P.D.Q. BACH
P.D.Q. BACH
In 1954 Professor Peter Schickele, rummaging around a Bavarian castle in search of rare musical gems, happened instead upon the original manuscript of a Sanka Cantata by one P.D.Q. Bach, being employed as a strainer in the caretaker's percolator. A cursory examination of the music immediately revealed the reason for the atrocious taste of the coffee; and when the work was finally performed at the University of Southern North Dakota at Hoople, the Professor realized too late that he had released a monster on the musical world. Unable to restrain himself, and with the misguided support of the U. of S.N.D. at H. and otherwise reputable recording and publishing companies, Prof. Schickele has since discovered more than four score of P.D.Q. Bach scores, each one more jaw-dropping than the last, each one another brick in the wall which will someday seal the doom of Musical Culture.
The conspiracy of silence that has surrounded P.D.Q. Bach (1807-1742)? For two centuries began with his own parents. He was the last and the least of the great Johann Sebastian Bach's twenty-odd children, and he was certainly the oddest. His father ignored him completely, setting an example for the rest of the family (and indeed for posterity), with the result that P.D.Q. was virtually unknown during his own lifetime; in fact, the more he wrote, the more unknown he became. He finally attained total obscurity at the time of his death, and his musical output would probably have followed him into oblivion had it not been for the zealous efforts of Prof. Schickele. These efforts have even extended themselves to mastering some of the rather unusual instruments for which P.D.Q. liked to compose, such as the left-handed sewer flute, the windbreaker, and the bicycle.
Since 1965 the tireless Professor has kept audiences in stitches with his presentation of P.D.Q. Bach's uniquely typical music. In addition to his annual concerts in New York City, he has appeared with over fifty orchestras, ranging from the Boston Symphony Orchestra, the Chicago Symphony, the Cleveland Orchestra, the New York Philharmonic, the London Symphony Orchestra and the Los Angeles Philharmonic to the New York Pick-Up Ensemble; and his self-contained show The Intimate P.D.Q. Bach (featuring the Semi-Pro Musica Antiqua) has played in cities and on campuses from Maine to California.
Prof. Schickele's personal appearances are booked by ICM Artists, 40 W. 57th St., New York, NY 10019, (212) 556-6876.
For more information about P.D.Q. Bach or Professor Schickele, please visit www.schickele.com.
For more information on the dubious works of P.D.Q. Bach, please visit our Presser Spotlite Page. |
Available Separately:Score and parts (#115-40138)
Condensed Score (#115-40138C)
Full Score - Large (#115-40138F)
Set of parts (#115-40138P)
March of the Cute Little Wood Sprites S. Onesy Twosy -- 4'
Band
Published: #115-40184
Commission Information: Commissioned by the Harvard Wind Ensemble, Thomas Everett, Conductor
• Recordings
Available Separately:Full Score - Large (#115-40184F)
Condensed Score (#115-40184C)
Set of parts (#115-40184P)
Available Separately:Full Score - Study (#115-40161F)
Set of parts (#115-40161P)
Condensed Score (#115-40161C)
"Erotica Variations" S.36EE for Banned Instruments and Piano -- 6'
Windbreaker/Balloons/Slide Whistle/Slide Windbreaker/Lasso d'Amore/Foghorn/Bell/Kazoo/Gargle (1 Player); Pno.
Published: #114-40240
• Recordings
Canzon per sonar a sei - Count them - sei Instrumental Piece for Six-Eccoli-Six, S. 6 -- 3'
2Tpt. 2Hn. Tbn. Tu.
Published: #114-40471
Commission Information: The discovery of this work was commissioned by the Spokane Falls Brass Band
• Recordings
Canzonetta "La Hooplina" The Girl from Hoople, S. 16 going on 30 -- 3'
2Tpt. 2Hn. Tbn. Tu.
Published: #114-40623
Premiere Information: November 18, 1990 in Cleveland, Ohio with members of the Cleveland Orchestra.
• Recordings
Capriccio "La Pucelle de New Orleans" ("The Maid of New Orleans"), S. under 18 -- 3'30"
2Fl. 2Ob. Cl. 2Bsn. Tpt. Tbn.
Published: #114-40578
• Recordings
Lip my Reeds, S. 32' (Prelude and Fugue for Four Bassoons) -- 4'30"
Published: #114-40674
Commission Information: The discovery of this work was commissioned by the Tennessee Bassoon Quartet
• Recordings
Movements:
• I. Vite, tout de suite
• II. Lent, tout au moins
• III. Minuet, et, tout à l’heure, trio
• IV. Chanson: “Toute l’année, hey, hey, hey”
• V. Tout à coup, le bout
• Recordings
Schleptet, S.0 -- 8'
Fl. Ob. Bsn. Hn. Vln. Vla. Vcl.
