Marilyn Shrude Interview with Bruce Duffie . . . . . . . . .

Composer / Pianist Marilyn Shrude

A Conversation with Bruce Duffie

Chicago-born composer Marilyn Shrude (July 6, 1946 - ) received degrees from Alverno College and Northwestern University, where she studied with Alan Stout and M. William Karlins.

Among her more prestigious honors are those from the American Academy of Arts and Letters, Rockefeller Foundation, Chamber Music America/ASCAP, Meet the Composer, National Endowment for the Arts, and the Ohio Arts Council. She was the first woman to receive the Kennedy Center Friedheim Awards for Orchestral Music (1984), and the Cleveland Arts Prize for Music (1998).

Since 1977, Shrude has been on the faculty of Bowling Green State University, where she teaches and currently chairs the Department of Musicology/Composition/Theory. She is the founder of the MidAmerican Center for Contemporary Music (at Bowling Green), an international organization for the promotion of contemporary music, and past director of its Annual New Music & Art Festival.

She continues to be active as a pianist and clinician with saxophonist John Sampen. In 2001, she was named a Distinguished Artist Professor of Music.

Marilyn Shrude was back in Chicago in March of 2001 for a performance of a brand new work with the Cube Ensemble. [Program shown below-right. Also see my interviews with Janice Misurell-Mitchell, and Marta Ptaszynska.] She was most gracious to agree to meet with me after the program, and we discussed many things of mutual interest.

Portions were used three times on WNUR, and now here is the entire conversation . . . . . . . . .

Bruce Duffie: You’re both a composer and a teacher. How are you able to divide your career, or is there just not enough time in any day?

Marilyn Shrude:   [Laughs] I do what I have to do! Deadlines are good things, and very often the deadline dictates what gets done. I’ve been juggling a lot of responsibilities for a long time.

BD:   You do what has to be done. Is the composing of music what you have to do?

Shrude:   Yes, there’s a compelling urge, if you want to call it that. Plus, if somebody asks you to write a piece, and you agree to do it, you have a premiere, and you do it. That’s part of the game.

BD:   If a lot of people are asking you to write pieces for them, how do you decide to accept or not?

Shrude:   I do decide, and I purposely don’t overload my schedule. In retrospect now, I write two pieces a year, and I still think that’s pretty good actually for somebody who’s also a full-time teacher, mother, whatever.

BD:   Is this all chamber pieces, or big orchestral works, too?

Shrude:   Anything, from big to little.

BD:   I would think a larger piece would take a lot more time and energy than a smaller piece.

Shrude:   I have a leave of absence next year, so I am writing an orchestra piece. You have to plan for those things.

BD:   When you sit down, and you’ve got a little bit of time today to work on the piece, do the ideas always come?

Shrude:   [Thinks a moment] No! But I’m experienced enough to know that sometimes you work on technical things. You just generate material, and you’re not really sure where it’s going to end up. But there’s something about keeping the pencil moving, and if you’re not doing anything, that’s worse.

BD:   You say you keep the pencil moving. Are you controlling the pencil, or is that pencil controlling your hand across the page?

Shrude:   At first I’m controlling the pencil. Ultimately, I’m controlling it all, but there’s an interesting point in writing a piece, when you’re so into it that things begin to happen quickly. Then, as you just said, it begins controlling you, and it flows very fast.

BD:   Is it a surprise where it takes you?

Shrude:   Sometimes. I’m a planner, though. I believe in getting a good idea of the piece before I start. I don’t just work totally organically, so I do a lot of verbal sketching, planning, maybe working out a narrative, drawing pictures to make the shape of the piece. I also work on a timeline, so I have a good idea of where I’m going.

BD:   Should the public or students of your music ever look at these pictures, or are they purely for your own creative process?

Shrude:   I’ve shared them, and when I’ve given many talks about my music, it’s interesting for people to see how composers work. So, I’ve often shared those graphs and notes, and people do find it interesting. They have a funny idea of what they think composers do, and when you show them that you plan and plot things out, that’s a surprise to them. It’s amazing, but it is.

BD:   Does it ever become Augenmusik [music for the eye]?

Shrude:   No! But I guess they’re intrigued with the process. For them, composing is such a mystery, and it has its mysterious elements, but it’s just plain hard work.

BD:   Is composing at all a mystery to you anymore?

Shrude:   Yes, it still is.

