Recent Event Highlights: PDQ Bach: Eine Kleine Nichtmusik-1,3,4, PDQ Bach a la Philip Glass - Prelude to Einstein on the Fritz, My Bonnie Lass, She Smelleth--Chanticleer, PDQ Bach Schleptet, Itzhak Perlman and Peter Schickele, Part 1, PDQ Bach - A little nightmare music (1983) - Cavatina for Schlafer - "Nature gave us eyes to see", and 32 more...
Created by dipity on Jun 7, 2010
Last updated: 10/04/10 at 09:39 AM
PDQ BACH (1807-1742)? From A Little Nigthmare Music album Eine Kleine Nichtmusik 1-3-4 movements !!!!100% pure music!!!! The New York Pick-Up Ensemble, Professor Peter Schickele, conductor 00:00-03:57 1.movement 03:57-06:05 3.movement 06:05-07:53 4.movement
A Philip Glass parody.
Chanticleer (the internationally renowned 12-voice MALE group with voices ranging from Bass II to Soprano) came to Concordia College on Friday, April 24, 2009. This is their fabulous take on "My Bonnie Lass She Smileth".... and it's by PDQBach (?) ....just watch it...
BYU-Idaho Performers Perform 3 Mvts of PDQ Bach's Schleptet
Itzhak Perlman and Peter Schickele mix it up in a hilarious duet at a Boston Pops Concert with John Williams conducting. Part 1 is mostly the setup, with Peter Schickele expounding on the life of PDQ Bach, "the 21st of Johann Sebastian Bach's 20 children." Part 2 is the real gem however that shows off Perlman's violin brilliance and perhaps a heretofore unexpected comedic genius.
"A little nightmare music" is a opera in "one irrevocable act" by the eponymous PDQ Bach in which the man behind the alias, Peter Schickele, effectively plunders (or to quote a more politically correct term, "readopts") Mozart's music, most obviously "A little night music", to retell "a dream PDQ Bach had December 4, 1791, the night that Wolfgang Amadeus Mozart died and Antonio Salieri didn't". The narrative is very simple (considering the opera, composed of four musical numbers, runs no more than twenty minutes): Salieri (bass), a successful composer, comments on the beauty of Mozart's music (violin; marked as a "unsuccessful composer") and prophets him world renown; he is quickly brought down to reality by Peter Schläfer (tenor), a mysterious writer, who quickly claims that it is actually Mozart who is the better composer; this point and a quarrel that develops from it makes Salieri so mad that he ponders poisoning the writer but a good kick from PDQ (silent part) leads to the death of Mozart, as Schlafer laments the loss of his best coat. The witty libretto in combination with the varied music of Mozart makes for quite an enjoyable recording (which also presents two of the most hilarious orchestral pieces that one could hope to hear). Presented here is the setting of the second movement of Mozart's concerto, the Romanza, which in this version becomes a delightful cavatina for the tenor (giving the orchestral piece a logical vocal twist). The basic sonata structure and ...
Four Folk Song Upsettings, S. 4 for Mezzanine Soprano, Devious Instruments, and Piano. Edited, by not gussied up by Prof. Peter Schickele. Performed Nov. 18, 2005 by Tara Guthrie, soprano, Judy Walters, piano, and Trey Hamlin, "devious instruments." The instrument Trey is playing on this song is the ocarina, also known as a "sweet potato." I chose to sing this with a slight Irish accent (the best I could!) since phrases in the text, especially the title, seemed natural for an Irish accent. The lighting is a little bright, so you probably can't see what I pull out at the end. But it's a water pistol.
Four Folk Song Upsettings, S. 4 for Mezzanine Soprano, Devious Instruments, and Piano. Edited, by not gussied up by Prof. Peter Schickele. Performed Nov. 18, 2005 by Tara Guthrie, soprano, Judy Walters, piano, and Trey Hamlin, "devious instruments." The instrument Trey is playing on this song is called the "schlagenfrappe." Instructions are given in the score for making and playing the schlagenfrappe. I chose to sing this in a little girl's voice since the text lended itself to being sung as if by a child.
