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.
Cover Title (Subtitle) Duration Instrumentation Solo Goldbrick VariationsFor Piano, Two Hands 6:00 Piano Unaccompanied Notebook for Betty-Sue BachFor Piano, Two Hands Piano Unaccompanied The Short-Tempered ClavierPreludes and Fugues In All The Major and Minor Keys Except for The Really Hard Ones (S. 3.14159, Easy As) 36:00 Piano Unaccompanied Sonata Da Circo(Circus Sonata) 9:00 Organ Unaccompanied Sonata InnamorataFor Piano, Four Hands 9:00 Piano 4 Hands Suite No. 1 for Cello All By Its Lonesome 5:00 Suite No. 2 for Cello All By Its Lonesome 8:00 Three Chorale-Based PieceletsFor Organ 9:00 Organ Unaccompanied Three Teeny PreludesFor Piano 2:00 Piano Unaccompanied Toot SuiteFor Calliope Or Organ, Four Hands Organ 4 Hands Chamber Ensemble Canzon Per Sonar A Sei- Count Them – SeiFor 2 Bb Trumpets, 2 F Horns, Trombone, and Tuba 3:00 Brass Ensemble Capriccio “La Pucelle De New Orleans”For Various Instruments 4:00 Conzonetta “La Hopplina”(“The Girl From Hoople”) – for 2 B-Flat Trumpets, 2 F Horns, Trombone, and Tuba 2:20 Brass Ensemble “Dutch” Suite In G MajorFor Bassoon and Tuba 10:00 Mixed Duet Echo SonataFor Two Unfriendly Groups Of Instruments (Flute, Oboe, Bassoon; Trumpet In Bb, French Horn, Trombone) 2:00 “Erotica Variations”For Banned Instruments and Piano 5:00 Chamber Ensemble Fanfare for FredFor Trumpets, Horns, and Percussion 1:05 Chamber Ensemble Fanfare for the Common ColdFor 2 Trumpets In C Or B-Flat, 2 French Horns In F and Trombone Brass Quintet Fugue Of The Volga Boatmen Lip My ReedsPrelude and Fugue for Four Bassoons 4:30 Bassoon Ensemble Little Pickle Book(Pockelbuchlein) 6:00 Organ with Percussion The Musical SacrificeFor Flute/Piccolo, Oboe, Bassoon, Trombone (Tenor/Bass), Violin, and Contrabass 19:00 Chamber Ensemble No-No Nonette 14:00 2Ob. 2Cl. 2Hn. 2Bsn. Toys The Only Piece Ever Written for Violin and Tuba 7:30 Violin, Tuba “Safe” Sextet, S. R33-l45-r[pass it once]78 9:00 Picc. E.H. B.Cl. Cbsn. Cel. Hp. Schleptet In E-Flat MajorFor Flute, Oboe, Bassoon, Horn In F, Violin, Viola, and Cello 8:00 Chamber Ensemble SonataAbassoonata (S.888) 9:00 Bassoon with Piano Sonata for Viola Four Hands and Harpsichord Viola with Piano Sonata PiccolaFor Piccolo and Keyboard 8:00 Piccolo with Piano Trio (Sic) SonataFor 2 Flutes, Tambourine and Tuba 6:00 Chamber Ensemble The “Trite” Quintet, S. 6 of 1, Half a Dozen of the Other 18:00 Vln. Vla. Vcl. Cb. Pno. Trumpet Involuntaryfrom “Iphigenia in Brooklyn, S.52, 162” 2:00 2Vln. Vla. Vcl. Hpsd. Wine Bottle Band / Wind Ensemble “No-No” NonetteFor Assorted Winds and Toys 12:00 Nonet Grand Serenade for An Awful Lot Of Winds and Percussion 13:00 Concert Band March Of The Cute Little Wood SpritesFull Score and Parts 4:00 Concert Band OctootFor Wind Instruments 7:30 Wind Ensemble Six Contrary DancesFor Concert Band (Full Score and Parts) 12:00 Concert Band Voice with Instrument(s) The Art Of The