1 00:00:01,300 --> 00:00:09,500 And it is time now on WFMT for Schickely Mix with Peter Schickely. All set, Peter? 2 00:00:12,220 --> 00:00:15,500 Two for the show, three to get ready, and here's the theme. 3 00:00:30,450 --> 00:00:38,770 Hello there, I'm Peter Schickely, and this is Schickely Mix, a program dedicated to the proposition that all musics are created equal. 4 00:00:38,970 --> 00:00:51,570 Or as Duke Ellington put it, if it sounds good, it is good. And I'll be derned if our bills aren't paid by the Corporation for Public Broadcasting and by the National Endowment for the Arts, 5 00:00:52,090 --> 00:01:04,110 with additional support from the National Academy of Recording Arts and Sciences, and also from this irreplaceable radio station, whose state-of-the-county facilities make possible the production of these productions. 6 00:01:04,129 --> 00:01:15,610 Which are then taken and run with by PRI, Public Radio International. For some reason, I got to thinking about the symphonies of Robert Schumann recently. 7 00:01:16,490 --> 00:01:26,150 Well, you can't think about food and sex all the time. And I realized that the order in which the symphonies are numbered happens to be the order in which I first heard them. 8 00:01:26,610 --> 00:01:38,790 The first, the Spring Symphony, is one of my favorite symphonic pieces. Our family had a terrific recording with Zell in the Cleveland, and then I played bassoon in the second symphony with the Fargo-Moorhead Community Orchestra. 9 00:01:39,350 --> 00:01:51,450 I'm telling you, that slow movement just melts me. If you ever want to see a person turned into a puddle right before your very eyes, you know what to do. I don't remember when I first heard the third one, the Rhenish Symphony, 10 00:01:51,670 --> 00:01:58,670 but I'll bet I was a bit confused at the beginning. I mean, when I heard the very opening of the first movement, 11 00:02:05,570 --> 00:02:17,250 I'm sure I thought well that's in triple time a nice broad three I'm sure that in my mind. I counted it like this. I hope I can get the London Philharmonic to come in with me here 12 00:02:18,110 --> 00:02:28,550 one two three one two three one two three one two three one two three one 13 00:02:28,930 --> 00:02:35,610 But then when it gets to what should have been the fourth measure the way I was counting it all of a sudden the ground shifts 14 00:02:52,150 --> 00:03:02,330 All of a sudden there are bars that sound like they're in a fast three twice as fast in fact one two three one two three one two three one 15 00:03:02,350 --> 00:03:15,190 Two three one two three one two three so what's going on is this piece in a broad three or a fast three? Well when you listen farther on you become aware that the fast three situation 16 00:03:15,850 --> 00:03:21,150 Predominates you get accents on every downbeat in the fast three four time later on 17 00:03:50,460 --> 00:04:00,060 But in the rest of the movement it often shifts back and forth between the broad three in the fast three feeling What's going on here is called hemiola 18 00:04:00,780 --> 00:04:10,720 hemiola refers to the rhythmic relationship between three and two For instance take a six eight measure go ahead pick any one. They're all the same 19 00:04:10,720 --> 00:04:21,600 the six eighth notes in a 6-8 measure are usually divided into two groups of three one two three four five six one 1, 2, 3, 4, 5, 6. 20 00:04:21,959 --> 00:04:34,440 But you could accent them so they're divided into three groups of two. 1, 2, 3, 4, 5, 6. 1, 2, 3, 4, 5, 6. Which is how the eighths are grouped in 3-4 time. 21 00:04:35,000 --> 00:04:46,200 Now it doesn't matter if the basic unit is eighth notes or quarter notes or sixteenth notes. If you're fooling around with intermixing three groups of two and two groups of three of the same unit, 22 00:04:46,320 --> 00:04:56,240 you're playing with hemiola and you'd better have a license. Unless you're Spanish, then you're born with a license. Now I've got a special treat for you today. 