4th movement from PDQ Bach's masterpiece "Grand Serenade For An Awful Lot Of Winds And Percussion" Debut of the CHS Wind Ensemble, 2008 Winter Concert
Classical music for your day. The last part... PDQ Bach -Concerto for Horn & Hardart, S27 - 5'53 (from a 15:36 recording) -My Bonnie Lass - 2'38" performed by: PDQ Bach / Peter Schickele label: Vanguard Records
Classical music for your day. More humour from Peter Schickele. PDQ Bach -Concerto for Horn & Hardart, S27 - 10:07 (from a 15:36 recording) performed by: PDQ Bach / Peter Schickele label: Vanguard Records
Classical music for your day. Some comedy this time from Peter Schickele... New Horizon's in Music Appreciation - 8'46" peformed by: PDQ Bach / Peter Schickele label: Vanguard Records
Opening scene from the Grand Opera, The Abduction of Figaro. Composed by PDQ Bach (1807-1742)?
Los Alamos, NM performance, September 12, 2008
This new upload is something unusual but nonetheless interesting. The selection concerns a performance of the very familiar Symphony No. 5 by Ludwig van Beethoven ... as if it were a sporting event complete with a cheering audience, a referee and two commentators (Robert Dennis and Peter Schickele, the man behind the whole thing). Though the whole thing is outrageously funny, the joke only helps highlight the sheer power of Beethoven's masterwork and, at the same time, makes one think of the extreme value we attach to music. Enjoy :)! PS This except appears on the album "PDQ Bach on the Air" which features several other striking musical parodies.
One of the songs from Peter Schickele's "Art of the Ground Round" by PDQ Bach. It's hard to find someone willing to sing a song like this for an audience, so I decided to do it in split-screen.
PDQ Bach's Oedipus Tex (Dramatic Oratorio for soloists, chorus and orchestra) (S.150) 7. Recitative: "But" (Narrator) 8. Aria: "You murdered your father" (Madame Peep) Pamela South, Soprano (Billie Jo Casta) Dana Krueger, Mezzo-Soprano (Madame Peep) Frank Kelley, Tenor (Narrator) Professor Peter Schickele, Bass (Oedipus Tex) Newton Wayland; The Greater Hoople Area off-season Philharmonic & the Okay Chorale
PDQ Bach's Oedipus Tex (Dramatic Oratorio for soloists, chorus and orchestra) (S.150) 5. Recitative: "And it wasn't long" (Narrator) 6. Duet with Chorus: "My Heart" (Oedipus Tex, Billie Jo Casta, Chorus) Pamela South, Soprano (Billie Jo Casta) Dana Krueger, Mezzo-Soprano (Madame Peep) Frank Kelley, Tenor (Narrator) Professor Peter Schickele, Bass (Oedipus Tex) Newton Wayland; The Greater Hoople Area off-season Philharmonic & the Okay Chorale
PDQ Bach's Oedipus Tex (Dramatic Oratorio for soloists, chorus and orchestra) (S.150) 3. Recitative: "Well" (Narrator) 4. Aria with Chorus: "Howdy There" (Oedipus Tex and Chorus) Pamela South, Soprano (Billie Jo Casta) Dana Krueger, Mezzo-Soprano (Madame Peep) Frank Kelley, Tenor (Narrator) Professor Peter Schickele, Bass (Oedipus Tex) Newton Wayland; The Greater Hoople Area off-season Philharmonic & the Okay Chorale
PDQ Bach's Oedipus Tex (Dramatic Oratorio for soloists, chorus and orchestra) (S.150) 1. Intoduction by Peter Schickele 2. Prologue "Tragedy" (Chorus) Pamela South, Soprano (Billie Jo Casta) Dana Krueger, Mezzo-Soprano (Madame Peep) Frank Kelley, Tenor (Narrator) Professor Peter Schickele, Bass (Oedipus Tex) Newton Wayland; The Greater Hoople Area off-season Philharmonic & the Okay Chorale
Purchase BACH & friends: www.mlfilms.com - ANew two-hour Documentary on Johann Sebastian Bach - the 2-DVD set includes a Bonus disc with complete performances from the film - featuring Joshua Bell's only recorded performance of the Chaconne - From Michael Lawrence Films - YouTube Clip Authorized by MLF mlfilms - Comment & Reviews - www.mlfilms.com