Ground RoundFor Three Baritones and Discontinuo Three Baritones Cantata: “Blaues Gras” (Bluegrass Cantata)For Tenor, Bass, Bluegrass Band, and Orchestra 15:00 Ten. Bar.; Bluegrass Band (Mand. Banjo, Gtr. Cb.); 2Fl. Str. Diverse Ayres On Sundrie NotionsFor Bargain Counter Tenor and Keyboard 7:00 Diverse Ayres on Sundrie Notions, S. 99 44/100 8:00 Bargain-Counter Ten.; Worm/Snake; Vln. Vla. Vcl. Hpsd. Four Folk Song UpsettingsFor Mezzanine-Soprano, Devious Instruments, and Piano 9:00 Mezzo-Soprano, Piano, Schlagenfrappe, Ocarina, Tuba Mirum, Pastaphone Four Next-To-Last Songs Iphigenia In BrooklynCantata for Bargain-Counter-Tenor, Trumpet Mouthpiece, Double Reeds, Wine Bottle, Harpsichord, and String Quartet Iphigenia in Brooklyn, S. 52, 162 10:00 Bargain-Counter Ten.; 3Double Reeds, Tpt. Mouthpiece, Wine Bottle, Hpsd. Str. Quartet The Monk’s Aria“Et Exspecto” from Hansel and Gretel and Ted and Alice 5:00 Voice with Piano PeruckenstuckFrom “”The Civilian Barber”” – for Soprano, Pump Flute, Police Trombone, Double-Reed Hookah, and Strings (Piano-Vocal Score) 11:00 Piano, Voice Per 11:00 Sop.; Pumpflute, Police Tbn. Double-Reed Hookah, Str. Shepherd On The Rocks, With A TwistFor Bargain Counter Tenor and Devious Instruments 5:00 Counter Tenor, Lasso d’Amore, Tromboon, Tubular Bells, Tuning Bar, Cowbell, Foghorn Twelve Quite Heavenly Songs Arie Proprio ZodicaleFor Bargain Counter Tenor, Basso Blotto, and Keyboards 18:00 Chorus 1. To His Coy MistressFrom “”Liebeslieder Polkas (S. 2/4)”” for Chorus, With Piano Five Hands 2:00 SATB 2. To The Virgins, To Make Much Of Time(From “”Liebeslieder Polkas”” S. 2/4) S.A.T.B., With Piano, Five Hands 1:30 SATB 3. The Passionate Shepherd To His Love(From Liebeslieder Polkas [S. 2/4]), S.A.T.B., With Piano, Five Hands 2:45 SATB 4. Why So Pale and Wan, Fond Lover?(From “”Liebeslieder Polkas”” [S. 2/4]) 1:45 Mixed Chorus 5. It Was A Lover and His Lass(From Liebeslieder Polkas) S.A.T.B., With Piano, Five Hands 2:30 SATB 7. Song To Celia(From “”Libeslieder Polkas”” [S. 2/4]) S.A.T.B., With Piano, Five Hands 2:30 SATB 8. Interlude & 9. Farewell Ungrateful Traitor From Liebeslieder Polkas (S. 2/4)For Chorus, With Piano, Five Hands 5:00 SATB 10. Who Is Sylvia?(From “Liebeslieder Polkas” [S. 2/4]) – S.A.T.B., With Piano, Five Hands 2:00 SATB Birthday Ode To “Big Daddy” Bach (S.100)For S.A.T.B. Chorus, Soprano, Mezzo-Soprano, Tenor and Baritone Soloists, and Orchestra 8:00 Mixed Chorus The Constant LoverS.A.T.B., With Piano, Five Hands 2:30 SATB Four Curmudgeonly Canons(The Seasons Of A Malcontent) – for Mixed Chorus, A Cappella 11:00 Mixed Chorus Good King Kong Looked Out(From “”A Consort Of Christmas Carols””[S. 359]) S.A.B., A Cappella 2:30 Mixed Chorus Good King Kong Looked OutFrom A Consort Of Choral Christmas Carols 2:30 SSAA Good King Kong Looked OutFrom A Consort Of Choral Christmas Carols 2:30 Mixed Chorus Knock, KnockChoral Cantata 14:00 SATB Long Live The