1 00:00:00,000 --> 00:00:08,520 And now, Shickley Mix. Ready, Mr. Shickley? Well, ready is a relative term, but here's the theme. 2 00:00:23,540 --> 00:00:34,940 Hello there, I'm Peter Shickley, and this is Shickley Mix, a program dedicated to the proposition that all musics are created equal. Or as Duke Ellington put it, if it sounds good, it is good. 3 00:00:35,460 --> 00:00:48,100 And it is good to report with gratitude that our bills are paid by this state-of-the-art radio station, which means they allow me to state my views about art. Saw a nice cartoon in a magazine once. 4 00:00:48,220 --> 00:01:00,400 Two dinosaurs, great big brontosauruses, are foraging for food in a swampy field, and one says to the other, Beulah, come here and look! I found a pea the size of a brain! No, really! 5 00:01:01,320 --> 00:01:12,500 Now, I'm sure that Beulah and her friend assumed, inasmuch as they assumed anything, that there would always be dinosaurs. Just as many people assume that there will always be dinosaurs. There will always be symphony orchestras. 6 00:01:12,920 --> 00:01:22,640 But the symphony orchestra didn't exist before Haydn and Mozart, and there's no reason to assume that it will always be around, especially as a purveyor of interesting new utterances. 7 00:01:23,440 --> 00:01:34,880 Leonard Bernstein once said that Stravinsky's Symphony in Three Movements, written in the early 1940s, was the last great symphony. Maybe, maybe not. It certainly hasn't kept people from writing them, 8 00:01:34,980 --> 00:01:46,800 and some recent examples, such as John Corleone's, have met with great success. But today, we're going to talk about the symphony orchestra. We're going to deal with a form or technique that is even more associated with the past than the symphony is, 9 00:01:46,920 --> 00:01:57,920 and that's the fugue. Now, a brief fortune cookie definition of a fugue might be a piece featuring more or less strict imitation, by all the voices of the texture, 10 00:01:58,140 --> 00:02:10,979 of a short, striking, melodic idea, called a subject, that is used throughout the piece. Hmm, I guess even that's too long for a fortune cookie. How about good theme worth hearing many times? 11 00:02:11,760 --> 00:02:17,180 Whatever. Anyhow, the best way to describe a piece is to play it. I'll let Glenn Gould do that. 12 00:03:51,100 --> 00:04:03,080 The second fugue from Johann Sebastian Bach's well-tempered clavier, called the WTC by those in the know, played by Glenn Gould. This is presented as a sort of a reference point. 13 00:04:03,660 --> 00:04:13,920 On other editions of Shickley Mix, we trace the development of the music, the fugue, Bach's mastery of it, and also his long shadow when it comes to other composers writing fugues. 14 00:04:14,560 --> 00:04:26,100 Today we're going to follow the form into the 20th century and ask the question, which happens to be the title of today's show, Is there a fugue in your future? You won't want to miss the surprising answer 15 00:04:26,100 --> 00:04:36,100 to a question that has never been more timely, so stay tuned, won't you? Okay, I have been known to rant on about a pet peeve of mine, 16 00:04:36,100 --> 00:04:45,660 composers whose music doesn't sound at all like Bach until they write a fugue, at which point they're suddenly playing the organ at St. Thomas Church in Leipzig with 20 kids 17 00:04:45,660 --> 00:04:56,100 crawling around their feet. During the 19th century, fugue writing came to be more and more regarded as an academic exercise, and only the more conservative composers, such as Brahms, 18 00:04:56,220 --> 00:05:08,280 made significant use of fugal techniques in concert pieces. But after the First World War, a wave of neoclassicism, second only to that of Beatlemania, swept over Western Europe and the 19 00:05:08,280 --> 00:05:20,060 fugue was back in. Not only did composers write separate fugues and fugal sections in larger works, some of them actually emulated the well-tempered clavier and wrote large collections of preludes 20 00:05:20,060 --> 00:05:31,880 and fugues in various keys. The results, in terms of my pet peeve, have been mixed. Some of the pieces genuflect, consciously or unconsciously, before the old master, but others, 21 00:05:31,980 --> 00:05:39,060 achieve escape velocity and break free of the Baroque's powerful gravitational pull. How far out they get varies. 