Dominated by a sojourn in the Czech Republic.
Karl Nagl’s claim that, unlike the Germans, Viennese organ-grinders are musicians, because they have “crank-sense.” And female yodelling with Dudlerinnen Trude Mally and Maly Nagl.
A rubbish heap in which a Ukrainian nuclear fireman finds romance with Willie Nelson.
François Dominique Séraphin, Bourbon favourite and reputedly the father of ombres chinoises (shadow puppetry), began operating 15 years later than is generally thought, and may have copied his techniques from an itinerant Italian or a London Alsatian. Featuring the memoirs of the valet to the later Louis XVII, early descriptions of the delights of the renovated Palais Royal (including a pygmy show), jolly old Baron Grimm on the lamentable state of French opera, shadow plays, and marionettes, and William Beckford’s favourite designer of theatrical perversions.
How to write pastiche inconsistent non-isochronous subdivision for mechanical organ. With metrical analysis of the notes inégales in a bit of the Furtwängler recording of Mozart’s Gran Partita.
But unfortunately he probably won’t figure in the results of the Singing Organ-Grinder’s historical explorations into English popular song.
Featuring O du lieber Augustin, the Thomases Dekker and Middleton, Daniel Defoe and various disreputable beggars and foreigners.
“Big cock” and “The old man and the cock are versions of “Medio pollico” / “Demi-coq”, and “Why the cock wears shorts” is something else.