BD:   Is that a good thing?

Shrude:   [Laughs] Yes!

BD:   Would you have to stop being a composer if all the mystery was gone?

Shrude:   I don’t know. It could be a job, too. Sometimes it feels like a burden because it is such hard work.

BD:   Is the burden just the working out, or is the burden actually coming up with the ideas?

Shrude:   Whenever I start a piece, it’s like starting from the beginning again, and that doesn’t seem to get any easier. It’s the blank page syndrome.

BD:   You start each new piece, but are you reinventing the wheel each time?

Shrude:   No. It’s like shaping a child, or giving birth. There’s an omen of starting over each time.

BD:   You have a child who is actually turning into a musician. Is each one of your pieces like a new person that you have to give birth to, and let grow, and then let go of?

Shrude:   Yes, and that’s a good point, because especially when I’m engaged in the performance of the piece, like a pianist, I keep recomposing — changing and tweaking — and there are some things that I’ll change. The piece that you heard tonight is only one third done, actually. [It would be finished and premiered the following October.]

BD:   When you’ve got a piece that is out, and it’s published, and it’s been done a few times, do you still tinker with it, or do you have to let it go?

Shrude:   If it’s engraved, I let it go. Until that point, I reserve the right to tinker. [Vis-à-vis the recording shown at left, see my interviews with Steven Stucky*, and Elliott Carter*.]

BD:   Are there ever times that you wish you could get it back — even after it’s engraved — and make it a new version?

Shrude:   No! No, I move on.

BD:   You were the performer in this piece tonight. Is it good that the composer also helps bring the piece to life, or should you let it be brought to life with other performers?

Shrude:   I like to perform. I’ve done it most of my life, and I would miss not doing that, but it’s thrilling to have other people play, too. It’s like setting the performance-practices in place. I have a lot of tempo fluctuations in my music, a lot of dynamics inflections, and a lot of subtle pedaling, and if that’s ignored by performers, I don’t think the music comes across the way I conceived it. I like to have a chance to interpret it the way I conceived it, but then other people come up with ideas, too. There are good ones often, but at least there is some kind of a model there.

BD:   A starting point?

Shrude:   Yes.

BD:   It really is a starting point, and then the music moves away?

Shrude:   Right. I just wrote a piece which was premiered last month in Israel, for flute, saxophone, and two pianos, and I haven’t heard it yet.

BD:   [Surprised] Not even on tape???

Shrude:   No! They are actually coming to America next month, and I will hear it then. I sent it to them in December, and they had some questions. They’ve performed it already a couple of times, and they’re going to perform it about ten more times. I didn’t have that input, so it is totally dependent on them to interpret.

BD:   Did that scare you even more than you being part of the premiere?

Shrude:   No, it didn’t scare me, but it’s good to hear the piece before it goes out.

BD:   Are there times that performers discover things in your piece that you didn’t even know you’d hidden there?

Shrude:   Yes, that has happened. I can’t think of a specific instance right now, but I recall that happening.

BD:   Do you then make sure that when you perform it a couple of years later, that you add those ideas to it?

Shrude:   Sure, if it’s a good idea. But I was thinking more of people discovering note-relationships and thematic-relationships that I really didn’t put there on purpose. That’s kind of intriguing, and it’s a good thing.

* * * * *

BD:   You’re both a composer and performer. Are you a better composer because you are a performer?

Shrude:   For me, yes. That’s not true for everybody, because not all composers perform, although it’s a good thing to do if you can because it’s a good reality check.

BD:   Let me turn the question around. Are you a better performer because you are also a composer?

Shrude:   Yes, definitely, because I see nuance in music that I know composers intend, that performers often ignore. I also see phrasings and subtleties that make music speak.

BD:   Do you teach theory and composition?

Shrude:   I don’t teach theory any more. I did at one time, but now it’s just composition.

BD:   Should you, perhaps, also teach performers?

Shrude:   I coach a lot, yes, so in that sense I do teach performers.

BD:   Is there some general advice that you have for performers of old or new music? [Vis-à-vis the recording shown at right, see my interview with Judith Shatin.]

Shrude:   [Thinks a moment] Be sensitive to what’s on the page. Learn the music well, then play it, and then perform it. Let it speak from the heart, and don’t be chained by technical dos and don’ts. Those are just guiding points of dynamics and phrasing.

