do, I'll try to sing the cello part. 272 00:24:53,900 --> 00:24:58,100 Okay I'm going to give up trying to play it now, but I do hear several things coming up, 273 00:24:58,100 --> 00:25:07,940 something I like to do which is one part follows the other a beat later. 274 00:25:07,940 --> 00:25:15,280 And then we get the cello doing this that he did before, but this time the flute comes 275 00:25:15,280 --> 00:25:18,220 in with it and leads to a different key. 276 00:25:18,220 --> 00:25:23,940 This has been G, now we go one. 277 00:25:23,940 --> 00:25:29,740 It's awfully sweet, so I wanted to immediately introduce a little spice, I mean it's a sweet 278 00:25:29,740 --> 00:25:46,580 piece, but, and the cello has this sort of figure, it's sort of like a lullaby version 279 00:25:46,580 --> 00:26:00,140 of an old fifties rock and roll tune or something, and then the violin, and then the viola and 280 00:26:00,140 --> 00:26:20,100 the cello, and they repeat this. 281 00:26:20,100 --> 00:26:23,860 And what I like to do over there, you get a repeated thing and then do something on 282 00:26:23,860 --> 00:26:35,780 the top. 283 00:26:35,780 --> 00:26:46,100 And then this time the flute comes in sort of imitating the violin. 284 00:26:46,100 --> 00:26:50,060 It imitates it for a couple of bars but then not exactly, and you get this sort of web 285 00:26:50,060 --> 00:26:55,300 that is way beyond my abilities as a pianist to recreate. 286 00:26:55,300 --> 00:26:59,980 But finally it builds up to where I've got three voices here basically, flute, violin, 287 00:26:59,980 --> 00:27:10,140 viola and cello, and three of them are playing the tune. 288 00:27:10,140 --> 00:27:18,180 And only the cello is doing something different. 289 00:27:18,180 --> 00:27:22,100 And this is sort of a high point, and I'd also like to, I mean it sort of gets louder 290 00:27:22,100 --> 00:27:26,220 and this is some kind of a working up to a climax here. 291 00:27:26,220 --> 00:27:29,100 And I've got to say something that I don't know if other composers have this problem. 292 00:27:29,100 --> 00:27:32,500 It occurs to me now that I've never talked to other composers about this. 293 00:27:32,500 --> 00:27:37,060 But I have a thing that sometimes you repeat things so much to work them out. 294 00:27:37,060 --> 00:27:45,300 I'll sometimes just play something, you know, twenty times in a row, trying different notes. 295 00:27:45,300 --> 00:27:50,500 And I get sort of going faster and faster because I'm really just trying different notes. 296 00:27:50,500 --> 00:27:55,200 And what I have to really watch is that I sometimes find the tempo in my mind getting 297 00:27:55,200 --> 00:28:01,860 faster and faster, and what I realize later then is that I've lost the original feel of 298 00:28:01,860 --> 00:28:05,660 the tempo and it's sort of gotten faster without my meaning it to. 299 00:28:05,660 --> 00:28:12,220 It's fine if you really want to get faster, but sometimes just through my, I assume, faulty 300 00:28:12,220 --> 00:28:16,180 working habits here, it gets faster without my realizing it. 301 00:28:16,180 --> 00:28:19,060 And that's one thing I've had to sort of watch here. 302 00:28:19,060 --> 00:28:24,860 Anyway, we get this high point and it's time for something else, and I'm not sure what 303 00:28:24,860 --> 00:28:25,980 it is. 304 00:28:25,980 --> 00:28:33,980 So fortunately, I have to go to the bathroom, I'll turn this thing off. 305 00:28:33,980 --> 00:28:37,700 When nature calls, composers respond. 