Uploaded May 2025 | Updated September 2026, 2 weeks ago
Chicago Symphony Orchestra conucted by Jean Martinon.
I - Adagio (0:00) - Allegro (7:31) - Andante (12:30) - Moderato (20:23) - Allegro vivace (23:49)
Mennin's Symphony No.7 was completed in 1964, being commissioned by George Szell (who really paid for it "out of his own pocket" according to the composer) for the Cleveland Orchestra. It was premiered on January 23 of 1964, performed by said orchestra and conductor. The work is written in a single movement divided in five sections. Mennin explained: "It has little relationship to the consecutive variation principle, but instead uses techniques of variation resulting from the overall structural and dramatic concept."
As in the Piano Sonata, the symphony's tonal centres are quite remote, and the level of harmonic dissonance had increased considerably. In place of a simple alternation between fast movements based on frenzied counterpoint and slow movements of solemn, long-breathed, polyphonic lyricism (although they are not absent either), passages of different character appear. And, in addition to Mennin’s familiar types of gestures, some new shapes appear; especially an upward-thrusting gesture to which the composer returned in several of his remaining works. Mennin himself commented about this symphony, "In my work there has always been some element of violence and the element of contrast. Here they come out with a vengeance."
The first section begins with a slow, twelve-note theme presented by cello and basses. Despite several nods to the serialism, this piece is not actually serialist at all, as tonal centres are still present. This theme is then fragmented into shorter motives full of tension and anticipation. The music rises in a climatic outburst, as forceful phrases, jagged rhythms and louder dynamics transform violently the theme. This is soon contrasted by a dry, meditative passage for strings. However, angry phrases from the strings start building tension, leading to another dissonant climax. Over wide chords of the strings, the flutes start hinting the materials of the next section, leading us to the next part.
The second section is a dramatic scherzo, dominated by the flute motive heard previously. It is transformed in a violent and acid motive presented by the strings. Fragments and motives from the previous section are combined into its development, along with a complex and extraordinarily energetic counterpoint. The orchestra rises in an explosive climax, followed by a vigorous and varied recapitulation of the twelve-note theme. As the music finally calms down, the theme is fragmented on cellos and basses, leading to the next part.
The third section is a slow part with contrasting passages. It begins with a sober melodic theme presented by the strings along with the woods in a calm ambient, with some tension still being present. The flute takes the theme, and then shares it with other instruments in a lyrical passage. The tension constantly goes up and down, menacing to suddenly explode. The twelve-note theme is briefly reminisced by clarinet and strings, leading to a turbulent passage. The flute performs a contrastingly lyrical solo, which leads to a counterpoint-heavy part. The music explodes in another violent climax, full of dissonances. The strings are leaven alone in a desolate transition, which takes us to the next part.
The fourth section is kind of a passacaglia. Basses recapitulate the 12-note theme, being subjected to fluid and continuous variations, as the motivic material is developed over solemn, stately reiterations of the theme in the lower strings. The music slowly becomes more intense and expressive. A rhythmic motive based on a fast series of staccatos, that will be important in the next part, is already hinted by the woodwinds. This leads to another climax, after which a seamless transition takes us to the final part.
The fifth section begins with a restless theme which, combined with motives and themes from previous sections, launches a complex development. The intensity mounts as the music builds with an almost ecstatic escalation of contrapuntal complexity, reaching a massive and dense climax. The symphony ends with stern finality on an open fifth, the first of Mennin’s symphonies to shun a triumphant major-triad conclusion.
Picture: Photograph of Peter Mennin.
Musical analysis partially written by myself. Sources: bit.ly/30pAddL and bit.ly/3newskh
Unfortunately the score is not available.
Chicago Symphony Orchestra conucted by Jean Martinon.
I - Adagio (0:00) - Allegro (7:31) - Andante (12:30) - Moderato (20:23) - Allegro vivace (23:49)
Mennin's Symphony No.7 was completed in 1964, being commissioned by George Szell (who really paid for it "out of his own pocket" according to the composer) for the Cleveland Orchestra. It was premiered on January 23 of 1964, performed by said orchestra and conductor. The work is written in a single movement divided in five sections. Mennin explained: "It has little relationship to the consecutive variation principle, but instead uses techniques of variation resulting from the overall structural and dramatic concept."
As in the Piano Sonata, the symphony's tonal centres are quite remote, and the level of harmonic dissonance had increased considerably. In place of a simple alternation between fast movements based on frenzied counterpoint and slow movements of solemn, long-breathed, polyphonic lyricism (although they are not absent either), passages of different character appear. And, in addition to Mennin’s familiar types of gestures, some new shapes appear; especially an upward-thrusting gesture to which the composer returned in several of his remaining works. Mennin himself commented about this symphony, "In my work there has always been some element of violence and the element of contrast. Here they come out with a vengeance."
The first section begins with a slow, twelve-note theme presented by cello and basses. Despite several nods to the serialism, this piece is not actually serialist at all, as tonal centres are still present. This theme is then fragmented into shorter motives full of tension and anticipation. The music rises in a climatic outburst, as forceful phrases, jagged rhythms and louder dynamics transform violently the theme. This is soon contrasted by a dry, meditative passage for strings. However, angry phrases from the strings start building tension, leading to another dissonant climax. Over wide chords of the strings, the flutes start hinting the materials of the next section, leading us to the next part.
The second section is a dramatic scherzo, dominated by the flute motive heard previously. It is transformed in a violent and acid motive presented by the strings. Fragments and motives from the previous section are combined into its development, along with a complex and extraordinarily energetic counterpoint. The orchestra rises in an explosive climax, followed by a vigorous and varied recapitulation of the twelve-note theme. As the music finally calms down, the theme is fragmented on cellos and basses, leading to the next part.
The third section is a slow part with contrasting passages. It begins with a sober melodic theme presented by the strings along with the woods in a calm ambient, with some tension still being present. The flute takes the theme, and then shares it with other instruments in a lyrical passage. The tension constantly goes up and down, menacing to suddenly explode. The twelve-note theme is briefly reminisced by clarinet and strings, leading to a turbulent passage. The flute performs a contrastingly lyrical solo, which leads to a counterpoint-heavy part. The music explodes in another violent climax, full of dissonances. The strings are leaven alone in a desolate transition, which takes us to the next part.
The fourth section is kind of a passacaglia. Basses recapitulate the 12-note theme, being subjected to fluid and continuous variations, as the motivic material is developed over solemn, stately reiterations of the theme in the lower strings. The music slowly becomes more intense and expressive. A rhythmic motive based on a fast series of staccatos, that will be important in the next part, is already hinted by the woodwinds. This leads to another climax, after which a seamless transition takes us to the final part.
The fifth section begins with a restless theme which, combined with motives and themes from previous sections, launches a complex development. The intensity mounts as the music builds with an almost ecstatic escalation of contrapuntal complexity, reaching a massive and dense climax. The symphony ends with stern finality on an open fifth, the first of Mennin’s symphonies to shun a triumphant major-triad conclusion.
Picture: Photograph of Peter Mennin.
Musical analysis partially written by myself. Sources: bit.ly/30pAddL and bit.ly/3newskh
Unfortunately the score is not available.