I really wanted to upload this piece for quite some time now, it's just too good to miss. Schickele is an exceptionally talented comedian and a quite good composer whose enjoyable pieces make one reappreciate the beauty of classical music. One of his first parodies of classical opera was the present piece, "The Stoned Guest". In spite of its rather vulgar title, the "opera" itself is delightful. A huge portion of the humor lies in the text but the music effects are even better: for example, during the host's introduction we get a brilliantly funny tuning of the orchestra; the B section of Carmen Ghia's aria is formed of a series of rather annoying coloratura patterns; the failure, Don Octave, finishes his aria with a stab at a high note etc. etc. Some of the themes: the orchestral line in the duettino and in the trio - are surprisingly inspired, even in their comical surroundings. I am actually reminded a little of Pergolesi and the early operas of Mozart. I decided to leave out a couple of tracks not really connected with the "opera", including the sketch "Opera Whiz" which isn't as funny as the rest. The outline of the uploads is presented here: Part #1. "And thus we begin". 1. Introduction. 2. Opera. o Overture. o No. 1. Aria: "Let's face it - I'm lost". o Recitative: "Boy!". o No. 2. Aria: "Now is the season". Part #2. "They are still lost and confused". o Recitative: "Gesundheit!". o No. 3. Duet: "Woe". o Recitative: "Hark!". Part #3. "Three makes a group". o No. 4 ...
I really wanted to upload this piece for quite some time now, it's just too good to miss. Schickele is an exceptionally talented comedian and a quite good composer whose enjoyable pieces make one reappreciate the beauty of classical music. One of his first parodies of classical opera was the present piece, "The Stoned Guest". In spite of its rather vulgar title, the "opera" itself is delightful. A huge portion of the humor lies in the text but the music effects are even better: for example, during the host's introduction we get a brilliantly funny tuning of the orchestra; the B section of Carmen Ghia's aria is formed of a series of rather annoying coloratura patterns; the failure, Don Octave, finishes his aria with a stab at a high note etc. etc. Some of the themes: the orchestral line in the duettino and in the trio - are surprisingly inspired, even in their comical surroundings. I am actually reminded a little of Pergolesi and the early operas of Mozart. I decided to leave out a couple of tracks not really connected with the "opera", including the sketch "Opera Whiz" which isn't as funny as the rest. The outline of the uploads is presented here: Part #1. "And thus we begin". 1. Introduction. 2. Opera. o Overture. o No. 1. Aria: "Let's face it - I'm lost". o Recitative: "Boy!". o No. 2. Aria: "Now is the season". Part #2. "They are still lost and confused". o Recitative: "Gesundheit!". o No. 3. Duet: "Woe". o Recitative: "Hark!". Part #3. "Three makes a group". o No. 4 ...
I really wanted to upload this piece for quite some time now, it's just too good to miss. Schickele is an exceptionally talented comedian and a quite good composer whose enjoyable pieces make one reappreciate the beauty of classical music. One of his first parodies of classical opera was the present piece, "The Stoned Guest". In spite of its rather vulgar title, the "opera" itself is delightful. A huge portion of the humor lies in the text but the music effects are even better: for example, during the host's introduction we get a brilliantly funny tuning of the orchestra; the B section of Carmen Ghia's aria is formed of a series of rather annoying coloratura patterns; the failure, Don Octave, finishes his aria with a stab at a high note etc. etc. Some of the themes: the orchestral line in the duettino and in the trio - are surprisingly inspired, even in their comical surroundings. I am actually reminded a little of Pergolesi and the early operas of Mozart. I decided to leave out a couple of tracks not really connected with the "opera", including the sketch "Opera Whiz" which isn't as funny as the rest. The outline of the uploads is presented here: Part #1. "And thus we begin". 1. Introduction. 2. Opera. o Overture. o No. 1. Aria: "Let's face it - I'm lost". o Recitative: "Boy!". o No. 2. Aria: "Now is the season". Part #2. "They are still lost and confused". o Recitative: "Gesundheit!". o No. 3. Duet: "Woe". o Recitative: "Hark!". Part #3. "Three makes a group". o No. 4 ...
