The Royal P.D.Q. Bach Festival Orchestra, The Okay Chorale - Audiophile LP to Digital [FLAC] transfer

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The Royal P.D.Q. Bach Festival Orchestra, The Okay Chorale - An Hysteric Return - P.D.Q. Bach At Carnegie Hall [Vanguard VRS-9223] (1966)

Dynamic Range Released: 1966
Country: US
Label: Vanguard
Catalog: VRS-9223
Genre: Classical, Comedy

Item# SR-VAVRS9223
Ratings: C=VG+; LP=VG+

T R A C K L I S T:
01 Oratorio - ''The Seasonings'', S. 1/2 tsp
a Chorus: ''Tarragon Of Virtue Is Full''
b Recitative: ''And There Were In The Same Country''
c Duet: ''Bide Thy Thyme''
d Fugue: (Orchestra)
e Recitative: ''Then Asked He''
f Chorale: ''By The Leeks Of Babylon, There We Sat Down, Yea, We Wept''
g Recitative: ''Then She Gave In''
h Aria: ''Open Sesame Seeds''
i Recitative: ''So Saying''
j Duet: ''Summer Is A Cumin Seed''
k ''To Curry Favor, Favor Curry''
02 ''Unbegun'' Symphony (Prof. P. Schickele)
a III Minuet
b IV Andante-Allegro
03 Pervertimento For Bagpipes, Bicycle And Balloons. S. 66 - Allegro Moulto
a Allegro Moulto
b Romanze II (Adagio Sereno)
c Minaret And Trio
d Romanze I (Chi Largo)
e Presto Changio

An Hysteric Return - P.D.Q. Bach At Carnegie Hall
The Royal P.D.Q. Bach Festival Orchestra, The Okay Chorale

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Album Review

Brian Phillips [allmusic.com]

After the rousing success of the first PDQ Bach record, it was inevitable that there would be a follow-up. Peter Schickele delivers another wonderful collection of "newly discovered" pieces of one of Johann Sebastian Bach's twenty-odd children (indeed, the oddest, according to Schickele). The novelty of the first recording is gone and this collection is marred slightly by the fact that it offers more of the same that the first LP did and same means, indeed, SAME. It offers another opera (The Seasonings), another quodlibet ("Unbegun Symphony", tellingly, featuring movements three and four!) and another concerto featuring the bagpipes ("Pervertimento for Bagpipes, Bicycle and Balloons")

Even though elements are the first disc are present, the high level of auditory humor cannot be denied. The (Gerard) Hoffnung concerts, which are the older cousin of these concerts, do not hold up quite as well, for some of the humor is visual in nature. Schickele's gift for melody and self-effacing humor are still in fine shape on this outing and the audience is very receptive. An appreciation of Classical (and in the case of the Unbegun Symphony, popular) music is helpful but not required to enjoy this collection.