306 00:28:37,700 --> 00:28:43,220 Is the flowing lyricism of the middle section of my quartet the result of working in the 307 00:28:43,220 --> 00:28:49,140 station manager's cabin on the wave-kissed shores of Lake Purdy, or is it just the way 308 00:28:49,140 --> 00:28:51,300 I write music? 309 00:28:51,300 --> 00:29:08,700 Probably the latter. 310 00:29:08,700 --> 00:29:27,000 All right. 311 00:29:27,000 --> 00:29:55,920 Okay, let's go home. 312 00:29:55,920 --> 00:29:59,980 You know, this is something I've changed my mind about, Julie. 313 00:29:59,980 --> 00:30:08,760 In bar 48, can you make your last note an F instead of a C, and then you may want to 314 00:30:08,760 --> 00:30:14,960 tongue that next A. Just have the slur go to the F. 315 00:30:14,960 --> 00:30:15,960 Question. 316 00:30:15,960 --> 00:30:16,960 Yes. 317 00:30:16,960 --> 00:30:22,760 In this unison that we have here, do the E flats alternate? 318 00:30:22,760 --> 00:30:24,760 No, they're all... 319 00:30:24,760 --> 00:30:28,400 Oh, yeah, there's some missing, right, okay. 320 00:30:28,400 --> 00:30:33,520 Yes, I see that, for instance, in bar 36, 37, 38, there are no E flats. 321 00:30:33,520 --> 00:30:35,720 Yeah, 38, 40, there are no flats. 322 00:30:35,720 --> 00:30:36,720 They're always E flats. 323 00:30:36,720 --> 00:30:37,720 Always, okay. 324 00:30:37,720 --> 00:30:42,400 Always E flats, so... 325 00:30:42,400 --> 00:30:51,280 Our instincts told us to keep them E flat, even though what we saw was... 326 00:30:51,280 --> 00:30:57,160 Your instincts were right. 327 00:30:57,160 --> 00:31:11,880 Why don't we just here, to get the notes, let's start right now at 37, please. 328 00:31:11,880 --> 00:31:36,640 Okay, Julie, were you playing, I meant the high F in 48, not the low one, yeah. 329 00:31:36,640 --> 00:31:38,800 Go up a step from the E flat. 330 00:31:38,800 --> 00:31:45,800 Now let's try, you're right, Julie, about the high C. In bar 42, let's put a little 331 00:31:45,800 --> 00:31:56,960 crescendo and go to more like a mezzo piano or mezzo forte in 43, yeah, in 43, sort of 332 00:31:56,960 --> 00:31:59,760 working our way up to the forte later. 333 00:31:59,760 --> 00:32:00,760 What should we call it? 334 00:32:00,760 --> 00:32:04,880 Should we call it mezzo forte in 43? 335 00:32:04,880 --> 00:32:05,880 So starting again in 37. 336 00:32:05,880 --> 00:32:06,880 Sorry, one more question. 337 00:32:06,880 --> 00:32:07,880 Yeah. 338 00:32:07,880 --> 00:32:08,880 Are we unison in 37? 339 00:32:08,880 --> 00:32:09,880 We have different notes. 340 00:32:09,880 --> 00:32:10,880 On the first beat. 341 00:32:10,880 --> 00:32:11,880 Just that first beat, yeah. 342 00:32:11,880 --> 00:32:12,880 I have an F. 343 00:32:12,880 --> 00:32:13,880 Oh, you do. 344 00:32:13,880 --> 00:32:14,880 I have an F. 345 00:32:14,880 --> 00:32:15,880 Oh, yes, right. 346 00:32:15,880 --> 00:32:18,880 No, you're supposed to have an F. Excuse me, I didn't notice that. 347 00:32:18,880 --> 00:32:20,920 The viola is supposed to have an F on the third note. 348 00:32:20,920 --> 00:32:21,920 Oh, you do. 349 00:32:21,920 --> 00:32:23,600 I don't have an F. I have an F on the first note. 350 00:32:23,600 --> 00:32:29,880 No, I mean that, what I mean, viola, your second note should be A flat, not G flat. 351 00:32:29,880 --> 00:32:33,880 A flat, there we go, okay. 352 00:32:33,880 --> 00:32:39,880 Can we go back to 19, please? 353 00:32:39,880 --> 00:32:40,880 Start there. 354 00:32:40,880 --> 00:32:41,880 Okay. 355 00:32:41,880 --> 00:32:42,880 It's gotten fast. 356 00:32:42,880 --> 00:32:43,880 Too fast. 357 00:32:43,880 --> 00:32:44,880 Yeah. 358 00:32:44,880 --> 00:32:45,880 Don't let it run away. 359 00:32:45,880 --> 00:33:13,880 Let's do it 19 again. 