BD:   So you expect the performer to add a little, or a lot?

Shrude:   Sure. If they want to push the tempo a little, or push the dynamic, it may be the best thing in that circumstance.

BD:   You’ve been observing this for a few years. Are performers getting better or worse at bringing more of themselves into the piece?

Shrude:   I hear some brilliant young performers. It’s just a layer of technique to burn, and they’re just wonderful interpreters, too. But I also hear people who play with no soul, and that worries me. I heard a story from William Bolcom*, who is one of our great American composers. He wrote a contest piece for the Van Cliburn Competition, and in conferring with the committee about the piece he was going to write, the committee told him to write something that put demands on the interpretative powers of the performers. They said that technically they can play anything, but do something which pushes the interpretative envelope.

BD:   I would think it would be interesting to find out what each interpreter can do with a new piece, rather than having thousands of performances and a history of recordings to listen to of Beethoven and Chopin, and everything else that comes up in the contest.

Shrude:   Yes.

BD:   Have any of your pieces been used as contest pieces?

Shrude:   That may happen, and it’s all I can say. But it’s not for the Van Cliburn.

BD:   Would that make you think about a piece differently, or is it just another piece?

Shrude:   No, it’s a piece that happened to be chosen, and my good fortune.

BD:   That way you know you’ll get a number of performances out of it.

Shrude:   Yes.

BD:   Is that something composers still look for — the second the performance, rather than just the first?

Shrude:   That’s important. I don’t think I’d write something if I didn’t think it was going to get performed at least a couple of times, because that’s a lot of work, and it’s not finished until it’s performed. Once is good, but a hundred times is better.

BD:   Once it is performed, is it finished, or is it not finished until it’s performed again, and still not finished until it’s performed yet again?

Shrude:   I guess you can say that. That’s pretty philosophical for this late at night, but I have some pieces that are twenty-five years old which are still performed. That speaks well for the piece — that it is still in the repertoire of an instrument, and that there are some people interested. It’s withstood the test of time, and is still valid.

BD:   Are there times when someone will ask you for a piece, and either you are too burdened with other things, or you think there’s another piece that’s already in your catalogue which would be just right for this situation?

Shrude:   That specifically hasn’t happened, but I could see that happening. I don’t commit to something unless I can really do it, and spend the time that I think I need on it.

BD:   When you accept a commission, do you know how long it will take to get all of the right notes on the paper?

Shrude:   Yes, I do, and so I’m careful about saying yes if there’s not enough time.

BD:   Do you always meet those deadlines?

Shrude:   Yes! I’m pretty good at meeting them, even if I just squeak in at the last minute. I am sometimes Fed-Exing those pages off.

BD:   Are there ever times when you’re working on a piece, and you get an idea for another piece, or feel something that is in this piece would work better in a different piece?

Shrude:   Sure, that happens, and I also sometimes go back to old pieces and pull things out that I might use, because it never quite worked the way I intended. It may start, but then I change it along the way, and it doesn’t just end up being verbatim. I have done that.

BD:   When you’re working on a piece, and you’re getting close to the deadline, how do you know when you’ve finished? [Vis-à-vis the recording shown at left, see my interview with Karel Husa*.]

Shrude:   [Laughs] When it’s got to be in the mail! [Much laughter] That’s when I know it’s finished, really. Again, it’s these deadlines. I was copying a piece on Christmas this year, and mailed the day after. It’s just something you have to do.

BD:   If you didn’t have a deadline, would you impose one on yourself?

Shrude:   Yes, I would.

BD:   Being a full-time composer with no deadlines would be terrible for you?

Shrude:   I don’t think most full-time composers are without deadlines. They probably have a lot of deadlines, and they’ve got to be disciplined to spend the hours every day writing, and keep on track. Otherwise, they couldn’t make it work for themselves.

BD:   Unlimited amounts of time wouldn’t help, or a few more days wouldn’t help, or a few more weeks wouldn’t help?

Shrude:   No.

BD:   If you could be just a full-time composer, would that be more interesting to you than also teaching, or do you keep your hand in the real world with teaching?

Shrude:   I love to teach. I really like the inter-action with students, and I would miss it if I didn’t do it... but there are times when I wish I just had a big block of time to work. The reality of it is that there are very few people who can have that lifestyle.

* * * * *

BD:   You mentioned that you’re raising a daughter, as well as teaching and composing...