King 2:00 Mixed Chorus My Bonnie Lass She SmellethS.S.A.T.B. A Cappella Mixed Chorus O Little Town Of Hackensack(From “A Consort Of Choral Christmas Carols” [S.359] 3:00 Mixed Chorus O Little Town Of HackensackFrom “”A Consort Of Choral Christmas Carols””[S.359],Sab, A Cappella 3:00 SAB O Little Town Of HackensackS.S.A.A., A Cappella 3:00 SSAA Oedipus TexDramatic Oratorio Or Opera In One Cathartic Act 30:00 Opera with Chorus The Queen To Me A Royal Pain Doth GiveFrom Two Madrigals From The Triumphs Of Thusnelda Mixed Chorus Throw The Yule Log On, Uncle John(From “”A Consort Of Choral Christmas Carols”” [S.395]) S.A.B., A Cappella 2:30 Mixed Chorus Throw The Yule Log On, Uncle JohnFrom A Consort Of Choral Christmas Carols 2:30 Mixed Chorus Throw The Yule Log On, Uncle JohnS.S.A.A., A Cappella 2:30 SSAA Two Hearts, Four Lips, Three Little WordsFive-Part Madrigal for S.S.A.T.B. Chorus, A Cappella 6:00 Mixed Chorus Chorus and Orchestra Birthday Ode to “Big Daddy” Bach, S. 100 8:00 Sop. Mezzo-sop. Ten. Bar.; Mixed Chorus, Off-stage Narrator; 3Picc.Tpt. Timp. Hpsd. Str. Cantata Singalonga Melior Cave Canem 5:00 Solo Barelytone, Audience Chorus; 1 1 1 1 – 1 2 1 0; Timp. Str. Knock KnockChoral Cantata 12:00 SATB Chorus, 3Fl. Hpsd. Cb. Missa Hilarious 19:00 Bargain-Counter Ten. Basso Blotto, SATB Chorus; Diverse Fl. 2Hn. 2Tpt. Tbn. Timp. Perc. Str. Orchestra 1712 Overture 11:00 3 3 3 3 – 4 4 3 1; Timp. 4Perc. Org. Str. The Abduction of Figaro, Overture S. 384, 492 2 2 2 2 – 2 2 3 0; Timp. Perc. Str. A Little Nightmare Music 20:00 Strings – to the music of Eine Kleine Nachtmusik. Conducted by first violinist from part; no full orchestral score. Specially marked string parts on rental. Piano/vocal score for sale A Little Nightmare MusicAn Opera In One Irrevocable Act 20:00 Voice with Instrument Breakfast Antiphonies, S. 8:30 22:00 3(Picc.) 2 2 2 – 2 2 3 1; Timp. 2Perc.(Tea Kettle on Hot Plate; Tin Whistle attached to Plastic Tube, Red Wine Bottle, Gatorade Bottle, Stein or Teapot, Water Glass, Spoon, Nutmeg Kernel and Grater, Lemon-shaped Lemon Juice Dispenser, Tabasco Sauce Bottle Grand Serenade for an Awful Lot of Instruments, S. 1000 bis 13:00 3 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 4Perc. Str. Hindenburg Concerto 8:00 Picc. 2Fl. Hn. Tbn. Tuba 2Perc. Str. Howdy Symphony 16:00 2 2 2 2 – 2 2 1 0; Timp. Perc. Str. Konzertshtick 7:00 2 2 2 2 – 2 2 1 0; Timp. Cel. Str. Minuet Militaire 3:30 3(Picc.) 2 2 2 – 2 2 3(B.Tbn.)1; Timp. 2Perc. Str. Oedipus Tex, S. 150Opera (or Dramatic Oratorio) in One Cathartic Act 30:00 SATB Soloists, SATB Chorus; 1 1 1 1 – 1 2 1 0; Timp. Perc. Kbd. Harmonica or Harm. Str. Overture to La clemenza di Genghis Khan 7:00 2 2 2 2 – 2 2 0 1; Timp. Perc. Str. “The Preachers of Crimetheus,” S. 988Ballet in One Selfless Act 13:00 3(Picc.) 2 2 2 – 2 2 3 1; Timp. 2Perc. Devious Instruments, Str. Prelude In C Major – S Sc Royal Firewater Musick, S. 1/5(Dudeldorf Version) 