22 00:05:40,160 --> 00:05:51,740 Okay, now two-thirds of the fugues in our first suite come from WTC wannabes, but they sound quite fresh and full of personality. In the first, it's partly because the subject is 23 00:05:51,740 --> 00:06:01,080 very un-Bachy. It sounds sort of like a soft, new-age bugle call. And at least this pianist, who is not the composer, uses quite a bit of pedal, which is nice. 24 00:06:01,080 --> 00:06:06,720 It avoids that dry sewing machine articulation that is rightly or wrongly associated with Bach. 25 00:06:07,600 --> 00:06:19,340 The second number in our suite does have that dry articulation, but it's in 5-8 time, which you didn't hear a whole lot of in 18th century Leipzig. In those days, meters were either 26 00:06:19,340 --> 00:06:31,020 duple or triple. Any organist trying to slip in a little 5-8 time would have been demoted to pumping the bellows. Our third piece is a delightful addendum. It's not from a large collection in 27 00:06:31,080 --> 00:06:37,040 fact, it's by a miniaturist who would seem to be the antithesis of a fugal composer. His music tends 28 00:06:37,040 --> 00:06:44,300 to be simple, almost childlike, repetitious, sly, and about as unlearned-sounding as you can get. 29 00:06:44,900 --> 00:06:56,960 But here he proves that he can fugalize those qualities just fine. I call this suite the well-tempered clavier rides again, which it does for about five and a half minutes. See you then. 30 00:12:24,020 --> 00:12:31,260 The well-tempered clavier rides again. We began with Dmitri Shostakovich from his Preludes and 31 00:12:31,260 --> 00:12:40,120 Fugues for Piano, Op. 87. That was fugue number 7 in A major, played by Tatyana Nikolaeva. And I 32 00:12:40,120 --> 00:12:52,820 listened to a recording of Shostakovich himself playing that fugue, and he does use less pedal, but I like it with the pedal. I think it's a great piece. It's a great piece. It's a great piece. It works very nicely. Then we heard the second fugue from Hindemith's Ludus Tonalis, 33 00:12:53,500 --> 00:13:00,080 another collection of Preludes and Fugues, played by K.B. Laritai. And then finally, 34 00:13:00,720 --> 00:13:09,080 from a piece by Eric Satie called Chose vue à droite et à gauche, which is things seen from 35 00:13:09,080 --> 00:13:17,780 left and right without glasses, we heard the fugue à taton, which according to this liner note means the feeling one's way fugue. 36 00:13:17,880 --> 00:13:30,140 Now, some of Satie's other fugues sound as if he had named his cat Bach just to get satisfaction from pulling its tail. There is a sort of an anger in them. As a matter of fact, here's what Satie said 37 00:13:30,140 --> 00:13:42,220 about chorales. He said, my chorales equal those of Bach with this difference. There are not so many of them, and they are less pretentious. That certainly is a basically unpretentious little 38 00:13:42,220 --> 00:13:50,660 fugue and a delightful one. My name is Peter Shickley, and the show is Shickley, and I'm here to tell you about the Fugue à Taton mix from PRI, Public Radio International. 39 00:13:51,880 --> 00:14:04,100 Now let's follow the fugue into the modern symphony orchestra. All three selections in our next suite are parts of longer symphonic works whose other parts aren't fugal. In other words, the comparatively 40 00:14:04,100 --> 00:14:10,480 strict imitative procedure and contrapuntal texture of a fugue is used as a contrast to the surrounding 41 00:14:10,480 --> 00:14:22,540 material. In the first number, the composer himself labeled this section fugue, but some others have said that it's not really a fugue. The counterpoint is rudimentary, and much of it doesn't sound like 42 00:14:22,540 --> 00:14:32,140 counterpoint at all. It's more like melody and accompaniment. Well, you know, I think it's one of those damned if you do and damned if you don't situations. If you write a fugue that doesn't 43 00:14:32,140 --> 00:14:41,660 sound anything like Bach, which this one certainly doesn't, people say it's not really a fugue. But if you write one that does sound like Bach, you've got the host of Shickley mix grumbling 44 00:14:41,660 --> 00:14:47,760 about apron strings. Fortunately, most composers are too egocentric to listen to anyone but themselves. 