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Comedy Pdq Bach Houston We Have A Problem

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Comedy Pdq Bach Houston We Have A Problem

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Name:Comedy Pdq Bach Houston We Have A Problem

Infohash: 856D27AA617ED18548029436374F5817535E94CF

Total Size: 699.05 MB

Seeds: 4

Leechers: 0

Stream: Watch Full Movie @ Movie4u

Last Updated: 2024-03-30 19:19:03 (Update Now)

Torrent added: 2009-07-31 07:40:01






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Torrent description

P.D.Q. Bach - Houston, We Have A Problem



Video Codec..........: XviD ISO MPEG-4

Video Bitrate........: 822kbps

Duration.............: 1:42:16

Resolution...........: 560*320

Framerate............: 29.970

Audio Codec..........: 0x0055 MPEG-1 Layer 3

Audio Bitrate........: 119 kbps VBR

Audio Channels.......: 2

Filesize.............: 732,794,880

Subtitles............: None



I cannot believe that there isn’t more P.D.Q. Bach torrented. For people just discovering this for the first time, P.D.Q. Bach is a fictional composer created by ACTUAL composer Dr. Peter Schickele, and is meant to be the last and least son of famous composer Johann Sebastian Bach. A dreadful composer and blatant plagiarist, P.D.Q. Bach steals famous melodies and modern songs from other composers and has them performed for full orchestra and opera companies, occasionally on fake instruments like the garden hose trumpet. Where else are you going to see a French horn player put in a penalty box for a bad note?



P.D.Q. Bach is similar to other music satirists like Spike Jones, Victor Borge, or even Weird Al, but the difference here is that Schickele has gone to incredible lengths to create full blown orchestrations as intricate and complex as any real classical composer. Active since 1965, this has led to a bogus opera (THE ABDUCTION OF FIGARO – a 1984 combination actual operas ABDUCTION OF THE SERAGLIO and MARRIAGE OF FIGARO) and about 11 albums. The liner notes on those albums, by the way, are funny beyond description. I have most of them on vinyl, I will see about getting them ripped.



Almost anybody should find this fake concert funny, but this will be a special treat for three specific groups:



1 – People who ADORE classical music and NPR radio

2 – People who DESPISE classical music and NPR radio

3 – Anyone whose parents forced them to be in orchestra as kids.



This isn’t the clumsy, halfassed satire of SNL or Jack Black, this is a masterwork requiring years of musical education to even dream of pulling off. If you know nothing of classical music, orchestral concerts and so forth, you will still like this, but (oh my GOD!) if you DO know about that world, this will blow you out of your chairs with inside jokes and just general snotty sneakiness.



http://en.wikipedia.org/wiki/P._D._Q._Bach



P. D. Q. Bach is a fictional composer invented by musical satirist "Professor" Peter Schickele. In a running gag that Schickele has used in a four-decade-long career, he performs "discovered" works of this forgotten member of the Bach family. He has recorded this music on the Vanguard and Telarc labels. Schickele's music combines parodies of musicological scholarship, the conventions of Baroque and classical music, and elements of slapstick comedy.



The name "P. D. Q." is a parody of the three-part names given to some members of the Bach family that are commonly reduced to initials, such as C. P. E., for Carl Philipp Emanuel Bach.



Among the many "facts" about the composer's life in Schickele's fictional biography of the composer, [4] we find the following:

P.D.Q. Bach was born in Leipzig on April 1, 1742[1], the son of Johann Sebastian Bach and Anna Magdalena Bach; the twenty first of Johann's twenty children.[4] According to Schickele, Bach's parents did not bother to give their youngest son a real name, and settled on "P.D.Q." instead. The only earthly possession Johann Sebastian Bach willed to his son was a kazoo.



In 1755, P.D.Q. Bach was an apprentice of the inventor of the musical saw, Ludwig Zahnstocher (German for "toothpick"). In 1756, P.D.Q. Bach met Leopold Mozart and advised him to teach his son Wolfgang Amadeus how to play billiards. Later on, P.D.Q. Bach went to St. Petersburg to visit his distant cousin Leonhard Sigismund Dietrich Bach (L.S.D. Bach), whose daughter Betty Sue bore P.D.Q. a child.