360 00:33:13,880 --> 00:33:28,880 Okay. 361 00:33:28,880 --> 00:33:48,880 Okay. 362 00:33:48,880 --> 00:34:15,040 Let's flute. 363 00:34:15,040 --> 00:34:26,480 I've decided that in bar 46, the next to last note should be a C flat, not a C natural. 364 00:34:26,480 --> 00:34:31,480 Matches what the violin has just done better before. 365 00:34:31,480 --> 00:34:32,480 Okay. 366 00:34:32,480 --> 00:34:35,520 I've decided that you guys are right and I'm wrong. 367 00:34:35,520 --> 00:34:37,480 I think the tempo should be faster. 368 00:34:37,480 --> 00:34:40,480 I'm sorry about this, but. 369 00:34:40,480 --> 00:34:41,480 Yes. 370 00:34:41,480 --> 00:34:42,480 Yeah, right. 371 00:34:42,480 --> 00:34:43,480 How does that sound? 372 00:34:43,480 --> 00:34:47,920 That's 108. 373 00:34:47,920 --> 00:34:48,920 What did I say before? 374 00:34:48,920 --> 00:34:49,920 100. 375 00:34:49,920 --> 00:34:50,920 100. 376 00:34:50,920 --> 00:34:51,920 Yeah. 377 00:34:51,920 --> 00:34:52,920 Oh, I hadn't changed it from there. 378 00:34:52,920 --> 00:34:53,920 How about let's try 108? 379 00:34:53,920 --> 00:34:54,920 You did say 180. 380 00:34:54,920 --> 00:34:55,920 No, let's not do 180. 381 00:34:55,920 --> 00:34:56,920 Want to try it? 382 00:34:56,920 --> 00:34:57,920 Okay. 383 00:34:57,920 --> 00:35:26,240 Why didn't you say 180? 384 00:35:56,240 --> 00:36:09,360 Once again, we're back in Oatson Hall, and listening to that rehearsal tape, I hear something 385 00:36:09,360 --> 00:36:15,840 that always annoys me, and that is that I can focus so much on certain instruments that 386 00:36:15,840 --> 00:36:23,120 I can miss wrong notes in other instruments, except later, and sometimes, once in a while, 387 00:36:23,120 --> 00:36:27,400 it's been disastrously later, then all of a sudden I notice, and it sticks out like 388 00:36:27,400 --> 00:36:28,680 a sore thumb. 389 00:36:28,680 --> 00:36:36,480 I just have the ability to focus too much sometimes, and also not remember what I said 390 00:36:36,480 --> 00:36:37,480 before. 391 00:36:37,480 --> 00:36:39,020 Well, that's par for the course. 392 00:36:39,020 --> 00:36:42,480 My short-term memory cuts out at about ten seconds. 393 00:36:42,480 --> 00:36:47,740 Fortunately, I have this program booklet for the concert in front of me here, so I know 394 00:36:47,740 --> 00:36:58,420 that my name is Peter Shickley, host of Shickley Mix, from PRI, Public Radio International. 395 00:36:58,420 --> 00:37:02,880 Our program today is called Pastoral and How It Grew. 396 00:37:02,880 --> 00:37:07,560 We're in the pre-concert part of the show, broadcasting live from Oatson Hall, and I 397 00:37:07,560 --> 00:37:13,440 think we've just got time to hear our exclusive documentary audio on the completion of the 398 00:37:13,440 --> 00:37:20,720 Pastoral for flute, violin, viola, and cello by, as it happens, the host of this very show. 399 00:37:20,720 --> 00:37:21,720 Okay? 400 00:37:21,720 --> 00:37:24,720 Let's go to the tape. 401 00:37:24,720 --> 00:37:27,400 Okay. 402 00:37:27,400 --> 00:37:32,040 Last round here. 403 00:37:32,040 --> 00:37:45,780 On some more work here, right up to the end. 404 00:37:45,780 --> 00:37:52,320 And that's where I was saying it was building up to a climax here. 405 00:37:52,320 --> 00:37:55,640 So we got the climax here. 406 00:37:55,640 --> 00:38:10,600 Nice crunch there, one, two, three, four, ba-dum. 407 00:38:10,600 --> 00:38:14,640 And now it doesn't slow down there, that's just me trying to play it, there's all sorts 408 00:38:14,640 --> 00:38:17,760 of fancy rhythm things going on there. 