45 00:14:47,880 --> 00:14:59,480 You can decide for yourself. The second selection is a double fugue. The first subject is worked out by the instruments, and then when the chorus comes in, they have a new subject, which of course fits 46 00:14:59,480 --> 00:15:09,940 with the first one. That's what double fugues are all about. And the third and last selection kicks up its heels a bit. The fugue in the orchestra suite is a little under 12 minutes long. 47 00:27:08,320 --> 00:27:20,500 The fugue in the orchestra suite began with a section from Roy Harris' Third Symphony, The Fugue in the Orchestra Suite, a section from Roy Harris' Third Symphony, the fugue section that was performed by Howard Hansen conducting the Eastman Rochester Symphony 48 00:27:20,500 --> 00:27:26,360 Orchestra. Then came the middle movement of Stravinsky's Symphony of Psalms with Stravinsky 49 00:27:26,360 --> 00:27:33,960 himself conducting the CBC Symphony Orchestra with the Festival Singers of Toronto. And then finally 50 00:27:33,960 --> 00:27:45,400 the little fugato section and a fugato really means a small fugue or more properly the exposition part of a fugue but the whole thing isn't worked out like a full fugue would be. 51 00:27:45,820 --> 00:27:55,820 Very often in larger pieces it's more of a fugato section than a full fugue. And this is from Hindemith's Symphonic Metamorphosis on Themes of Cara Maria von Weber. 52 00:27:56,060 --> 00:28:08,260 That was the Israel Philharmonic Orchestra conducted by Leonard Bernstein. You know I've always wanted to write a piece based on that piece so that I could call it Symphonic Metamorphosis 53 00:28:08,260 --> 00:28:13,960 on Themes from Symphonic Metamorphosis on Themes. Symphonic Metamorphosis on Themes by Cara Maria von Weber by Paul Hindemith by Peter Schickely. 54 00:28:14,340 --> 00:28:22,650 But I figure hey what piece could live up to that title. And it's tidbit time. I only have one thing 55 00:28:22,650 --> 00:28:34,010 to say about this tidbit. I've used it before on the show it's true but that was in the original German. Now we're going to hear it translated into English. Two things to say about this tidbit. 56 00:28:34,110 --> 00:28:40,710 We heard it before in German now we're going to hear it in English and you can very clearly hear the technique called augmentation in this piece. 57 00:28:41,170 --> 00:28:49,390 The subject performed at one half speed and also at one quarter speed so it lasts two and four times as long as it did before. 58 00:28:49,890 --> 00:29:00,710 Three things to say about this tidbit. We heard it before in German now we're going to hear it in English. It uses augmentation very clearly and it's one of the most unusual fugues ever written. 59 00:29:01,970 --> 00:29:02,610 Trinidad! 60 00:29:03,070 --> 00:29:12,170 And the big Mississippi and the town Honolulu and the lake Titicaca. The Popocatépetl is not a chemistry school. 61 00:29:12,170 --> 00:29:12,610 Trinidad! 62 00:29:15,550 --> 00:29:21,790 And the big Mississippi and the town Honolulu and the lake Titicaca. 63 00:29:22,310 --> 00:29:22,730 Trinidad! 64 00:29:23,370 --> 00:29:38,600 And the big Mississippi and the town Honolulu and the lake Titicaca. 65 00:29:38,800 --> 00:29:47,800 The Popocatépetl is not a chemistry school. Trinidad! And the big Mississippi and the town Honolulu and the lake Titicaca. 66 00:29:47,820 --> 00:29:57,180 The Popocatépetl is not a chemistry school. Trinidad! 67 00:29:57,620 --> 00:30:05,500 And the big Mississippi and the town Honolulu and the lake Titicaca. The Popocatépetl is not a chemistry school. 68 00:30:06,980 --> 00:30:08,820 Trinidad! And the big Mississippi and the town Honolulu and the lake Titicaca. 69 00:30:08,820 --> 00:30:10,860 And the big Mississippi and the town Honolulu and the lake Titicaca. 70 00:30:11,220 --> 00:30:13,260 The Popocatépetl is not a chemistry school. 71 00:30:13,260 --> 00:30:19,680 And the big Mississippi and the town Honolulu and the lake Titicaca. The Popocatépetl is not a chemistry school. 72 00:30:20,420 --> 00:30:21,020 Trinidad! 73 00:30:25,900 --> 00:30:31,040 And the big Mississippi and the town Honolulu and the lake Titicaca. 74 00:30:31,140 --> 00:30:38,640 The Popocatépetl is not a chemistry school. Trinidad! 75 00:30:38,640 --> 00:30:42,680 And the big Mississippi and the town Honolulu and the lake Titicaca. 76 00:30:42,680 --> 00:30:44,080 And the big Mississippi and the town Honolulu and the lake Titicaca. The Popocatépetl is not a chemistry school. Trinidad! 