P. D. Q. Bach is the pseudonym under which "Professor" Peter Schickele has … Read Full Bio ↴P. D. Q. Bach is the pseudonym under which "Professor" Peter Schickele has written a substantial body of satirical music, recorded on the Vanguard and Telarc labels. The music combines takeoffs on musicological scholarship, the conventions of Baroque and Classical music, and a certain amount of slapstick comedy.

Among the many "facts" about the composer's life in Schickele's fictional biography of the composer,[1] we find the following:

P. D. Q. Bach was born in Leipzig on April 1, 1742 [2], the son of Johann Sebastian Bach and Anna Magdalena Bach. According to Schickele, Bach's parents did not bother to give their youngest son a real name, and settled on "P. D. Q." instead. (In vernacular English, "P. D. Q." stands for "pretty damn quick".) Johann Sebastian did not give any musical training to P. D. Q. After his death, 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, 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. Bach died on May 5, 1807; however, his grave was marked "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 ins 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.

In his many preconcert lectures Peter Schickele has revealed other information about P. D. Q. Bach's life:

P. D. Q. Bach had a substantial influence on Beethoven's deafness. This is due to the latter's habit of stuffing coffee grounds into his ears whenever he saw P. D. Q. Bach coming.
P. D. Q. Bach is the INTERCAL (a parody of computer programming languages) of Baroque music.

Prof. Schickele describes P. D. Q. Bach as having "the originality of Johann Christian, the arrogance of Carl Philipp Emanuel, and the obscurity of Johann Christoph Friedrich." The most distinguishing feature of P. D. Q. Bach's music, in the words of Schickele, is "manic plagiarism". P. D. Q. Bach seldom wrote original tunes; for the most part he stole melodies from other composers and rearranged them in often funny ways. Also, P. D. Q. Bach's music uses instruments not often used in orchestras, such as the tromboon, slide whistle, hardart, lasso d'amore and kazoo, as well as items not normally used as musical instruments, such as balloons and bicycle. His music also calls for unusual methods of playing traditional instruments, such as the use of horns in various states of disassembly throughout Iphigenia in Brooklyn. His parts for vocalists, in addition to singing, also include coughing, snoring, sobbing, laughing and yelling.

In addition to making fun of Baroque and Classical music conventions, P. D. Q. Bach's music sometimes pokes fun at Romantic and modern music, and sometimes even country music (Oedipus Tex and Blaues Gras) and rap (Classical Rap). In Prelude to Einstein on the Fritz, a man is directed to make snoring noises while the music proceeds in a minimalist manner. The "Schickele" or "S." numbers whimsically assigned to P. D. Q. Bach's works parody musicologists' catalogues of famous composers, such as the Köchel catalogue of Mozart's works.

Schickele divides P. D. Q. Bach's musical output into three periods: the Initial Plunge, the Soused Period, and Contrition.

During the Initial Plunge, P. D. Q. Bach wrote Traumarei for solo piano, an Echo Sonata for "two unfriendly groups of instruments", and a Gross Concerto for Divers' Flutes, two Trumpets, and Strings.

During the Soused Period, P. D. Q. Bach wrote a Concerto for Horn & Hardart, a Sinfonia Concertante, a Pervertimento, a Serenude, a Perückenstück, a Suite from The Civilian Barber, a Schleptet in E-flat major, the half-act opera The Stoned Guest, a Concerto for Piano vs. Orchestra, Erotica Variations, Hansel and Gretel and Ted and Alice (an opera in one unnatural act), The Art of the Ground Round, a Concerto for Bassoon vs. Orchestra, and a Grand Serenade for an Awful Lot of Winds and Percussion.

During the Contrition, P. D. Q. Bach wrote the cantata Iphigenia in Brooklyn, the oratorio The Seasonings, Diverse Ayres on Sundrie Notions, a Sonata for Viola for Four Hands, the chorale prelude Should, a Notebook for Betty Sue Bach, the Toot Suite, the Grossest Fugue, a Fanfare for the Common Cold, and the canine cantata Wachet Arf!

He also composed the religious work "Missa Hilarious" (Schickele no. N2O), which was found along with documents pertaining to his excommunication

Sanctus
P.D.Q. Bach Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Mea tormenta, properate
Ubi sunt flagella et caedes, ubi sunt flagella et caedes?
Crucem quaero, crucem date
Volo mori, o Deus in te
Volo mori, o Deus in te, o Deus in te

Mea tormenta, properate, ubi sunt flagella et caedes?
Crucem quaero, crucem date

Ubi sunt flagella, flagella et caedes
Crucem quaero, crucem date

Volo mori, o Deus in te
Volo mori, o Deus in te, o Deus in te

Jesu mi, si me vocàsti
Sancta facie tua serena
In tua cruce et in tua paena
Jesu care voca me in tua cruce et in tua paena
Jesu care voca me in tua cruce voca me in tua paena

Jesu care voca me, voca
Voca me

Mea tormenta, properate, ubi sunt flagella et caedes?
Ubi sunt flagella et caedes?
Crucem quaero, crucem date

Volo mori, o Deus in te
Volo mori, o Deus in te, o Deus in te

Mea tormenta, properate, ubi sunt flagella et caedes?
Crucem quaero, crucem date
Ubi sunt flagella, flagella et caedes?
Crucem quaero, crucem date

Volo mori, o Deus in te
Volo mori, o Deus in te, o Deus in te

Overall Meaning

The lyrics to P.D.Q. Bach's song "Sanctus" convey a deep sense of desperation and longing for release. The phrases "Mea tormenta, properate" and "Volo mori, o Deus in te" indicate a plea for relief from torment and a desire to die and find solace in God. The repetition of the lines "Crucem quaero, crucem date" further emphasizes the need for the cross, symbolizing salvation and redemption.

The second part of the song shifts the focus to Jesus, addressing him directly with phrases like "Jesu mi, si me vocàsti" and "Jesu care voca me in tua cruce et in tua paena." This shows a deep yearning to be called by Jesus and find solace and peace in his suffering on the cross. The repetition of the plea "Voca me" reinforces the longing for Jesus to call and save the singer from their torment.

Overall, the lyrics of "Sanctus" express a profound longing for deliverance from suffering and a desire to find solace and redemption in God and the sacrifice of Jesus on the cross.

Line by Line Meaning

Mea tormenta, properate
My torments, hurry

Ubi sunt flagella et caedes, ubi sunt flagella et caedes?
Where are the lashes and killings, where are the lashes and killings?

Crucem quaero, crucem date
I seek the cross, give me the cross

Volo mori, o Deus in te
I want to die, oh God in you

Volo mori, o Deus in te, o Deus in te
I want to die, oh God in you, oh God in you

Jesu mi, si me vocàsti
My Jesus, if you called me

Sancta facie tua serena
With your serene holy face

In tua cruce et in tua paena
In your cross and in your suffering

Jesu care voca me in tua cruce et in tua paena
Dear Jesus, call me in your cross and in your suffering

Jesu care voca me in tua cruce voca me in tua paena
Dear Jesus, call me in your cross, call me in your suffering

Voca me
Call me