Peter Schickele stands as a pivotal figure in the landscape of comedic music, best known for his creation, P.D.Q. Bach. This imagined “last and least” son of Johann Sebastian Bach is the vehicle through which Schickele masterfully blends profound musical understanding with outright silliness. His work appeals to both those deeply familiar with classical music and newcomers, offering humor that is as intellectually stimulating as it is laugh-out-loud funny.
The core of Peter Schickele’s comedic genius lies within the music itself. It’s a realm of “cerebral silliness,” where complex musical structures are intentionally undermined by comedic timing and unexpected twists. Schickele’s ability to mimic compositional styles is uncanny; his mock-Mozartean pieces penned under the P.D.Q. Bach moniker genuinely echo Mozart, albeit a Mozart playfully distorted through a comedic lens. Imagine Mozart influenced by a touch of the absurd – this is the musical space P.D.Q. Bach inhabits, thanks to Peter Schickele’s inventive mind.
P.D.Q. Bach’s compositions are deliberately crafted to be appreciated on multiple levels. For the musically astute, there are layers of inside jokes and clever breaches of musical convention. Melodies wander through keys with no clear direction, harmonies yearn for resolutions that never materialize, and variations stray far from their original themes. Schickele’s music becomes an auditory equivalent of M.C. Escher’s impossible staircases – intricate and fascinating, yet ultimately leading nowhere in a delightfully unexpected way. Pieces like “The Civilian Barber,” “Chaconne à son Goût,” and the amusingly morbid carol “O Little Town of Hackensack” exemplify this unique approach, showcasing Schickele’s range and wit.
Beyond the recorded music, Peter Schickele’s live performances were legendary. A key element was the presence of William Walters, his stage manager, who played the perfect straight man to Schickele’s antics. The shows would often begin with Walters solemnly announcing Schickele’s unavoidable delay, met by a chorus of delighted boos from the audience, fully aware it was part of the act. Schickele’s entrances were theatrical events in themselves, ranging from sliding down ropes to bursting in with luggage as if late from the airport, or even being chased by a gorilla.
Once on stage, Peter Schickele would engage the audience with pun-filled monologues, setting the stage for the latest P.D.Q. Bach “discovery.” These performances were not just concerts; they were comedic theatrical experiences that celebrated the joy of music and laughter in equal measure. Through P.D.Q. Bach, Peter Schickele didn’t just parody classical music; he revitalized it with humor, making it accessible and endlessly entertaining for generations of listeners.