23 00:04:56,440 --> 00:05:02,680 It just so happens that I once wrote a piece that exactly illustrates the hemiola relationship. 24 00:05:03,720 --> 00:05:13,260 Years ago I did music for a church service that involved a men's choir and a boys' choir. We wanted to have a very dignified recessional. 25 00:05:13,400 --> 00:05:26,380 But the boys, with their shorter legs, simply couldn't walk as slowly as the men. So I devised a sort of a refrain in which the men took a step every three beats, following the bass line, 26 00:05:26,560 --> 00:05:36,700 and the boys followed the upper lines, which changed notes every two beats. Just to make sure they didn't get mixed up, I used the counting out of the units as lyrics. 27 00:05:37,560 --> 00:05:49,080 Now you regular listeners know that when it comes to custom, shickly mix recordings, no expense is spared. We do things alphabetically around here. At Shakespeare. 28 00:05:49,080 --> 00:06:01,440 Shickly mix, art comes before commerce. In this case, I flew the entire Vienna boys' choir and the Benedictine monks of Santo Domingo de Silos to Venice, Italy. 29 00:06:01,740 --> 00:06:09,100 I wanted to record there because St. Mark's Cathedral has more than one organ, so we could have a separate organ doubling each part. 30 00:06:10,860 --> 00:06:21,220 Unfortunately, and I must say I was surprised at this, many, in fact most, members of both organizations, disappeared and spent the whole day sightseeing. 31 00:06:21,380 --> 00:06:32,880 But we did round up enough to do the piece. Here, in a 새�kale mix exclusive, is the world premiere recording of a piece that could be called Hemiola for Beginners, 32 00:06:33,040 --> 00:06:44,640 but is in fact called Recessional for Different Size Legs. 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3. 33 00:06:44,700 --> 00:06:54,540 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3. three, one, two, three, one, two, three, one, two, three, one, two, three, one, two, three, 34 00:06:54,540 --> 00:07:02,440 one, two, three, one, two, three, one, two, three, one, two, three... 35 00:07:51,140 --> 00:08:01,980 The Recessional for Different Size Legs by Yoris Truly. Performed by the...well...by members of the Vienna Boys Choir, the Benedictine monks of 36 00:08:01,980 --> 00:08:14,360 Santo Domingo de Silos, and the organists of St. Mark's Cathedral in Venice, Italy. A study in hemiola. By the way, the derivation of the word hemiola is interesting. 37 00:08:14,600 --> 00:08:22,620 You know me, I get bugged if I can't find out the entomology of a word. In this case, it's so obvious I don't even have to look it up. 38 00:08:23,180 --> 00:08:31,540 Ola, O-L-A, is a suffix meaning having to do with music, as in pianola and victrola and paola. 39 00:08:32,100 --> 00:08:44,580 Then the first two syllables, hemi, indicate the duality, he-me, that's the other person and myself, the duality of the 3x2 and 2x3 construct. 40 00:08:45,460 --> 00:08:58,060 Okay, let's go back to Schumann. You know that theme we were dealing with, dum-dum-bum-ba-dum-bum-ba-dum-dum-ba-dum? That's the first theme of the opening movement of Schumann's Third Symphony. 41 00:08:58,260 --> 00:09:08,720 Now, listen to the first theme. The first theme of the opening movement of Brahms' Third Symphony. After two introductory chords, it's almost exactly the same thing. 42 00:09:08,800 --> 00:09:17,100 About the same tempo, virtually identical rhythm at the top, starting out with the broad feeling and then going into the fast feeling. 43 00:09:17,420 --> 00:09:26,620 Remember the rhythm of the Schumann theme is, here's the Brahms. 44 00:09:58,540 --> 00:10:09,620 The opening of Brahms' Third Symphony, with Celibatace conducting. So what was it with those two guys? I mean, not only were they good friends. But, look at all they shared. 