409 00:38:17,760 --> 00:38:26,560 And then we go back to a slower tempo here. 410 00:38:26,560 --> 00:38:30,320 And what I was going to do is, I had this great idea, this is the opening of course. 411 00:38:30,320 --> 00:38:34,120 Of course, well it is. 412 00:38:34,120 --> 00:38:37,000 It was so soft in the cello at the beginning. 413 00:38:37,000 --> 00:38:38,000 I had this great idea. 414 00:38:38,000 --> 00:38:39,000 I thought in thirds. 415 00:38:39,000 --> 00:38:40,000 One, two, three, that's called a third. 416 00:38:40,000 --> 00:38:41,000 One, two, three. 417 00:38:41,000 --> 00:38:55,960 One, two, three, four. 418 00:38:55,960 --> 00:39:01,560 But I decided it sounds too Hamdalian. 419 00:39:01,560 --> 00:39:09,900 So instead of doing the thirds, I'm just doing the octaves with all these slidey things. 420 00:39:09,900 --> 00:39:15,720 And then when I put the flute in here, and the flute is sort of following, but not quite. 421 00:39:15,720 --> 00:39:24,280 So it ends up on a different note. 422 00:39:24,280 --> 00:39:27,040 On a piano, you know, you can't crescendo on a piano on one note. 423 00:39:27,040 --> 00:39:29,680 It dies away no matter what you do. 424 00:39:29,680 --> 00:39:34,000 No matter how much you vibrato or whatever, it just dies away. 425 00:39:34,000 --> 00:39:49,360 But this will be, and then back to that chorale. 426 00:39:49,360 --> 00:39:53,440 And at first I was thinking I'd do this. 427 00:39:53,440 --> 00:39:54,440 That spacing. 428 00:39:54,440 --> 00:39:56,440 And I thought maybe this. 429 00:39:56,440 --> 00:40:00,720 I decided that would be too lush and also too much like the beginning. 430 00:40:00,720 --> 00:40:02,760 That's where the strings are in the beginning. 431 00:40:02,760 --> 00:40:06,840 So what I've done is this. 432 00:40:06,840 --> 00:40:08,000 Wide spacing. 433 00:40:08,000 --> 00:40:13,440 Flute on the top, violin in the middle, viola here. 434 00:40:13,440 --> 00:40:16,620 And more than an octave between each voice except the bottom. 435 00:40:16,620 --> 00:40:27,760 So here. 436 00:40:27,760 --> 00:40:30,360 And then before it just did that. 437 00:40:30,360 --> 00:40:45,760 Now I go to another chord. 438 00:40:45,760 --> 00:40:53,000 Here's the bluesy note in the cello again. 439 00:40:53,000 --> 00:40:54,000 This funny rhythm. 440 00:40:54,000 --> 00:41:03,600 That's the flute in the real low register sounds very sexy there. 441 00:41:03,600 --> 00:41:04,600 Pizzicato. 442 00:41:04,600 --> 00:41:19,160 And this is that pizzicato harmonic thing. 443 00:41:19,160 --> 00:41:21,760 So that'll ring. 444 00:41:21,760 --> 00:41:27,960 This part here. 445 00:41:27,960 --> 00:41:28,960 Still not completely. 446 00:41:28,960 --> 00:41:45,680 And we just had that note, doesn't sound good to have it right before. 447 00:41:45,680 --> 00:41:52,520 But I still like that. 448 00:41:52,520 --> 00:41:56,560 When I said you can't do vibrato on the piano, what I meant is that some players, I've seen 449 00:41:56,560 --> 00:42:00,520 players, you know wiggle their hands like they're doing a vibrato on the violin as if 450 00:42:00,520 --> 00:42:03,040 it's going to make any difference. 451 00:42:03,040 --> 00:42:17,720 But on the piano all you can do to approximate a crescendo is do a tremolo. 452 00:42:17,720 --> 00:42:18,720 That's pretty nice. 453 00:42:18,720 --> 00:42:27,880 I think I'm going to change that to that thing with the viola going up like that. 454 00:42:27,880 --> 00:42:33,080 So anyway, I had a lot of trouble with the ending. 