Meanwhile, Stimpy sneaks past the fence off-screen. Within moments, the baboon is instantly drawn to the puppet. Pipe unexpectedly declares that it's his wife's turn to get mauled by the baboon, resulting in yet another failed plan.įinally, Ren uses a puppet of a female baboon to distract the baboon in the yard, a trick he learned from a "Sylvester the Chicken" cartoon. Just as Ren and Stimpy reach the windowsill, Mr. The baboon starts to growl, but the disguised Ren is able to calm it. Ren and Stimpy then disguise themselves as Mr.
PIZZICATO PLAYTIME SKIN
Now skinless, Stimpy has no choice but to watch in horror as his skin gets devoured. Mistaken for a hog jowl, it is thrown to the baboon. Pipe right before getting to the windowsill. While Stimpy's skin sneaks past most of the house, it is unfortunately caught by Mr. Therefore, Ren rips off and sends Stimpy's skin under the fence to steal the jowls. Later on, the duo is given an opening, with the baboon having gone to sleep. Unfortunately, upon rushing over the fence, Ren discovers that while Stimpy was right about there being no dog, there is a baboon, which proceeds to viciously maul Ren. Stimpy peers over the fence to check and informs him that there is no dog. However, Ren is reluctant to cross the house's fence because he is convinced that there is a vicious dog guarding the yard. Ren and Stimpy are starving when they discover an enchanting stench leading them to a plate of hog jowls, Ren's favorite dish, sitting on a windowsill.
PIZZICATO PLAYTIME FULL
A full return of section A and a brief coda of descending scales closes the piece.Ren and Stimpy attempt to steal some hog jowls. Each melody of the B section is repeated. Broken chords played on all instruments open the contrasting tune, the second half of which consists of descending scales. The central section features the glockenspiel in the first of its two melodies, which derives its identity more from color than from melodic shape. A literal return of the first melody rounds out the A section. The second melody is quite different, with its falling scales, constant eighth note pulse and occasional rests. After a brief introduction, the first eight-measure tune falls into two sections and outlines chords with alternating eighth and sixteenth note rhythms. Possibly because of the limited instrumentation, Strauss seems to have attempted to provide as much contrast as possible in other ways, such as the rhythm and shape of melodies. As the title suggests, the entirety of the piece is scored for plucked strings, although a glockenspiel appears for the first half of the central section. Like other works on which Strauss collaborated with one or both of his brothers, the Pizzicato-Polka bears no opus number.Ĭonsisting of four melodies, the Pizzicato-Polka is arranged in ternary form. Scored for strings and glockenspiel, the polka was published in Vienna the next year and became very popular, especially in Italy, where Strauss included it on the program of every one of his tours.
With his brother Josef, Johann Strauss had composed the Pizzicato-Polka in 1869 for one of his several visits to Russia. It exhibits a ternary (ABA) form with eight-measure subsections and sometimes includes an introduction and a coda. A French dictionary of dance terms dating from 1847 describes the polka as having a tempo of 104 beats per minute with an emphasis on the second beat of the measure. The polka was very popular in the late nineteenth century and examples were penned by nearly every major composer of dance music, performed by almost all military bands and distributed in the form of sheet music throughout the world. Local musicians created variants of the dance, and in the 1850s in Vienna, the elegant Polka française and the lively Schnell-Polka developed. By 1843-1844 it was the favorite dance of Parisians and in May, 1844, it was first performed in the U.S. The dance was exported to Vienna in 1839 by a Bohemian regiment band, precipitating its rapid spread throughout Europe. Whatever its origins, it is certain that the polka first appeared in Prague in 1837. The name may be derived from the Czech pulka (half) or polska, the Czech word for a Polish girl. A couple-dance in 2/4 meter, it seems the polka developed in Bohemia as a type of round-dance with three short, heel-and-toe half-steps on the first three half-beats and a rest on the fourth.
Some of the characteristics of the polka appear in music performed by and written for Bohemian village musicians around 1800 aside from this, the dance's origins are obscure.
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