77 00:30:44,260 --> 00:30:47,800 And the big Mississippi and the town Honolulu and the lake Titicaca. 78 00:30:47,800 --> 00:30:58,860 And the big Mississippi and the town Honolulu and the lake Titicaca. Trinidad! And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. Trinidad! Trinidad! 79 00:30:58,860 --> 00:31:05,780 And the big Mississippi and the town Honolulu and the lake Titicaca. 80 00:31:05,860 --> 00:31:15,850 And the big Mississippi and the town Honolulu and the lake Titicaca. Trinidad! Trinidad! 81 00:31:16,050 --> 00:31:19,050 And the big Mississippi and the town Honolulu and the lake Titicaca. 82 00:31:19,050 --> 00:31:32,010 And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. 83 00:31:32,010 --> 00:31:37,010 And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. 84 00:31:37,010 --> 00:31:37,890 And the big Mississippi and the town Honolulu and the lake Titicaca. 85 00:31:37,890 --> 00:31:42,970 And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. 86 00:31:42,970 --> 00:31:51,970 And the big Mississippi and the town Honolulu and the lake Titicaca. 87 00:32:02,230 --> 00:32:14,610 And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. 88 00:32:14,610 --> 00:32:25,610 And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. 89 00:32:25,610 --> 00:32:37,250 And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. 90 00:32:37,450 --> 00:32:47,470 And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. 91 00:32:47,490 --> 00:33:00,110 And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. 92 00:33:00,150 --> 00:33:12,930 And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. 93 00:33:13,010 --> 00:33:24,130 And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. 94 00:33:25,430 --> 00:33:36,890 And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. 95 00:33:37,050 --> 00:33:39,150 And the big Mississippi and the town Honolulu and the lake Titicaca. 96 00:33:39,310 --> 00:33:54,810 And the big Mississippi and the town Honolulu and the lake Titicaca. 97 00:33:54,810 --> 00:34:00,650 And the big Mississippi and the town Honolulu and the lake Titicaca. 98 00:34:12,540 --> 00:34:22,020 And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. 99 00:34:22,159 --> 00:34:29,900 And the big Mississippi and the town Honolulu and the lake Titicaca. 100 00:34:33,460 --> 00:34:33,760 And the big Mississippi and the town Honolulu and the lake Titicaca. 101 00:34:38,639 --> 00:34:49,920 And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. And the big Mississippi and the town Honolulu and the lake Titicaca. 102 00:34:49,960 --> 00:34:56,750 And the big Mississippi and the town Honolulu and the lake Titicaca. 103 00:35:05,240 --> 00:35:11,620 Okay, the music associated with the other young man, Sforzi, is called the rose truque. Here's how it starts. 104 00:35:25,270 --> 00:35:38,030 Now, here Lewis just takes two little fragments. He keeps the notes and rhythm of the first one, and he keeps the rhythm of the second but changes the notes. 105 00:35:40,310 --> 00:35:43,790 And once again extends it. for the fugue subject. 106 00:35:59,130 --> 00:36:11,510 And of course, big surprise, all three subjects fit together. We hear all three simultaneously many times. I love this whole album, and I wish we had time for all four of the cuts 107 00:36:11,510 --> 00:36:17,190 we've heard from, but we don't. So here's the triple fugue that ends the suite, Three Windows. 108 00:37:03,890 --> 00:37:31,880 Three Windows 109 00:37:39,390 --> 00:38:05,570 Three Windows 110 00:38:09,390 --> 00:38:39,370 Three Windows 111 00:38:39,390 --> 00:39:14,370 Three Windows 112 00:39:31,280 --> 00:40:21,680 Three Windows 113 00:40:34,460 --> 00:41:08,840 Three Windows 114 00:43:01,510 --> 00:43:13,750 Three Windows from No Sun in Venice, the modern jazz quartet, composed by John Lewis, who was on piano, Milt Jackson on vibes, Percy Heath on bass, Connie Kay on drums. 115 00:43:14,710 --> 00:43:26,130 The modern jazz quartet developed a wonderful fugue technique. Basically, a fugue consists of expositions where the theme is stated, and then episodes 116 00:43:26,130 --> 00:43:37,850 in which it's sort of developed and usually goes to a different key. And they worked out a way where the expository places are composed, and then they improvise during the episodes. 