16:00 2Ob. 2Hn. Bsn. 10Bottle Players, Str. Royal Firewater Musick, S. 1/5(Original Version) 15:00 2Ob. 2Hn. Bsn. 10Bottle Players, Str. Should, S. 365A Chorale Prelude for the New Year 2:00 2Tpt. Timp. Str. The Stoned Guest 35:00 1 1 0 1 – 1 1 1 0; Hpscd. Str. Suite from The Civilian Barber, S. 4F 8:00 2Bsn. 2Hn. 2Tpt. Tbn. Timp. Vcls. Cbs. Variations on an Unusually Simple-Minded Theme, S. 1for Piano and Orchestra 22:00 2 2 2 2 – 2 2 0 0; Timp. Perc. Str Orchestra with Soloist(s) Beethoven Symphony No. 5 Sportscast:New Horizons in Music Appreciation 8:00 Narrator; 2 2 2 2 – 2 2 0 0; Timp. Str. Cantata: “Blaues Gras”For Tenor, Bass, Bluegrass Band, and Orchestra 15:00 Orchestra Classical Rap 9:00 2Tpt. Hpsd. Str. Rapper Concerto for Bassoon vs. Orchestra 18:00 Solo Bsn.; 2 2 2 2 – 2 2 0 0; Timp. Perc. Str. Concerto for Horn and Hardart 11:00 Hn. Hardart, Fl. Ob. Bsn. Str. Concerto for Piano vs. Orchestra 25:00 Solo Pno.; 2 2 2 2 – 2 2 0 0; Timp. Str. Concerto for Simply Grand Piano and Orchestra (S. 99%) 22:45 Solo Pno.; 2(dbl. Picc.1,2) 2 2 2 – 2 2 3 0; Timp. 2Perc. Str. Concerto for Two Pianos Vs. Orchestra 26:00 Orchestra Concerto for Two Pianos vs. Orchestra(S. 2 are Better Than One) 26:00 2Pno. soli; 2 2 2 2 – 2 2 3 0; Timp. 2Perc. Str. Fantasieshtickfor Piano and Orchestra 20:00 Solo Pno.; 2 2 2 2 – 2 2 1 0; Timp. Perc. Str. Gross Concerto, S. -2 12:00 Diverse Flutes, 2Tpt. Str. Prelude to Einstein on the Fritz 7:00 Solo Pno.; 2 2 2 2 – 2 2 3 0; 2Perc. Str. Opera / Oratorio The Abduction of FigaroOpera in three acts. 2:30:00 2 2 2 2 – 2 2 3 0; Timp. 2Perc. Ukelele/Pedal Steel Guitar/El.Guitar. Pno. or Hpscd. Str. Gross Concerto No. 2 12:00 Diverse Flutes (Ocarina, Grosse Ocarina, 2 Plastic Tonettes, Slide Whistle, Nose Flute, Oscar Mayer Wiener Whistle, Left-handed Sewer Flute, Shoe Horn, Dill Piccolo), 2Tpt. Tbn. Str. Hansel and Gretel and Ted and AliceOpera in 1 unnatural act. 20:00 Calliope/Beri Beritone, Hpscd. Pno. Water glasses Oedipus Tex The Seasonings (S. 1 1/2 Tsp.)Oratorio for Soprano, Alto, Tenor and Bass Soloists. Mixed Chorus (Satb) and Orchestra 20:00 The Seasonings (S. 1 1/2 Tsp.)Oratorio for Soprano, Alto, Tenor and Bass Soloists, Mixed Chorus (S.A.T.B.) and Orchestra 20:00 SATB Soloists, SATB Chorus; 2 Slide Whistles, 2 Kazoos, Tromboon, Windbreaker, Shower Hose, Foghorn, 2 Tpt. Timp. Str. The Stoned GuestA Half-Act Opera (Vocal Score) 35:00 Ensembles with Unusual Canine Cantata: “Wachet Arf!”, S. K9(“Sleeping Dogs Awake!”) 9:00 Solo Dog; 0 0 0 2 – 2 2 0 0; Timp. Str. Pervertimento 9:00 Bagpipes, Bicycle, Balloons; Str. Serenude 8:00 2 Slide Whistles, 2 Kazoos, Tromboon, Windbreaker, Shower Hose, Strings Sinfonia concertante 8:00 Lute, Balalaika, Ocarina, Bagpipes, Left-Handed Sewer Flute, Double-Reed Slide Music Stand, Strings Other The Intimate P.D.Q. Bach PostcardPack Of 6 P.D.Q. Bach Portrait PostcardPack Of 6
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.
