Let us step away from the analysis for a moment to talk about W.A. Mozart. Suppose for a minute that we are able to expose Mozart to Mennin’s Third Symphony. Then perhaps after the performance we are able to interview Mozart about the experience. What might that look like…
The following is a fictional account of an interview between a local music critic and Wolfgang Amadeus Mozart. The interview took place following the premier of Peter Mennin’s Third Symphony.
Reporter: Maestro, do you have time to answer a few questions after this concert?
W. A. Mozart: Well, I am in the middle of composing my greatest work... they are all great… but I don’t want to forget about my adoring fans.
Rep: Um… thank you Heir Mozart. First off, what is your opinion of the premiere you just heard?
WAM: It is nowhere near the level of my compositions. The use of counterpoint was all wrong. Too many dissonances. It almost sounded like parallel fourths in some passages… a huge problem! Also, his use of the orchestra is unheard of.
Rep: Can you explain?
WAM: Of course! He used instruments like the trombone in his symphony… a SYMPHONY! I use that instrument where it should be kept: the opera house. Same goes for the percussion and piccolo. Not only that, but the woodwinds and brass had solo sections, making the strings play accompaniment figures. The strings are the heart and soul of an orchestra and should always be the primary voice in a symphony. I do not think the two crummy themes were ever presented first in the strings… maybe once…
Rep: Why were the themes so “crummy?”
WAM: Wasn’t it obvious? I could not tell if they were in major or minor, nor in two or three. The second theme sounded like it had a few tritones in it. Also, that fanfare motive that opened the piece kept coming back like it was a rondo or something. Obviously it was an attempt at sonata form, but the fanfare kept coming back. And speaking of failed sonata form… did you hear that recap?
Rep: Yes I did. I had some trouble figuring out exactly when it started?
WAM: I’m not sure it started anywhere. I’m not sure what gets into composers these days. They change some keys around, repeat their themes and say that the form is complete. In my works, you can always tell when the recapitulation begins, but I think there were nearly three points of recap in this piece. It left me feeling very uncomfortable.
Rep: One last question. What were your feelings on the tempo change?
WAM: Was that written in? I just thought the conductor screwed it up?
Rep: No, the conductor told me about it in a pre-concert interview.
WAM: Well, I’m just going to have to write Mr. Mennin a letter and describe my surprise at such a ludicrous idea. You don’t put a tempo change in the middle of a piece like that. What does he think this is, an opera? Perhaps he tried to mark his development with these tempo changes.
Rep: I appreciate your thoughts on this performance maestro.
WAM: No problem, I love keeping my fans entertained.
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