455 00:42:33,080 --> 00:42:38,640 I mean sometimes the simplest things, I can get stuck for hours or sometimes even days 456 00:42:38,640 --> 00:42:41,360 by something that is just a matter of timing. 457 00:42:41,360 --> 00:42:44,880 A lot of people when they think of composing they think it's notes. 458 00:42:44,880 --> 00:42:54,200 But the rhythm, having a really convincing rhythm is at least as important as the notes. 459 00:42:54,200 --> 00:42:56,120 And I particularly love great endings. 460 00:42:56,120 --> 00:43:01,360 I mean wittily timed endings, this is not a witty ending, I mean we're not talking about 461 00:43:01,360 --> 00:43:06,000 a witty piece at the end here, but what I mean is just the right timing. 462 00:43:06,000 --> 00:43:10,880 I really do feel a lot of those Beethoven endings go on too long. 463 00:43:10,880 --> 00:43:18,440 You lose the sense of the wit sort of in the abstract sense of the timing. 464 00:43:18,440 --> 00:43:21,880 Stravinsky wrote great endings, Mio too. 465 00:43:21,880 --> 00:43:42,040 Anyway, so I hope that where I have the pizzicato, the flute goes. 466 00:43:42,040 --> 00:43:47,400 Before that last chord is four bars, and four bars is sort of the regular music, most music 467 00:43:47,400 --> 00:43:50,440 is organized in four bars, western music. 468 00:43:50,440 --> 00:43:54,040 But sometimes it sounds too regular to me, I want to put a three bar thing in there to 469 00:43:54,040 --> 00:43:58,640 sort of upset it a little bit, or more, or five bars. 470 00:43:58,640 --> 00:44:04,800 What I did here was I put a fermata over the rest just before the last chord, and a fermata 471 00:44:04,800 --> 00:44:10,160 is sometimes called a bird's eye because it's an arc with a dot under it, and it means to 472 00:44:10,160 --> 00:44:11,160 hold it longer. 473 00:44:11,160 --> 00:44:29,480 You can put it over a note, or over rest, so it's long, two, three, yeah, I think it'll 474 00:44:29,480 --> 00:44:30,480 do it. 475 00:44:30,480 --> 00:44:33,040 Great, I guess I'm done with this piece. 476 00:44:33,040 --> 00:44:37,480 I sometimes get a sort of little post-partum depression after I finish a piece, but usually 477 00:44:37,480 --> 00:44:43,160 it's a bigger thing, you know, like a big 20 minute piece, I think I can handle this 478 00:44:43,160 --> 00:44:44,160 one. 479 00:44:44,160 --> 00:44:47,160 Well, I guess I'm out of here. 480 00:44:47,160 --> 00:45:15,160 Hang on a minute, let's turn the old cassette machine off. 481 00:45:15,160 --> 00:45:38,160 Okay, now do me a favor here again, this is tinkering, this is something I went back and 482 00:45:38,160 --> 00:45:42,560 forth on when I was writing, and sometimes when I do that, go back and forth, I choose 483 00:45:42,560 --> 00:45:43,560 the wrong one. 484 00:45:43,560 --> 00:45:49,480 Can I hear what it sounds like, don't mark it out yet, in indelible ink, but can I hear 485 00:45:49,480 --> 00:46:01,880 what it sounds like if you omit, if you omit bar 65, in other words, put the crescendo 486 00:46:01,880 --> 00:46:07,400 on the previous bar, and just make that the one that goes to nine. 487 00:46:07,400 --> 00:46:13,120 I think I'm a little tired of it, but before it gets to that bar, just before the whole 488 00:46:13,120 --> 00:46:14,120 thing. 489 00:46:14,120 --> 00:46:35,120 So, can we do 60, please? 