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.
–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.
What can I say? You either like P.D.Q.’s stuff or you love it.
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.
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.
–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.
CANTATA: “BLAUES GRAS” (BLUEGRASS CANTATA), S. 6 STRING
…a definite hit with nonstop laughter and appreciative applause.
–Alison Kaufman, The Register-Guard
CONCERTO FOR SIMPLY GRAND PIANO AND ORCHESTRA (S. 99%)
…what makes Schickele such a gem is his seamless blending of the serious and the spoof. He doesn’t sacrifice sophistication for satire. Schickele laughs at what he loves. He throws shade at Mozart and Haydn and breaks an homage to Mozart into a boogie-woogie.
–John Lamb, Inforum
MORNING MUSIC: PIANO WORKS BY PETER SCHICKELE AND P.D.Q. BACH
Musical Tapestries (); May 1, 2014
Performer(s): Laura Leon, piano; Blair McMillen, piano
Work(s): “Goldbrick” Variations for Piano, Two Hands
Three Teeny Preludes
THE ABDUCTION OF FIGARO
VideoArts International (DVD 4254); February 10, 2004
Performer(s): Professor Peter Schickele, conductor of Chorus, Corpse de Ballet, Orchestra of the Minnesota Opera, the Whole Schmeer
Work(s): The Abduction of Figaro, S. 384, 492
THE ILL-CONCEIVED P.D.Q. BACH ANTHOLOGY
Telarc International (80520-25); November 1, 1998
Performer(s): Professor Peter Schickele, conductor, bass, devious instruments; The Greater Hoople Area Off-Season Philharmonic, Newton Wayland, conductor; The Okay Chorale; Members of The New York Pick-Up Ensemble;…
Work(s): Four Folk Song Upsettings, S. 4
The Musical Sacrafice
The Short-Tempered Clavier, S. easy as 3.14159265
THE DREADED P.D.Q BACH COLLECTION (4 CD SET)
Vanguard Records (159/62-2); August 27, 1996
Performer(s): Professor Peter Schickele, conductor, announcer, beriberitone, Hardart, Wine Bottle, Ocarina, bicycle, windbreaker, tromboon, worm, calliope, siren; Chamber Orchestra under the direction of Jorge Mest…
Work(s): Erotica Variations
Hansel and Gretel and Ted and Alice, S. 2^n-1
The Art of the Ground Round, S. 1.19/lb
THE SHORT-TEMPERED CLAVIER AND OTHER DYSFUNCTIONAL WORKS FOR KEYBOARD
Telarc International (80390-25); August 1, 1995
Performer(s): Professor Peter Schickele, steam calliope, organ; Christopher O’Riley, famous concert pianist; Dennis James, famous theater organist; David Robinson, whoever he is
Work(s): Little Pickle Book (Pockelbuchlein), S. 6
Sonata Da Circo Circus Sonata, S. 3 Ring
Three Chorale-Based Piecelets, S. III
TWO PIANOS ARE BETTER THAN ONE
Telarc International (80376-25); September 1, 1994
Performer(s): Professor Peter Schickele, piano; Jon Kimura Parker, piano; The New York Pick-up Ensemble, Jorge Mester, conductor; Wayne Hedrick, flute; Grace Lingen, flute; Peter DuBeau, tuba; Richard Fitz, tambour…
Work(s): Concerto for Two Pianos vs. Orchestra (S. 2 are Better Than One)