45 00:10:09,920 --> 00:10:21,160 And I don't mean Schumann's wife either. If anything did go on between Clara and Johannes, I'm sure it wasn't until after Robert died. No, but just look at this. Here are Schumann and Brahms, they're good friends. 46 00:10:21,460 --> 00:10:32,500 One of them lived 46 years, and the other lived 64 years. 46? 64? Huh? They both wrote four symphonies. 47 00:10:32,900 --> 00:10:41,600 The openings of their third symphonies. And we all know what a mystical number three is. They're incredibly similar. And here's the kicker. 48 00:10:41,640 --> 00:10:49,340 The keys, that is the key notes of the Schumann symphonies, are B flat, C, E flat, and D. 49 00:10:54,300 --> 00:11:00,240 Now the key notes of the Brahms symphonies are C, D, F, and E. 50 00:11:04,680 --> 00:11:10,000 Which is an exact transposition. That's right. Of B flat, C, E flat, D. 51 00:11:12,340 --> 00:11:23,500 Not only that, but those notes are the first four notes of the finale of Mozart's Jupiter Symphony. 52 00:11:30,380 --> 00:11:43,360 And if you assign numbers to the letters of Jupiter according to their position in the alphabet. The numbers add up to ninety-nine, nine-nine, which in German means no-no. 53 00:11:43,580 --> 00:11:54,080 And the name of the chambermaid who worked at various times for both Brahms and the Schumanns was Nanette. How about that, huh? 54 00:11:54,340 --> 00:12:06,460 You think the old Broadway show No, No, Nanette was named that just because of the alliteration, just by accident? Hey, listen. Nothing happens by accident. Especially not hemiolas. No, no, Nanette was named that just because of the alliteration, just by accident. Hey, listen. Nothing happens by accident. Especially not hemiolas. 55 00:12:06,480 --> 00:12:18,140 Whether or not Schumann's Third Symphony influenced Brahms, the effect of both these openings is to start out with a broad feeling and then slip into a faster feeling when they 56 00:12:18,140 --> 00:12:29,320 hit the hemiola gear shift. Handel liked to do it the other way around. He often bopped along in perky pairs of three, and then at the cadence he'd shift down 57 00:12:29,320 --> 00:12:33,240 to three groups of two, producing a sort of written-out retard. 58 00:12:50,270 --> 00:13:01,930 Here again, by simply changing the grouping of six beats you get the feeling of a fast three or a slow three twice as slow in fact. Lemme count that out this time… 59 00:13:02,810 --> 00:13:09,130 One, two, three. One, two, three. One, two, three. Un, two, three. One, two, three. 60 00:13:09,130 --> 00:13:22,850 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, and 2, and 3, and 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3. 61 00:13:22,870 --> 00:13:29,030 Okay, let's listen to the whole first section of this hornpipe from the water music by Handel. 62 00:13:29,030 --> 00:13:35,890 Four times in this little section, the composer shifts down to emphasize the cadence. 63 00:13:56,660 --> 00:14:35,800 It goes on to a little trio there, but we don't have time for that. The Orpheus Chamber Orchestra, 64 00:14:35,980 --> 00:14:47,120 with part of Handel's water music. Here are a couple of pieces that, after a while, are played in the same order. The first piece is the Orpheus Chamber Orchestra, an introductory section in the second case, alternate between a 6-8 feeling and a 3-4 feeling 65 00:14:47,120 --> 00:14:55,500 in virtually every pair of measures. These two pieces sound as if they were written by compulsive hemioliacs. 66 00:19:07,550 --> 00:19:22,770 The people in each room. 67 00:19:39,690 --> 00:19:45,430 If there's a road, you can drive on. It's a free ride. 68 00:19:45,850 --> 00:19:47,570 How you get all of them inside. 69 00:19:49,290 --> 00:19:53,170 Immigrant goes to America. Many hellos in America. 70 00:19:53,570 --> 00:19:55,670 Nobody knows in America. 71 00:19:55,930 --> 00:19:57,570 Puerto Rico's in America. 72 00:19:58,690 --> 00:20:44,230 A machine. 