Shrude:   We have a son, too.

BD:   So, it’s even a larger family!

Shrude:   Yes.

BD:   Is it more of a burden on the female composer to work with a family, or do male composers just simply get away with not having to deal with this?

Shrude:   It depends on the family. I have a great situation. We share the responsibility. My children don’t need me anymore now because they’re older. When they were younger, we really shared the responsibilities, but there are some bottom-line things that the woman has to do. Bearing the children is an issue for female composers, and most people probably don’t have as co-operative a spouse as I do.

BD:   Are we finally getting away from the idea that it’s surprising that the composer of a chamber piece or orchestral piece is a woman?

Shrude:   I think so, although there’s still a struggle. There are still these glass ceilings, and little things that remind you of your place. Statistically, we are such a small minority. I don’t know what the numbers are, but when you go to any conference, for every twenty men there’s one woman composer.

BD:   [Trying to be optimistic] At least there are three female Pulitzer Prize holders. [At the time of this interview (2001), the female winners were Ellen Taaffe Zwilich (1983), Shulamit Ran (1991), and Melinda Wagner (1999). Subsequently, there would be Jennifer Higdon (2010), Tania Léon (2021), and others. Female runners-up would include Vivian Fine (1983), Joan Tower (1993), Chen Yi (2006), Augusta Read Thomas (2007), and others.]

Shrude:   Yes, but not enough yet.

BD:   Is the music of a woman composer any different from that of a man composer, or is it just the difference from person to person?

Shrude:   It’s more the second option. Your life informs what you do, and you might have experiences that are more unique to a woman, but I don’t really see the gender thing in music the way some people purport.

BD:   Is it still harder for a composer rather than a performer because we’ve had female performers longer?

Shrude:   That depends on what you are talking about. If you’re talking about the Vienna Philharmonic, no. They still have a problem with women in the orchestra, but for most professional situations, they don’t care. If the person is a good, they take a woman or man. [The Vienna Philharmonic did not accept female musicians to permanent membership until 1997, far later than comparable orchestras. The Berlin Philharmonic Orchestra hired its first female musician, violinist Madeleine Carruzzo, in 1982. However, Karajan’s hiring in September 1982 of Sabine Meyer, the first female wind player to the orchestra, led to controversy when the orchestra voted 73 to 4 not to admit her to the orchestra. Meyer subsequently left the orchestra.]

BD:   What about collegiate and other teaching situations?

Shrude:   The balance for collegiate situations is much better than it was, but women are still under-represented.

BD:   Are you part of a lineage of the few women composers of previous generation, such as Joan Tower, and the generation before that of Miriam Gideon and Louise Talma? Do you look to them to get inspiration?

Shrude:   Not them specifically, although I know Joan. My female role models were my teachers at the Catholic school, and the nuns in Chicago and Milwaukee who were my teachers and mentors. I would say they were my female role models musician-wise.

BD:   Are you an inspiration to your students as a composer?

Shrude:   You’d better ask them. [Laughs] I hope so! I have loyal students.

BD:   When you’re teaching a student, are there times that you think another teacher on the faculty would be better for this situation, and push them that direction?

Shrude:   Yes. In fact, we force the students to change teachers. We rotate them, so they experience more than one opinion. The four people at my school who teach composition are totally different from one another, so this is good.

BD:   You’ve been at Bowling Green now for twenty-three years. It’s a good situation?

Shrude:   Yes, it’s a healthy environment, and we have a good enrollment. [Vis-à-vis the recording shown at right, see my interview with Charles Wuorinen*.]

BD:   Over this period of time, how has the teaching of composition changed — if at all?

Shrude:   Technology has made the biggest impact. Otherwise, it’s still one-on-one, like an apprenticeship with private lessons. But with the advent of technology, my students started bringing in discs or tapes of their pieces instead of scores. I’m good at reading scores on the piano, so it was never a problem for me to synthesize what they had done, and so we could hear it and talk about it. But they were working on computers and bringing their work in like that, and that was something I had to get used to.

BD:   Was it good that they could immediately hear their work?

Shrude:   Yes, for a lot of them it was, because a lot of them come at writing differently than people like me. They’re not as strong as performers, and the computers are a great aid.

BD:   Then they’re writing more by ear?

Shrude:   Yes.

BD:   Is that a good thing, or just a thing?

