Peter Schickele was not just a composer; he was a comedic mastermind who, through his alter ego P.D.Q. Bach, brilliantly blended profound musical knowledge with laugh-out-loud silliness. This unique approach allowed him to create music that was both intellectually stimulating and utterly hilarious, appealing to a wide range of listeners.
The Parody of P.D.Q. Bach
P.D.Q. Bach, the fictional “last and least” son of Johann Sebastian Bach, became Schickele’s vehicle for musical parody. The music attributed to P.D.Q. Bach is a clever impersonation of various classical styles, most notably Mozart, taken to absurd extremes. Imagine Mozart, but with a mischievous twist – perhaps if Salieri had played a prank on him. This mock-Mozartean style is instantly recognizable and a core part of P.D.Q. Bach’s comedic appeal.
Musical Mayhem and Genius
The genius of Peter Schickele’s compositions under the P.D.Q. Bach moniker lies in their intricate musical jokes and playful breaking of musical conventions. Melodies wander aimlessly through different keys, harmonies yearn for resolutions that never arrive, and variations seem completely detached from their original themes. It’s music that’s designed to be both appreciated on a surface level for its humor and on a deeper level for its sophisticated musical satire. It’s like an M.C. Escher drawing in sound, taking you on elaborate musical staircases that lead nowhere, but entertainingly so.
The Hilarious Performances
Beyond the music itself, the live performances of P.D.Q. Bach were legendary. Audiences eagerly anticipated the performances, which always included a theatrical element. William Walters, Peter Schickele’s straight-man stage manager, would often announce Schickele’s supposed delay, prompting playful boos from the audience. Then, Peter Schickele would make a grand, often slapstick entrance, whether sliding down ropes, rushing in with luggage, or even being chased by a gorilla. Once on stage, he would deliver pun-filled monologues introducing the latest P.D.Q. Bach “discoveries,” such as “The Civilian Barber” or “O Little Town of Hackensack,” further enhancing the comedic experience.
Schickele’s Enduring Legacy
Peter Schickele, through P.D.Q. Bach, created a unique and enduring legacy. He demonstrated that classical music could be both respected and irreverently enjoyed, broadening its appeal and bringing laughter to concert halls worldwide. His work remains a testament to the power of musical humor and the brilliance of a composer who dared to be seriously silly.