73 00:20:44,850 --> 00:20:56,360 What have they got there to keep clean? I like the shores of America. Cupboard is yours in America. Water, water, water in America. 74 00:21:03,300 --> 00:21:42,520 And you will shut up and get gone. 75 00:21:43,600 --> 00:21:48,180 Everyone there will get big cheer. Everyone there would have moved here. 76 00:21:48,680 --> 00:22:18,750 Our compulsive hemioliacs were the Renaissance composer Claude Lejeune 77 00:22:18,750 --> 00:22:30,990 and the Renaissance man Leonard Bernstein. Reveci, Venir du Printemps was sung by the Greg Smith singers and America from West Side Story was sung by John. 78 00:22:31,010 --> 00:22:40,790 Chita Rivera, Marilyn Cooper, Rary Grist and Chorus conducted by Max Goberman. You know, I doubt if those lyrics in America would be written that way today. 79 00:22:41,530 --> 00:22:53,610 Just think, the phrase and the bullets flying is supposed to refer to San Juan as opposed to New York. Times change, but some things stay the same, at least for the time being. 80 00:22:54,250 --> 00:23:05,770 Things like Peter Shickley and Shickley Mix from PRI, Public Radio International. Today's show is called The Count is Three and Two. 81 00:23:06,370 --> 00:23:14,470 Always an exciting time in baseball and in music as well. Alternating between three groups of two and two groups of three. 82 00:23:15,290 --> 00:23:24,490 And in the music we've heard so far, the two groupings of the hemiola mostly have alternated. But they often waltz along the road of life hand in hand. 83 00:23:24,890 --> 00:23:34,830 As in this excerpt, in which the accompaniment is pretty consistently in two groups of three. One, two, three, one, two, three. 84 00:23:34,990 --> 00:23:43,570 Whereas the melody, until the last few phrases, is pretty consistently in three groups of two. I'll use this paper cup as a bongo here. 85 00:23:50,570 --> 00:23:52,150 They go well together. 86 00:24:37,400 --> 00:24:45,460 Part of the Wiener Blut Waltzes by Johann Strauss Jr. Played by Jascha Horenstein in the Vienna State Opera Orchestra. 87 00:24:46,500 --> 00:24:56,280 Okay, here are two pieces that feature a lot of simultaneous hemioleandering. It's as if the melody and the accompaniment are waltzing to different drummers. 88 00:24:56,980 --> 00:24:59,820 The Count is Three and Two 89 00:27:52,110 --> 00:27:53,410 orchestra lyrical 90 00:28:30,750 --> 00:30:37,320 That was Joseph Gingold playing Chrysler's Liebeslied and playing it beautifully. 91 00:30:37,320 --> 00:30:49,660 wonderfully. Charles Webb was on the other end of the hemiolas, the keyboard end. Before that, we heard the first movement of the String Quartet No. 4, Inter-Era Dance Suite, by a composer who 92 00:30:49,660 --> 00:31:00,900 shares even more with me than Schumann did with Brahms, including our names, Peter Schickely. That was part of a live performance by the Audubon Quartet, and both the composer and I would like 93 00:31:00,900 --> 00:31:11,220 to thank them for permission to use it. Okay, here comes a suite that will keep you on your toes, not only because all three pieces are dance-oriented, but also because, rhythmically 94 00:31:11,220 --> 00:31:22,500 speaking, all hell breaks loose. You never know when the hemiolas are coming, except for repeats, of course, and sometimes they shift up a gear, sometimes down, and sometimes they're tooling 95 00:31:22,500 --> 00:31:30,800 along or duking it out simultaneously. I call this the Don't Count on Me Suite. I'll see you in about six and a half minutes. 96 00:33:08,570 --> 00:34:41,810 Sun low, sun low, sun low, sun low, sun low. 97 00:37:03,530 --> 00:37:05,750 Thank you. 98 00:37:39,570 --> 00:38:06,320 The Don't Count on Me Suite began with the Gaillard de Monsieur Vostron by Pretorius, 99 00:38:06,500 --> 00:38:18,100 performed by the Ulzamer Collegium under the direction of Josef Ulzamer, from a highly recommended CD called Dance Music of the High Renaissance on Boston Skyline. 