Finally, in 1770, P.D.Q. Bach started to write music, mostly by stealing melodies from other composers.



P.D.Q.'s final words, which were spoken to Betty-Sue Bach, were "Time, gentlemen." The time was exactly eleven o'clock on the evening of May 5, 1807[2] in Baden-Baden-Baden [sic], Germany.[4]



P.D.Q. Bach's grave was marked "1807–1742". The reverse order of the dates has led to some controversy, but Prof. Schickele calls the theory that P.D.Q. Bach lived his life backwards, Merlin-like, "too fanciful to merit serious consideration" and insists that the marking on the grave was a "...transparent attempt [by] the Bach family to make it appear that P.D.Q. could not possibly have been sired by Johann Sebastian, who died in 1750."[5] Nevertheless, when listing the dates in sheet music or program notes, he always includes a question mark: "(1807-1742)?"



P.D.Q. Bach's Epitaph reads [as requested by his cousin Betty Sue Bach and written by the local doggerel catcher]:



In the "original" German:

Hier liegt ein Mann ganz ohnegleich;

Im Leibe dick, an Sünden reich.

Wir haben ihn in das Grab gesteckt,

Weil es uns dünkt er sei verreckt.



Translated:

Here lies a man with sundry flaws

And numerous Sins upon his head;

We buried him today because

As far as we can tell, he's dead.





Performers:

Professor Peter Schickele, conductor, wine bottle, windbreaker, slide windbreaker, singist and musicological mentor

Orchestra X, Peter Jacoby, Artistic Director

Okay Chorale, Tom Jaber, chorusmaster

William Walters, Manager of the Stage

Giff Nielsen, color commentator

Michèle Eaton, singist

David Düsing, singist

Gerrod Pagenkopf, bargain counter tenor

Jessica Smith, off-coloratura soprano

Cybele Gouverneur, mezzanine-soprano

John Weinel, tenor profundo

Sam Handley, basso blotto

Shih-Ting Huang, violin, captain of the orchestra

Jaryn Philleo, oboe, double reeds

Melanie Lancon, flute, slide whistle

Marat Rakhmatullaev, bassoon, tromboon

Cesar Martinez Bourguet, cello, discontinuo

Larry Hernandez, trumpet

Matt Menger, horn, shower hose in c alto

Phil Moody, kazoo primo

Brian Shircliffe, kazoo secundo

John Welton, continuo accordiano

Lillian Copeland, Ben Kamins, double reeds

Patty Moeling, slide whistle

Cheerleaders from the Spirit of Houston Cougar Band, themselves





Program





[1] “Desecration of the House” Overture



[2] Schleptet in Eb major, S. 0

Molto Larghissimo—Allegro Boffo

Menuetto con Brio ma Senza Trio

Adagio Saccharino

Yehudi Menuetto

Presto Hey Nonny Nonnio



[3] Iphigenia in Brooklyn, S. 53,162

I. Trumpet Involuntary

II. Aria: “When Hyperion”

III. Recitative: “And Lo!”

IV. Ground: “Dying”

V. Recitative: “And in a vision”

VI. Aria: “Running”



[4] “Unbegun” Symphony (Prof. Schickele)

III. Minuet

IV. Andante—Allegro



[5] New Horizons in Music Appreciation

Allegro con brio from Symphony No. 5 in c minor (Beethoven)



[6] Fuga Meshuga, from The Musical Sacrifice, S. 50% off



[7] The Seasonings, S. 1 1/2 tsp.

Chorus: “Tarragon of virtue is full”

Recitative: “And there were in the same country”

Duet: “Bide thy thyme”

Fugue

Recitative: “Then asked he”

Chorale: “By the leeks of Babylon”

Recitative: “Then she gave in”

Aria: “Open sesame seeds

Recitative: “So saying”

Duet: “Summer is a cumin seed”

Soloists and Chorus: “To curry favor, favor curry”