490 00:46:35,120 --> 00:47:02,120 I was playing it higher, because that's what I heard from him. 491 00:47:02,120 --> 00:47:26,120 I thought I was going to go with you. 492 00:47:26,120 --> 00:47:37,800 I don't know, it sounds really dissonant to me. 493 00:47:37,800 --> 00:47:40,520 It sounds fine to me too, but I'm not sure why. 494 00:47:40,520 --> 00:47:41,520 It sounds... 495 00:47:41,520 --> 00:47:42,520 It may be just the voice. 496 00:47:42,520 --> 00:47:43,600 Can the three of us play? 497 00:47:43,600 --> 00:47:46,720 Or just the two of us? 498 00:47:46,720 --> 00:48:06,400 Just the two last measures. 499 00:48:06,400 --> 00:48:10,320 Can you indulge me again, please, at 67, Steve, can you play those first four bars 500 00:48:10,320 --> 00:48:11,320 an octave higher? 501 00:48:11,320 --> 00:48:12,320 Yeah. 502 00:48:12,320 --> 00:48:36,160 Let me just hear how that sounds, 67. 503 00:48:36,160 --> 00:48:41,000 That helps that intonation of that chord too, I think, yeah. 504 00:48:41,000 --> 00:48:46,680 Let's put it up an octave, just those four bars, and you go as written. 505 00:48:46,680 --> 00:48:49,480 How about 76, right? 506 00:48:49,480 --> 00:48:50,480 Nobody plays on the downbeat. 507 00:48:50,480 --> 00:48:51,480 One, two, three, one. 508 00:48:51,480 --> 00:49:18,480 Greg, can we just try to play that piece together? 509 00:49:18,480 --> 00:49:19,480 Yeah, we got to get the pizzicato together, yeah. 510 00:49:19,480 --> 00:49:21,800 It's hard to play pizzicato. 511 00:49:21,800 --> 00:49:23,040 I know. 512 00:49:23,040 --> 00:49:24,040 Maybe just... 513 00:49:24,040 --> 00:49:25,040 I thought about that while I was writing it. 514 00:49:25,040 --> 00:49:26,040 It's hard to play pizzicato together. 515 00:49:26,040 --> 00:49:27,040 Maybe just three from the end. 516 00:49:27,040 --> 00:49:28,040 One, two, three. 517 00:49:28,040 --> 00:49:29,040 Sorry, that's my fault. 518 00:49:29,040 --> 00:49:30,040 Let's try it again. 519 00:49:30,040 --> 00:49:31,040 Two, three. 520 00:49:31,040 --> 00:49:57,520 I'll let you do it one more time. 521 00:49:57,520 --> 00:50:02,080 I'm still trying to figure something else out. 522 00:50:02,080 --> 00:50:09,240 One, two, three, one. 523 00:50:09,240 --> 00:50:12,640 Sounds great. 524 00:50:12,640 --> 00:50:21,520 Why don't we take a break? 525 00:50:21,520 --> 00:50:27,400 And not a moment too soon, because the Grand Gala Once in a Lifetime Benefit Concert is 526 00:50:27,400 --> 00:50:30,640 about to begin here in Oatson Hall. 527 00:50:30,640 --> 00:50:34,920 You know, on some of his early string quartet scores, Schubert wrote the time he started 528 00:50:34,920 --> 00:50:37,520 composing and the time he finished. 529 00:50:37,520 --> 00:50:39,720 I guess he was proud of his fecundity. 530 00:50:39,720 --> 00:50:44,880 Well, it took me nine hours to write my little three-minute quartet, and there are still 531 00:50:44,880 --> 00:50:49,540 some things I might want to change, but no time for that now. 532 00:50:49,540 --> 00:50:54,120 Here come the performers on stage, and be still, my heart. 533 00:50:54,120 --> 00:51:00,320 We are ready to hear the world premiere of your humble host's Pastoral for flute, violin, 534 00:51:00,320 --> 00:51:26,440 viola, and cello. 535 00:52:01,320 --> 00:52:20,320 the world premiere of your humble host's Pastoral for flute, violin, viola, and cello. 536 00:52:20,320 --> 00:52:40,320 the world premiere of your humble host's Pastoral for flute, violin, viola, and cello. 537 00:52:40,320 --> 00:53:00,320 the world premiere of your humble host's Pastoral for flute, violin, viola, and cello. 538 00:53:00,320 --> 00:53:24,320 the world premiere of your humble host's Pastoral for flute, violin, viola, and cello. 