I really wanted to upload this piece for quite some time now, it's just too good to miss. Schickele is an exceptionally talented comedian and a quite good composer whose enjoyable pieces make one reappreciate the beauty of classical music. One of his first parodies of classical opera was the present piece, "The Stoned Guest". ************************************* Those to blame for the premiere: # Professor Peter Schickele. # The Orchestra of the University of Southern North Dakota at Hoople Heavy Opera Company under the direction of John Nelson. # Marlene Kleinman, mezzanine soprano (Donna Ribalda, a high-born lady of the lowlands). # Lorna Haywood, off-coloratura (Carmen Ghia, a woman of ailing repute). # John Ferrante, bargain counter tenor (Don Octave, an itinerant nobleman). # Bernice, houndentenor (Dog). # Will Jordan (Milton Host). ************************************* In spite of its rather vulgar title, the "opera" itself is delightful. A huge portion of the humor lies in the text but the music effects are even better: for example, during the host's introduction we get a brilliantly funny tuning of the orchestra; the B section of Carmen Ghia's aria is formed of a series of rather annoying coloratura patterns; the failure, Don Octave, finishes his aria with a stab at a high note etc. etc. Some of the themes: the orchestral line in the duettino and in the trio - are surprisingly inspired, even in their comical surroundings. I am actually reminded a little of ...
I really wanted to upload this piece for quite some time now, it's just too good to miss. Schickele is an exceptionally talented comedian and a quite good composer whose enjoyable pieces make one reappreciate the beauty of classical music. One of his first parodies of classical opera was the present piece, "The Stoned Guest". In spite of its rather vulgar title, the "opera" itself is delightful. A huge portion of the humor lies in the text but the music effects are even better: for example, during the host's introduction we get a brilliantly funny tuning of the orchestra; the B section of Carmen Ghia's aria is formed of a series of rather annoying coloratura patterns; the failure, Don Octave, finishes his aria with a stab at a high note etc. etc. Some of the themes: the orchestral line in the duettino and in the trio - are surprisingly inspired, even in their comical surroundings. I am actually reminded a little of Pergolesi and the early operas of Mozart. I decided to leave out a couple of tracks not really connected with the "opera", including the sketch "Opera Whiz" which isn't as funny as the rest. The outline of the uploads is presented here: Part #1. "And thus we begin". 1. Introduction. 2. Opera. o Overture. o No. 1. Aria: "Let's face it - I'm lost". o Recitative: "Boy!". o No. 2. Aria: "Now is the season". Part #2. "They are still lost and confused". o Recitative: "Gesundheit!". o No. 3. Duet: "Woe". o Recitative: "Hark!". Part #3. "Three makes a group". o No. 4 ...
Just like Anna Russell before him, Peter Schickele is well-known for his parodies of classical music traditions. Though Schickele took the whole thing a step further by creating a whole musical personality, PDQ Bach, "youngest and the oddest of the twenty odd children" of JS Bach. He has used this guise to write quite a lot of music, including a couple of "operas" in various quantities of acts. Surprisingly, considering the fact that PDQ's "music" basically lampoons classical music, Schickele seems to be quite a talented composer, some of the musical ideas he uses can be quite contagiously brilliant (the third "piece" here features a quite wonderful bass line, so wonderful, in fact, that I really do think that a couple of excellent singers could make the piece into a serious one (incidentally, do listen to the words, most of the humor lies there)). Presented here is a parody of musical pieces utilizing the basso ostinato or the ground bass. I am also providing a link to the album from which this piece is taken, just in case you want more information: en.wikipedia.org Enjoy and do try to take the pieces as far away from seriousness as you can :)! PS By the way, for people who have guessed the identities of the people on the painting I have used for the backdrop, I'm not trying to lampoon either of the people on it, I just found that the painting went well with the music :)!