Published: #114-40581
Movements:
• I. Larghissimo – Allegro Boffo
• II. Menuetto con Brio ma senza Trio
• III. Adagio Saccharino
• IV. Yehudi Menuetto
• V. Presto Hey Nonny Nonnio
• Recordings
Sonata Piccola for Piccolo and Piano -- 8'
Published: #114-40458
Suite No. 1 for Cello All By Its Lonesome -- 5'
Published: #114-40832
Suite No. 2 for Cello All By Its Lonesome -- 8'
Published: #114-40833
Movements:
• I. Fuga Meshuga
• II. Sort of Little Trio Sonata (Andante; Allegro molto; Lento; Vivace)
• III. Three Canons
• IV. Chorale Prelude: “Da kommt ja der Schurke”
• V. Four More Canons
• VI. The Grossest Fugue
• Recordings
Trumpet Involuntary from "Iphigenia in Brooklyn, S. 52, 162" -- 2'
2Vln. Vla. Vcl. Hpsd. Wine Bottle
Available from the Presser Rental Library
Goldbrick Variations S. 14 -- 6'
Piano 2-Hands
Published: #110-40706
Little Pickle Book (Pockelbuchlein)
Organ
Published: #413-41144P
Little Pickle Book (Pockelbuchlein), S. 6 -- 5'
for Organ, at least
Published: #413-41144
Commission Information: The discovery of this work was commissioned by Dennis James
• Recordings
Notebook for Betty Sue Bach S. 13 going on 14 -- 12'
Piano, 2-Hands
Published: #410-41203
Sonata Da Circo Circus Sonata, S. 3 Ring
Organ, or whatever
Published: #413-41145
• Recordings
Sonata Innamorata for Piano Four Hands, S. 1+1
Published: #410-41280
A Little Nightmare Music, S. 13 an Opera in One Irrevocable Act -- 20'
2 Actors, Ten. Bar. Str.
Available from the Presser Rental Library
Premiere Information: December, 1982. Carnegie Hall, New York City.
Additional Information: To the music of Eine kleine Nachtmusik. Specially marked parts on rental from Theodore Presser.
Movements:
• I. Aria: “What sweet music”
• II. Aria: “Nature gave us eyes”
• III. Duet: “Uh oh”
• IV. Finale: “What hutzpah!”
• Recordings
Available Separately:Piano/Vocal Score (#411-41085)
Oedipus Tex Dramatic Oratorio or Opera in One Cathartic Act. -- 30'
SATB Soloists, SATB Chorus; 1 1 1 1 - 1 2 1 0; Timp. Perc. Kbd. Harmonica (or Harmonium) Str.
Available from the Presser Rental Library
The Abduction of Figaro, S. 384, 492 Simply Grand Opera in Three Acts -- 2 1/2 hours
9 principals with doubling; SATB Chorus, corpse de ballet; 2 2 2 2 - 2 2 3 0; Timp. 2Perc. Ukelele, Pedal Steel, Elec. Guitar (1 player), Keyboard, Str.
Available from the Presser Rental Library
Premiere Information: 24th, 27th, 28th April, 1984. Minnesota Opera, conducted by Peter Schickele.
• Recordings
The Stoned Guest, S. 86 proof Half-Act Opera -- 35'
Mezzanine-Soprano, Off-coloratura, Bargain Counter Tenor, Houndentenor, Basso Blotto; 1 1 0 1 - 1 1 1 0; Hpscd. Str.
Available from the Presser Rental Library
Additional Information: Setting: A Viennese palace, on the evening of December 4, 1791
Movements:
• I. Aria: “What sweet music”
• II. Aria: “Nature gave us eyes”
• III. Duet: “Uh oh”
• IV. Finale: “What hutzpah!”
• Recordings
Available Separately:Piano/Vocal Score (#411-41055)
"The Preachers of Crimetheus," S. 988 Ballet in One Selfless Act -- 13'
3(Picc.) 2 2 2 - 2 2 3 1; Timp. 2Perc. Devious Instruments, Str.