117 00:43:37,930 --> 00:43:48,270 It's a very satisfying thing. Formally, I find. Also, I like it, you know, I have a thing that I don't like. I don't like pianists who comp too much, who play chords, 118 00:43:48,390 --> 00:43:59,430 play these crunchy chords under solos. It's often too busy for my taste. It's one of the reasons I love the old Jerry Mulligan pianoless quartet, was that you didn't have that comping. 119 00:43:59,490 --> 00:44:09,130 And what I like about John Lewis is that he does other melodic lines often behind Milt Jackson when Jackson is improvising, instead of chords. 120 00:44:10,530 --> 00:44:22,250 It's interesting to see John Lewis play, or at least the times I've seen him, because he's really very melodic. And his right hand is going around improvising the melody, and the left hand sort of hovers above the keyboard, 121 00:44:22,330 --> 00:44:34,530 but it hardly ever drops, hardly ever plays anything. That was No Sun in Venice. Now that piece ends on a rather somber note. And I know that some of you are listening to this show while you're driving, 122 00:44:34,630 --> 00:44:40,430 and I don't want you to fall asleep. So let's hear one of the most invigorating fugues written in the music. It's the 20th century. 123 00:49:21,390 --> 00:49:33,770 That's a zinger, isn't it? The last movement of Samuel Barber's piano sonata, Fugue, Allegro Conspirato, played by David Alan Ware. And you know, we are early here. We've got a little bit of time left over. 124 00:49:33,910 --> 00:49:41,730 So let's do play one of the other pieces from the modern jazz quartet piece, No Sun in Venice. Here's the opening number, The Golden Striker. 125 00:50:06,290 --> 00:50:07,170 No Sun in Venice No Sun in Venice No Sun in Venice 126 00:50:07,170 --> 00:50:09,010 No Sun in Venice No Sun in Venice No Sun in Venice No Sun in Venice No Sun in Venice 127 00:50:09,010 --> 00:50:09,030 No Sun in Venice 128 00:50:09,030 --> 00:50:11,170 No Sun in Venice No Sun in Venice 129 00:50:11,170 --> 00:50:17,710 No Sun in Venice No Sun in Venice No Sun in Venice No Sun in Venice No Sun in Venice No Sun in Venice 130 00:50:18,650 --> 00:50:48,630 No Sun in Venice 131 00:50:48,650 --> 00:52:13,450 No Sun in Venice 132 00:52:13,470 --> 00:52:58,810 No Sun in Venice 133 00:53:18,960 --> 00:53:31,220 No Sun in Venice The Golden Striker from No Sun in Venice, the modern jazz quartet. Not a fugue, just a very nice filler. When I put this program together, I thought, I thought of it as the fugue 134 00:53:31,220 --> 00:53:43,240 in the 20th century. But it isn't, you know. It's the fugue in the first half of the 20th century. The latest piece on this show, No Sun in Venice, was written in 1957. And the kinds of classical music 135 00:53:43,240 --> 00:53:55,120 that have flourished since then, post-Webern serialism, minimalism, and the so-called new romanticism, have not been fugue-friendly. And I don't really see that changing. 136 00:53:55,700 --> 00:54:07,520 So my answer to the question, is there a fugue in your future, would have to be, don't hold your breath. Of course, what do I know? I thought the polka would die with Lawrence Welk. But if you travel through Wisconsin, 137 00:54:07,740 --> 00:54:20,140 you'll find out that it's still a viable art form. There's something about a good melody on top, an independent bass line on the bottom, and harmonizing notes in the middle, that just always seems to work. 138 00:54:20,920 --> 00:54:21,700 For instance, 139 00:54:37,850 --> 00:54:49,910 That's Sickly Mix for this week. Our program is made possible with funds provided by this radio station and its members. We'll tell you in a moment how you can get an official playlist of all the music on today's program 140 00:54:49,910 --> 00:55:02,330 with record numbers and everything. Just refer to the program number. This is program 55. And this is Peter Schickely saying goodbye and reminding you that it don't mean a thing if it ain't got that certain je ne sais quoi. 141 00:55:02,870 --> 00:55:05,150 You're looking good. See you next week. 142 00:57:40,300 --> 00:57:51,920 If you'd like a copy of that playlist I mentioned, send a stamped self-addressed envelope to Schickely Mix. 143 00:57:52,360 --> 00:58:04,160 That's S-C-H-I-C-K-E-L-E Schickely Mix. Care of Public Radio International, 100 North 6th Street, Suite 900A, Minneapolis, Minnesota, 144 00:58:05,340 --> 00:58:09,340 5540. P-R-I 145 00:58:09,340 --> 00:58:11,320 Public Radio International