Echo Sonata for Two Unfriendly Groups of Instruments, as performed by the CSUSB Chamber Winds
A performance of the second movement (Andante con cozyta) from PDQ Bach's Sonata Innamorata.
commercial break czyli przerwa na reklamę... z płyty "Report From Hoople: PDQ Bach"
The best of the best of the Wurst od PDQBach Ifigenia odnajduję się zagubioną na Brooklinie, w Supermarkecie, pomiędzy umierającymi rybami (pieśń pierwsza) Następnie spotyka brata swego uciekającego, ach jakżesz on uciekał (pieśń druga)
Rare Found Clip Of A resl Master. Enjoy! If you would like to download this video check out my "How To Download From You Tube" Video.
Really funny political statement made in 1966, Enjoy!!! If you would like to download this video check out my "How To Download From You Tube" Video.
Ruthanna Williams and Taylor Smith performed this piece on both of their senior recitals.
PDQ Bach (Peter Schickele) live from his "Jekyll & Hyde Tour" earlier this year...the first new release in 12 years.
More video from the high school senior chorus concert. "My Bonnie Lass, She Smelleth" the song is titled, by PDQ Bach (1807-1742?)/Peter Schickele. This had to be the most fun song of the concert!
A 1977 Grade 12 English project on the life of PDQ Bach.
Footage from PDQ Bach's/Peter Schickele's preparation for the live filming of his show from the "Jekyll & Hyde" tour.
Matt Johnston (bassoon), Liana Green (piano)
PDQ Bach creator Peter Schickele (part 2-of-8) Tomorrow Show with Tom Snyder - 12/6/1979
PDQ Bach -Missa Hilarius "Yriekay" "Gloria" this is a spoof on the liturgical writings of Bach. Specifically his b minor mass
This was for a recital at Western Washington University in 2009. We had a lot of fun working on it. Phillip on Contra and Stewart on Bassoon.
vaimusic.com Excerpt from Chapter 32 "Ballet" From: VAI DVD 4251 PDQ Bach - The Abduction of Figaro World Premiere Performances presented by the Minnesota Opera 1984 The master of musical parody, Professor Peter Schickele, brings us a complete opera by PDQ Bach, a man who has been called a pimple on the face of music, the worst musician ever to have trod organ pedals, and the most dangerous musician since Nero. This fully-staged complete live performance features the Chorus, Corpse [sic] de Ballet, and Orchestra of the Minnesota Opera under the direction of Professor Schickele. A wonderfully funny show — Musical America. A crazed pastiche . . . gags millions of them. — The New York Times. Color, Stereo, 144 minutes, USA, 1984 TO PURCHASE THE COMPLETE DVD, PLEASE VISIT www.vaimusic.com OR CALL TOLL-FREE IN THE US 1(800)477-7146 (OUTSIDE OF THE US, CALL 914-769-3691.)
For decades, Peter Schickele has kept audiences rolling in the aisles with his rib-tickling presentations of the alleged music of PDQ Bach, classical music's answer to the Marx Brothers. He has appeared regularly with the principal orchestras of Boston, New York, Philadelphia, Chicago, and Los Angeles, among many others. After taking a touring break to focus on his acclaimed nationally syndicated radio program "Schickele Mix," Professor Schickele is back on the concert circuit. This special December 2005 performance of PDQ's greatest hits celebrates 40 years of this uniquely appealing act. "A very funny show, even for people who like music but don't know why" —The New York Times. Available now on DVD at acornonline.com.
"My Bonnie Lass, she Smelleth" from the album "The Wurst of PDQ Bach" by Professor Peter Schickele. The album orginally was produced as an LP in 1968. Some photos are taken from Mr. Schickele's site, and as such have the original watermarks. The "soloist" at the end is the good Professor himself.. The song, like most PDQ Bach, is a parody of a well-known work, in this case the English madrigal "My Bonnie Lass, She Smileth" by Thomas Morley
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