Available from the Presser Rental Library
• Recordings
Concerto for Two Pianos vs. Orchestra (S. 2 are Better Than One) -- 26'
2 Solo Pianos; 2 2 2 2 - 2 2 3 0; Timp. 2Perc. Str.
Available from the Presser Rental Library
Movements:
• I. Shake allegro
• II. Andante Alighieri
• III. Presto changio
• Recordings
Available Separately:Solo Part (#416-41220A)
Solo Part (#416-41220B)
Fantasieshtick, S. 1001 for Piano and Orchestra -- 20'
Solo Piano; 2 2 2 2 - 2 2 1 0; Timp. Perc. Str.
Available from the Presser Rental Library
Prelude in C Major
Solo Piano; 2(Picc.) 2 2 2 - 2 2 0 0; Timp. Str.
Published: #416-41245
Royal Firewater Musick, S. 1/5 (Dudeldorf Version) -- 16'
2Ob. 2Hn. Bsn. 10Bottle Players, Str.
Available from the Presser Rental Library
Serenude, S. 36-24-36 -- 8'
2 Slide Whistles, 2 Kazoos, Tromboon, Windbreaker, Shower Hose, Strings
Available from the Presser Rental Library
Sinfonia concertante, S. 98.6 -- 8'
Lute, Balalaika, Ocarina, Bagpipes, Left-Handed Sewer Flute, Double-Reed Slide Music Stand, Strings
Available from the Presser Rental Library
• Recordings
Movements:
• I. Entrance of the dragoons (tempo di Marsha)
• II. Dance of St. Vitus
• III. His majesty’s minuet
• IV. Fanfare for the royal shaft
• V. Her majesty’s minuet
• VI. Departure of the dragoons (tempo on the double)
• Recordings
Birthday Ode to "Big Daddy" Bach, S. 100 -- 8'
Soprano, Mezzo, Tenor, Baritone, Mixed chorus; 3Tpt. Timp. Hpschd. Str.
Available from the Presser Rental Library
Commission Information: the discovery of this work was commissioned by Philip Brunelle's Plymouth Music Series and is dedicated by them to Patricia Lund.
• Recordings
Available Separately:Piano/Vocal Score (#412-41067)
Cantata Singalonga "Melior Cave Canem" S. MCC ("Better Watch Out for the Dog") -- 5'
Solo Baritone, SATB Chorus (audience singalong); 1 1 1 1 - 1 2 1 0; Timp. Str.
Available from the Presser Rental Library
Available Separately:Piano/Vocal Score (#411-41071)
Four Curmudgeonly Canons (The Seasons of a Malcontent), S. 365 -- 9'
SATB Chorus
Published: #312-41675
Four Folk Song Upsettings, S. 4 -- 9'
Mezzanine Sop. & Devious Inst. (Schlagenfrappe, Ocarina, Tuba mirum, Pastaphone); Pno.
Published: #111-40140
• Recordings
Iphigenia in Brooklyn, S. 52, 162 -- 10'
Bargain Counter Tenor, 3 Double Reeds, Trumpet Mouthpiece, Wine Bottle, Harpsichord, String Quartet
Available from the Presser Rental Library
• Recordings
Available Separately:Full Score - Study (#416-41173)
Available Separately:Piano/Vocal Score (#412-41073)
To His Coy Mistress No. 1 from "Liebeslieder Polkas"
Published: #312-41328
The Constant Lover No. 6 from "Liebeslieder Polkas"
Published: #312-41333
Song to Celia No. 7 from "Liebeslieder Polkas"
Published: #312-41334
Who is Sylvia? No. 10 from "Liebeslieder Polkas"
Published: #312-41336
Long Live the King for SAB Chorus -- 2'
Additional Information: Published: 312-41856
Missa Hilarious, S. N2 -- 19'
Bargain Counter Tenor, Bass Blotto, SATB Chorus; Diverse Fl., 2Hn. 2Tpt. Tbn. Timp. Perc. Str.
Available from the Presser Rental Library
Premiere Information: December 26th, 1975. Avery Fisher Hall, New York, New York.
Movements:
• I. Yriekay
• II. Gloria
• III. Crdo
• IV. Sanctus
• V. Agnus Dei
• Recordings
Oedipus Tex, S. 150 Dramatic Oratorio -- 30'
SATB Soloists, SATB Chorus; 1 1 1 1 - 1 2 1 0; Timp. Perc. Kbd. Harmonica or Harm. Str.
Available from the Presser Rental Library
• Recordings
Available Separately:Piano/Vocal Score (#412-41072)
Full Score - Large (#416-41263)
Available Separately:Piano/Vocal Score (#411-41072)
Seasonings, S. 1½ Tsp., The -- 20'
SATB Soloists, SATB Chorus; 2 Slide Whistles, 2 Kazoos, Tromboon, Windbreaker, Shower Hose, Foghorn, 2 Tpt. Timp. Str.