539 00:53:30,320 --> 00:53:50,320 the world premiere of your humble host's Pastoral for flute, violin, viola, and cello. 540 00:53:50,320 --> 00:54:17,320 the world premiere of your humble host's Pastoral for flute, violin, viola, and cello. 541 00:54:17,320 --> 00:54:28,880 The Pastoral for flute, violin, viola, and cello by, well, I'm just going to say it right 542 00:54:28,880 --> 00:54:30,280 out, Peter Schickel. 543 00:54:30,280 --> 00:54:37,440 It was performed and performed beautifully by flutist Julia Bogorod, violinist Steven 544 00:54:37,440 --> 00:54:43,320 Copes, violist Sabina Thatcher, and cellist Sarah Lewis. 545 00:54:43,320 --> 00:54:47,320 Oh, oh, excuse me, just a second. 546 00:54:47,320 --> 00:54:48,320 Thank you. 547 00:54:48,320 --> 00:54:49,320 Thank you. 548 00:54:49,320 --> 00:54:50,320 Thank you very much. 549 00:54:50,320 --> 00:54:56,880 Fortunately, there's no glass on the window of this booth, so I could, you know, stick 550 00:54:56,880 --> 00:54:58,320 my head out. 551 00:54:58,320 --> 00:55:04,160 Well, that's not the longest concert I've ever been to, but it was quite a high for 552 00:55:04,160 --> 00:55:05,160 me. 553 00:55:05,160 --> 00:55:06,160 I'll tell you that. 554 00:55:06,160 --> 00:55:08,920 I'll probably write some more movements to go with that thing. 555 00:55:08,920 --> 00:55:12,520 It's a beautiful combination of flute and string trio. 556 00:55:12,520 --> 00:55:15,840 I remember the first time I heard that combination of instruments. 557 00:55:15,840 --> 00:55:18,800 It was in a living room in Fargo, North Dakota. 558 00:55:18,800 --> 00:55:21,640 My friend Ernie Lloyd was playing cello. 559 00:55:21,640 --> 00:55:25,440 His fiancee, Polly, or were they already married? 560 00:55:25,440 --> 00:55:30,960 Anyway, she was on flute, and his mother, Isabel Thompson, was on violin, and my brother 561 00:55:30,960 --> 00:55:33,220 David was on viola. 562 00:55:33,220 --> 00:56:02,120 It was one of the Mozart flute quartets, the one in D major, I think. 563 00:56:02,120 --> 00:56:07,140 Because of the Academy of St. Martin-in-the-Fields Chamber Ensemble brings Shickley Mix to a 564 00:56:07,140 --> 00:56:08,940 close for this week. 565 00:56:08,940 --> 00:56:14,300 Our program is made possible with funds provided by this radio station and its members, and 566 00:56:14,300 --> 00:56:18,220 distributed by PRI, Public Radio International. 567 00:56:18,220 --> 00:56:22,020 We'll tell you in a moment how you can get an official playlist of all the music on today's 568 00:56:22,020 --> 00:56:25,020 program with album numbers and everything. 569 00:56:25,020 --> 00:56:26,780 Just refer to the program number. 570 00:56:26,780 --> 00:56:30,340 This is program number 168. 571 00:56:30,340 --> 00:56:34,580 This is Peter Shickley saying goodbye and reminding you that it don't mean a thing if 572 00:56:34,580 --> 00:56:37,380 it ain't got that certain je ne sais quoi. 573 00:56:37,380 --> 00:56:39,020 You're looking good. 574 00:56:39,020 --> 00:57:05,620 See you next week. 575 00:57:39,020 --> 00:57:53,100 Bye. 576 00:57:53,100 --> 00:57:57,460 If you'd like a copy of that playlist I mentioned, send a stamped, self-addressed envelope to 577 00:57:57,460 --> 00:57:59,100 Shickley Mix. 578 00:57:59,100 --> 00:58:03,780 That's S-C-H-I-C-K-E-L-E, Shickley Mix. 579 00:58:03,780 --> 00:58:12,780 Care of Public Radio International, 100 North 6th Street, Suite 900A, Minneapolis, MN 55403. 580 00:58:12,780 --> 00:58:34,780 P-R-I, Public Radio International.