100 00:38:18,500 --> 00:38:29,420 Then came the Santo from the Misa Flamenca by Paco Peña, a Nimbus release, and then one of my favorite piano works, the Waltz in Ragtime by Lou Bush, 101 00:38:30,220 --> 00:38:41,080 played by Lincoln Mayorga. That's from Town Hall Records. I don't always mention the labels, but some of these are not very well known. Regular listeners may remember that I have more than once 102 00:38:41,080 --> 00:38:51,720 trotted out a very scratchy LP of honky-tonk music, including that waltz, played by Joe Fingers Carr. Well, I just found out from this CD 103 00:38:51,720 --> 00:39:02,120 that Carr was a pseudonym for Lou Bush, who wrote the piece. Years ago, I saw a little notice in the paper that Joe Fingers Carr was playing somewhere way out in the boondocks. 104 00:39:02,540 --> 00:39:14,980 I've always regretted that I didn't get up off my boogie-woogie bass to go and hear him. Now he's gone, and I'm here, full of regret. I'm Peter Shickley. The show is Shickley Mix from P.R.I. 105 00:39:15,000 --> 00:39:27,840 Public Radio International. The count is three and two. We're talking hemiolas here, rhythmic groupings of six notes into three times two or two times three. 106 00:39:28,460 --> 00:39:40,960 We were also talking about the late Joe Fingers Carr. But you know, no matter what you do, you're always going to have some regrets. But that doesn't mean you should get complacent. I certainly try not to. 107 00:39:41,220 --> 00:39:52,360 In fact, as a part of my unceasing effort to make Shickley Mix the very best show you can get at this time on this radio station, I recently sent out a questionnaire 108 00:39:52,360 --> 00:40:04,880 to a randomly selected group of listeners soliciting suggestions for ways... Well, here, let me read you what went out. Got it right here. Dear random listener, 109 00:40:05,120 --> 00:40:17,960 we all know the saying, if it ain't broke, don't fix it. But sometimes even the best machines could use a little tuning up. Would you please take a few seconds to rack your brain and see if you can come up with 110 00:40:17,960 --> 00:40:28,160 one or two slight suggestions for tiny adjustments that might make Shickley Mix even better? Don't worry if you can't think of anything. Yours, Peter Shickley, host. 111 00:40:29,560 --> 00:40:41,700 Well, somewhat to my surprise, all three listeners responded with comments. And I'd like to share them with you. J.H. of Thief River Falls has three things to say. 112 00:40:41,900 --> 00:40:54,320 One, you never play any music by Zygmunt Hemel. Number two, sometimes I think you're kidding the things you say. You should have some kind of a signal when you're kidding, like a light or something. 113 00:40:55,360 --> 00:41:07,560 Three, you don't play enough Mozart. There have been shows more than once where you've only played three or four Mozart pieces. I'm just going to go ahead here without answering them for now and read them. 114 00:41:08,060 --> 00:41:19,420 Next, PVDK, who hails from Paoli, writes, Number one, I can't get to sleep when your program is on. Play more soft music. Number two, 115 00:41:20,180 --> 00:41:31,860 I've been listening to Shickley Mix for years and you've never played a single piece by Zygmunt Hemel. And number three, my cat won't use his box when your show is on. 116 00:41:32,020 --> 00:41:44,650 I don't know why, but I hope you can do something about it. Okay. And finally, TJV of Javi on the Big Island says, he also has three points. 117 00:41:44,770 --> 00:41:57,250 One, practically everything you play, is on CDs and I don't have a CD player. So when I go to the record store to buy things you've played, I'm out of luck. Two, you seem to think that music 118 00:41:57,250 --> 00:42:09,630 is something to be enjoyed. If I want to enjoy, I'll eat a bowl of ice cream. Three, you consistently ignore the work of Zygmunt Hemel. Okay, well, 119 00:42:10,650 --> 00:42:22,270 you know, what can I say? I was sort of curious about the fact that all three respondents mentioned Zygmunt Hemel, who I have to admit, I've never heard of. As a matter of fact, I'm not sure he really exists. 