Available from the Presser Rental Library
• Recordings
Available Separately:Piano/Vocal Score (#411-41054)
Full Score - Large (#411-41054S)
Twelve Quite Heavenly Songs (Arie Proprio Zodicale), S. 16°
Bargain-Counter Tenor, Basso Blotto, Keyboards
Published: #414-41160
• Recordings
Vanguard Records 79195 (LP, CS, CD): An Evening With P.D.Q. Bach
Maurice Eisenstadt, Bagpipes; Robert Lewis, Left-handed Sewer flute; Stanley Buetens, Lute; Stephen Lickman, double-reed slide Music Stand; Peter Zolotareff, Balalaika; Peter Schickele, Ocarina.
VideoArts International VHS 69027: The Abduction of Figaro
Professor Peter Schickele, conductor of Chorus, Corpse de Ballet, Orchestra of the Minnesota Opera, the Whole Schmeer
"As usual, the old sew-and-sew, who threads the life of J.S. Bach's forgotten son together, has his audience… in stitches."-The Philadelphia Inquirer"More, more! Encore, encore!"-Washington Evening Star"The audience tittered, giggled, bell-laughed, guffawed, and downright had a good time, giving Schickele a standing ovation at evening's end calling him back for several curtain calls."-Indianapolis Star"Every once in a while, as when Prof. Schickele played two plastic tonettes (cheap flutes) at once and in a surprisingly deft counterpoint, it was apparent that a real musician lurked in this frizzled anarchist."-Buffalo Evening News"In the Gross work, the picture of the bearded professor stooped low over the microphone, hair and shirttail flopping, brow furrowed, flute in nose, is an experience not to be forgotten. (And we've tried)… The Piano Concerto is a more ambitious opus, lasting 20-odd minutes, the oddest of them coming in the extended cadenza, which is for every instrument except the piano. Mr. Schickele, who is every bit as good an instrumentalist as he is a conductor, has his finest moments under the piano, literally milking every drop of emotion from the poor thing."-The New York Times"The most original and satisfying expert at music parody around these days is… Peter Schickele, known as Professor Schickele… Professor Schickele introduced some of these works, which have set music back several hundred years, to a stunned audience in New York last spring when he made his entrance sliding down a rope from the balcony."-Life Magazine"What can I say? You either like P.D.Q.'s stuff or you love it."-CD Review"One thing that makes this humor so biting is that at concerts of experimental work you have heard things just as silly as Schickele's performance with balloons, an elephantine pan-pipe, and his trombone/bassoon crossbreed. You wanted to laugh then but felt you couldn't. He invites the cleansing laughter of reason."-Chicago Sun-Times"Judging from Prof. Schickele's appearance last night with the San Diego Symphony, age cannot wither nor custom stale the infinite variety of P.D.Q. Bach's lunacy. The same might be said— with apologies to Shakespeare, of course— about P.D.Q.'s amanuensis and chief proselytizer, namely Prof. Schickele himself."-The San Diego Union"What sets P.D.Q. apart, which means below, most composers of classical ilk are his rampant plagiarism, technical ineptitude, ludicrous instrumental writing and unfathomable prescience. How this most eclectic of composers could incorporate jazz, blues and other 20th-century styles into his works is something only Schickele could tell."-The Pittsburgh Press"[Prof.] Schickele depends on a regular concert-going audience to appreciate his observant parodies of stage etiquette and performance mannerisms that, in other circumstances, are taken, however absurd, without any hint of levity. Similarly his musical jokes surely must delight audiences and the seasoned orchestral member alike, to say nothing of the odd (the very odd) fellow musical-ologist as they ride the flood of musical quotations streaming by."-The Sydney Morning Herald"The excellent spoofing of concert hall etiquette, the wildly imaginative misinformation that constitutes Mr. Schickele's musicological lectures on P.D.Q. Bach, and the superior musical satire provided by his compositions are at once enjoyably absurd and enlightening."-The Christian Science Monitor"'An Evening with P.D.Q. Bach' is a very, very funny show, even for people who like music but don't know why."-The New York Times"P.D.Q. Bach (1807-1742)? is the happy creation of Schickele, a composer and former teacher. The concert was a sometimes broad but always knowing lampoon of baroque music, carried off with just enough expertise to border on the believable."-Time Magazine
Page last updated January 18, 2010
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