Shrude:   It’s a thing, but if they don’t get the technique, then it is not a good thing, at least for what we’re doing. For rock bands, it’s fine because it’s all hands-on.

BD:   Is it good that we are blurring the line into jazz and other kinds of culture?

Shrude:   I think it is good. We were too sequestered, and we have to look for new venues and new language. It’s our language, and our culture.

BD:   [With a gentle nudge] You mean, you want to keep it alive???

Shrude:   I hope so! I’ve invested a lot of time in it! It’s going to happen. This is the music that a lot of the kids are raised on, and it’s bound to come out in their art music.

BD:   From your vantage point, is the concert music that you work with still viable, or is it dying?

Shrude:   I hope it’s viable. It’s changing, and we have to deal with that, and with the changing concert audience and venues. Cube does a good job. They diversify a lot, and they try different modes of presentation. It’s just a must. We have to break that barrier down.

BD:   We’re dancing around it, so let me hit you with the real easy question. What’s the purpose of music?

Shrude:   It’s another form of human expression, and a valid one. It’s something which touches the emotions very directly. It’s been a form of communication for a long time, and it defies language. It’s the only universal language.

BD:   Is the music you write for everyone? You have a potential audience of six billion...

Shrude:   Probably not, but that’s okay. I have a day-job, but I don’t consider this my hobby. It is more than that, but I would hope it touches some people.

BD:   Does it still surprise you that a lot of people are asking for new and old pieces from your catalogue?

Shrude:   No. I’m glad, but people can’t wait to be asked. That’s another myth — that people think your phone is ringing, or you get letters in the mail. You have to be pro-active as a composer. You have to make the contacts, and you have to make things happen. So yes, I’m happy when I get offers, but surprised? Not really.

* * * * *

BD:   Have you basically been pleased with the performances that you’ve heard of your music over the years?

Shrude:   Many yes, some, no, but that’s the way it goes. [Both laugh] Anybody will tell you that.

BD:   Can you fix the ones that are problematic, or are they just gone?

Shrude:   No, they’re gone. They’re just bad — poorly prepared, or something went wrong.

BD:   They had not enough time to get into the music?

Shrude:   Right.

BD:   Are there some people who really get into your music, and into your world more than others?

Shrude:   Well, my greatest collaborator has been my husband, the saxophonist, John Sampen. I’m probably the most prolific female saxophone composer in the world. I have fifteen pieces to my credit, and that’s a lot of saxophone pieces. But if it wasn’t for the collaboration there, I don’t think I would have been as successful as I am. He understands my music. He’s a good reference, but he’s also a supremely wonderful performer who has performed my music a lot.

sampen

John Sampen has degrees from Northwestern University (B.M., 1971; M.M., 1972; and Doctor of Music, 1984). His teachers included Frederick Hemke, Larry Teal, and Donald Sinta. He has served as professor of saxophone at Bowling Green State University in Bowling Green, Ohio since 1977.

Sampen plays all styles, but specializes in new music. He has commissioned over 60 new works from composers such as Samuel Adler, William Albright, Milton Babbitt***, William Bolcom*, **, John Cage, Michael Colgrass*, John Harbison*, Donald Martino*, **, Ryo Noda, Pauline Oliveros, Bernard Rands*, Gunther Schuller*, **, Elliott Schwartz, Marilyn Shrude, Morton Subotnick**, and Vladimir Ussachevsky.

[*Pulitzer Prize winner; **Pulitzer runner-up; ***Pulitzer citation]

BD:   Have other saxophone players asked you for music?

Shrude:   Many.

BD:   Is it different writing for your housemate, as opposed to just another saxophone player?

Shrude:   No. The ones who have asked are on a very high professional level, too, and that has to be a consideration. But having my husband as a reference to try things is invaluable.

BD:   Your daughter is playing violin. Have you written some things specifically for her?

Shrude:   This new piece [on the Cube concert] was specifically for her, and although she’s played in some of my chamber pieces, I wanted to write a piece for her.

BD:   Is it strange for you, or for her, to no longer be mother-daughter, but collaborators?

Shrude:   We have to forget a little bit about being mother-daughter. When I’m performing, I forget about being a composer.

BD:   [Genuinely surprised] Really??? [Vis-à-vis the recording shown at left, see my interviews with Steve Reich*, and Toru Takemitsu.]