120 00:42:22,910 --> 00:42:35,820 But I brought along the appropriate volume of the Groves Music Dictionary here. And let's see if he's in here. Okay. Okay. 121 00:42:36,380 --> 00:42:49,100 Here he is. I sit corrected. It says, Hemel, Zygmunt, they don't even know when he was born, died probably at Tübingen end of 1564. German composer 122 00:42:49,100 --> 00:43:01,120 and singer. He is first encountered in 1544 as a tenor in the Stuttgart Hofkapelle of Duke Ulrich of Württemberg at a salary of 30 florins. In 1551, 123 00:43:01,580 --> 00:43:13,740 Duke Christoph appointed him Hofkapellmeister at a salary of 50 florins. His predecessor had received 100. Well, I think that tells you right there 124 00:43:13,740 --> 00:43:26,260 why I haven't played his music. Hey, wait a minute, look at this. This, uh, Hemel comes right after hemiola in the dictionary here. Hemiola from the Greek hemiolios, 125 00:43:26,460 --> 00:43:38,140 the whole and a half. Well, what do you know? I, uh, so I guess there's more than one derivation for the word hemiola. Well, I'll tell you what I don't like about Schickely Mix. 126 00:43:38,360 --> 00:43:50,140 And that's that the format of the show, of necessity, favors short pieces over longer ones. There's not much I can do about that without sacrificing information and those all-important insights. 127 00:43:50,520 --> 00:44:02,300 But we are a bit ahead of the game today, so let's hear the entire Vienna Blut Waltzes by Johann Strauss, Jr. Boy, Vienna Blood Waltzes it says here. 128 00:44:02,420 --> 00:44:14,660 Sounds weird in English, doesn't it? Opus 354. My father was a wonderful waltzer. And boy, do I wish that my son's father were. 129 00:44:15,820 --> 00:44:24,120 A life of regrets. But one must smile through the tears. Take it away, Jascha. 130 00:51:46,060 --> 00:51:58,480 Wiener Blut by Johann Strauss, Jr. And that was Jascha Hornstein conducting the Vienna State Opera Orchestra. And you know, I feel badly, 131 00:51:58,660 --> 00:52:08,740 J.A., H., of Thief River Falls that I haven't played a single Mozart piece on today's program. Well, except for this one. 132 00:52:24,830 --> 00:52:36,770 Mozart's 24th Symphony brings Sickly Mix to a close this week. Our program is made possible with funds provided by the Corporation for Public Broadcasting and by the National Endowment for the Arts 133 00:52:36,770 --> 00:52:49,690 with additional support from the National Academy of Recording Arts and Sciences and from this radio station and its members. Thank you, members. And not only that, our program is distributed by PRI, 134 00:52:50,090 --> 00:53:01,430 Public Radio International. We'll tell you in a moment how you can get an official playlist of all the music on today's program with album numbers and everything. Just refer to the program number. 135 00:53:01,650 --> 00:53:13,170 This is program number 122. And this is Peter Sickly saying goodbye and reminding you that it don't mean a thing if it ain't got that certain je ne sais quoi. You're looking good. 136 00:53:13,670 --> 00:53:14,810 See you next week. 137 00:55:25,810 --> 00:55:27,050 Thank you. 138 00:55:34,570 --> 00:55:46,810 Okay, bye, me in America Everything's free in America For a small fee in America I, I, I I, I, I I, I, I 139 00:55:46,810 --> 00:55:48,210 I, I, I 140 00:55:48,210 --> 00:56:19,520 I, I, I 141 00:56:19,540 --> 00:56:29,400 I'll bring a TV to San Juan If there's a current to turn on I'll get them a washing machine What have they got there to keep clean? 142 00:56:29,860 --> 00:56:39,420 I like the shorts of America Comfort is yours in America Now run the door in America Walk the world, walk the world in America 143 00:57:20,540 --> 00:57:32,220 When I will go back to San Juan When you will shut up and get gone Everyone there will get big cheer Everyone there would have moved in It's true