Trio (Sic) Sonata, S 3(4)
AN EVENING WITH P.D.Q. BACH
Vanguard Records (79195); December 6, 1993
Performer(s): Professor Peter Schickele, Hardart, Wine Bottle and Ocarina; Chamber Orchestra under the direction of Jorge Mester; John Ferrante, bargain counter tenor; Ralph Froelich, French Horn; Leonid Hambro, Ha…
Work(s): Concerto for Horn and Hardart, S. 27
Iphigenia in Brooklyn, S. 52, 162
Sinfonia concertante, S. 98.6
MUSIC FOR AN AWFUL LOT OF WINDS AND PERCUSSION
Telarc International (80307-25); September 1, 1992
Performer(s): Professor Peter Schickele, intellectual guide; Turtle Mountain Naval Base Tactical Wind Ensemble; Tennessee Bassoon Quartet; David McGill, bassoon; Ronald Bishop, tuba
Work(s): “Dutch” Suite in G, S. -16
Fanfare for Fred, S. F4F
Grand Serenade for an Awful Lot of Winds and Percussion
Lip my Reeds, S. 32′
March of the Cute Little Wood Sprites
Six Contrary Dances
P.D.Q. BACH ON THE AIR
Vanguard Records (79268); November 26, 1991
Performer(s): Professor Peter Schickele, conductor, announcer, worm (that’s an instrument); I Virtuosi di Hoople; John Ferrante, bargain counter tenor; Robert Dennis, announcer
Work(s): Beethoven Symphony No. 5 Sportscast: New Horizons in Music Appreciation
Toot Suite, S. 212°
WTWP: CLASSICAL TALKITY-TALK RADIO
Telarc International (80295-25); November 13, 1991
Performer(s): Professor Peter Schickele; Donna Brown as Blondie; Elliott Forrest as Jocko; Dana Krueger, Mezzanine-soprano; Peter Lurye, Piano; Calliope: A Renaissance Band
Work(s): Canzon per sonar a sei – Count them – sei
Canzonetta “La Hooplina”
Safe Sextet, S. R33-l45-r[pass it once]78
AN HYSTERIC RETURN: P.D.Q. BACH AT CARNEGIE HALL
Vanguard Records (79223); October 25, 1990
Performer(s): Professor Peter Schickele, bicycle, windbreaker, tromboon; The Royal P.D.Q. Bach Festival Orchestra, Jorge Mester, conductor; Lorna Haywood, soprano; Marlena Kkeinman, alto; John Ferrante, tenor; Will…
Work(s): Pervertimento, S. 66
Seasonings, S. 1½ Tsp., The
OEDIPUS TEX & OTHER CHORAL CALAMITIES
Telarc International (80239-25); September 1, 1990
Performer(s): Professor Peter Schickele, conductor, bass; The Greater Hoople Area Off-Season Philharmonic, Newton Wayland, conductor; The Okay Chorale; Grandmaster Flab and the Hoople Funkharmonic; Pamela South, so…
Work(s): Birthday Ode to “Big Daddy” Bach, S. 100
Classical Rap, S. 96th St
Knock Knock, S. 4/1
Oedipus Tex, S. 150
A LITTLE NIGHTMARE MUSIC
Vanguard Records (79448); January 25, 1990
Performer(s): Professor Peter Schickele conducting The New York Pick-Up Ensemble; James Billings, baritone (Antonio Salieri, a successful composer); Bruce Ford, tenor (Peter Schläfer, a mysterious writer); Gerald T…
Work(s): A Little Nightmare Music, S. 13
Octoot, S. 8 for Wind Instruments
Royal Firewater Musick, S. 1/5
BLACK FOREST BLUEGRASS
Vanguard Records (79427); January 25, 1990