Shrude:   I try. Especially when rehearsing, there are things I try to fix, but when you’re performing, you have to perform, and you concentrate differently.

BD:   Do you also perform other new music, as well as your own?

Shrude:   Oh, yes.

BD:   And other old music?

Shrude:   Not too much old music anymore. I used to play a lot of piano for many people, but I have had to really limit it.

BD:   If you could clone yourself, would you have one be just the pianist, and one be just the composer, and one be just the wife and mother?

Shrude:   No.

BD:   You want all of it wrapped up together?

Shrude:   Yes.

BD:   Is that what music is — wrapping up a lot of things together?

Shrude:   It could be...

BD:   Are you at the point in your career that you want to be right now?

Shrude:   No, I’ve a long way to go. [Laughs] I don’t feel that I’ve arrived. There are things that I want to do yet, and I think I have more music to write yet.

BD:   You have several commission all lined up waiting to be written?

Shrude:   I have, yes. With my leave of absence, I have two projects.

BD:   Is that comforting or frightening to know that you’ve got them lined up?

Shrude:   It’s fine. It’s good. You have to have something to do during this time.

BD:   In the end, is it all worth it?

Shrude:   Yes! Oh, definitely, yes.

* * * * *

BD:   Have you any advice for audiences?

Shrude:   Keep an open mind. Ask questions, and don’t be afraid to try something different. Tonight’s concert was free, so they had nothing to lose. At universities especially, there are free things going on all the time. If you really are a lifelong learner, there are so many opportunities. Plus, there is radio, of course! [Both laugh] Just seek out opportunities and try to grow.

BD:   Are you optimistic about the future of concert music?

Shrude:   [Hesitates] I’m a little worried, but I don’t think it’s going to go away. I worry about all the wonderful young people who are in school, just pouring their hearts into their education, and I hope they can live out their dream.

BD:   I’ve asked you about performances, and there are also a number of recordings of your music. Are you pleased with the recordings, since they have a little more longevity and universality?

Shrude:   Yes, and there’s more control when you’re making a recording. You can do a lot of cutting and pasting, so we try to get it to be the best that we can.

BD:   But I hope that’s not the only way to do any piece, especially if it’s a composer-supervised recording, or one where the composer participates.

Shrude:   No! It’s not the only way, but you do have a lot of control over a recording situation. I’ve seen miracles in a recording studio, literally.

BD:   Would you want to transfer that kind of miracle to a live performance?

Shrude:   No, but recordings have become museum pieces now, and you want to get it as close to being whatever you think is perfect as you can. That’s an opportunity, and it’s different, but I’d rather perform than record any day. Recording is drudge, hard drudge work because you have to play it over and over and over to get it note-perfect.

BD:   Does that wring the emotion out of it?

Shrude:   Sometimes I think it does. There is a sterility, sometimes, in recordings that isn’t in a live performance.

BD:   Is there such a thing as a perfect performance?

Shrude:   [Thinks a moment] You can get somewhere near, but what’s perfect?

BD:   Do you always strive for it?

Shrude:   Yes.

BD:   I hope you come close many times.

Shrude:   I try.

BD:   I assume you’re always glad to be in music?

Shrude:   Yes, I definitely am. I feel privileged.

BD:   Thank you so much for speaking with me. It’s been a long day for you, and I appreciate your taking this extra time.

Shrude:   Oh, you’re welcome.

See my interview with Donald Erb

See my interviews with Philip Glass

This conversation was recorded in Chicago on March 14, 2001. Portions were broadcast on WNUR the following year, and again in 2005, and 2017. This transcription was made in 2021, and posted on this website at that time. My thanks to British soprano Una Barry for her help in preparing this website presentation.

To see a full list (with links) of interviews which have been transcribed and posted on this website, click here. To read my thoughts on editing these interviews for print, as well as a few other interesting observations, click here.

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Award - winning broadcaster Bruce Duffie was with WNIB, Classical 97 in Chicago from 1975 until its final moment as a classical station in February of 2001. His interviews have also appeared in various magazines and journals since 1980, and he now continues his broadcast series on WNUR-FM, as well as on Contemporary Classical Internet Radio.

You are invited to visit his website for more information about his work, including selected transcripts of other interviews, plus a full list of his guests. He would also like to call your attention to the photos and information about his grandfather, who was a pioneer in the automotive field more than a century ago. You may also send him E-Mail with comments, questions and suggestions.