Performer(s): Professor Peter Schickele, bass, conductor, snake (that’s an instrument); The New York Pick-Up Ensemble, Robert Bernhardt, conductor; John Ferrante, tenor; Eric Weisberg, mandolin and harmonica; Bill …
Work(s): Blaues Gras (Bluegrass Cantata), S. 5-string
Diverse Ayres on Sundrie Notions, S. 99 44/100
No-No Nonette, S. 86
LIEBESLIEDER POLKAS, TWELVE QUITE HEAVENLY SONGS
Vanguard Records (79438); January 25, 1990
Performer(s): Professor Peter Schickele, basso blotto, piano (fifth hand); The Swarthmore College Chorus, Peter Gram Swing, conductor; John Ferrante, bargain counter tenor; David Oei, piano, calliope, harpsichord, …
Work(s): Liebeslieder Polkas
Twelve Quite Heavenly Songs
MUSIC YOU CAN’T GET OUT OF YOUR HEAD
Vanguard Records (79443); January 25, 1990
Performer(s): Professor Peter Schickele conducting the New York Pick-Up Ensemble; Marilyn Brustadt, off-coloratura soprano; Paul Dunkel and Diva Goodfriend-Koven, pumpflute; Lauren Goldstein, Bill Becker and Abdul …
Work(s): Howdy Symphony, S. 6 7/8
Perückenstücke (Hairpiece from The Civilian Barber)
Suite from “The Civilian Barber, S. 4F”
PORTRAIT OF P.D.Q. BACH
Vanguard Records (79399); January 25, 1990
Performer(s): The New York Pick-Up Ensemble, Professor Peter Schickele, conductor; John Ferrante, bargain counter tenor; Harris Poor, basso blotto; Ransom Wilson and Diva Goodfriend-Koven, tape recorders, hand flut…
Work(s): A Consort of Christmas Carols S. 359
Echo Sonata for Two Unfriendly Groups of Instruments
Missa Hilarious, S. N2
THE STONED GUEST
Vanguard Records (76536); January 25, 1990
Performer(s): Entire fiasco under the supervision of Professor Peter Schickele; The Orchestra of the University of Southern North Dakota at Hoople Heavy Opera Company under the direction of John Nelson; Marlene Kle…
Work(s): The Stoned Guest, S. 86 proof Half-Act Opera
Two Madrigals from the Triumphs of Thusnelda S. 1601
1712 OVERTURE & OTHER MUSICAL ASSAULTS
Telarc International (80210-25); June 27, 1989
Performer(s): Professor Peter Schickele, conductor, narrator, pianist, devious instrumentalist and intellectual guide; The Greater Hoople Area Off-Season Philharmonic, Walter Bruno, conductor; I Virtuosi di Hoople
Work(s): 1712 Overture for really big orchestra, S. 1712
Capriccio “La Pucelle de New Orleans” (“The Maid of New Orleans”), S. under 18
Minuet Militaire, S. 1a
Prelude to Einstein on the Fritz, S. E=mc2
The Preachers of Crimetheus, S. 988
for OrchestraBirthday Ode to “Big Daddy” Bach
for Solo Voices, Chorus and OrchestraCanine Cantata: “Wachet Arf!”, S. K9 (“Sleeping Dogs Awake!”)
for Dog and Chamber OrchestraOedipus Tex
Opera (or Dramatic Oratorio) for Soloists, Chorus and OrchestraPrelude to “Einstein on the Fritz”
for Piano and OrchestraRoyal Firewater Musick
for Chamber OrchestraThe Abduction of Figaro (Act I)
Simply Grand Opera in Three ActsThe Abduction of Figaro (Act II-III)
Simply Grand Opera in Three ActsThe Abduction of Figaro (Overture)
Simply Grand Opera in Three ActsThe Stoned Guest
A Half-Act Opera