Word: mennin
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Dates: during 1950-1959
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...orchestra, besides performing accepted classics, has kept the Cambridge public aware of new musical work. Music by Shostakovitch, Piston, Mennin, and Vaughan Williams has appeared on the H-R O program, despite the objections of reactionary elements in the Cambridge audience. Soloists such as Ruth Posselt, Joseph Szigeti, and Johanna Martzy have performed in Cambridge under Pierian's auspices, and university hopefuls also
...emotional impact through a series of sharp contrasts. The music was by turn slow, dense, lyrical, harsh, full of sharp emotional edges. Composer Barraud got a polite hearing but sent his audience delving into their programs in search of the unifying idea the music seemed to lack. CJ Peter Mennin's Piano Concerto, performed in Manhattan by the Cleveland Orchestra, which commissioned the work, along with eight others, to celebrate its 40th anniversary. The work by 34-year-old Juilliard Teacher Mennin was driving, gusty, brilliantly animated, but it often seemed more like an exercise in pure virtuosity than...
...Rope, by Louis Mennini, 35, Eastman faculty member and brother of Manhattan Composer Peter Mennin. The plot is based on a one-act play by Eugene O'Neill. An old miser dangles a noose from a barn rafter, hoping his son will hang himself. Instead, the son decides to torture the miser into revealing his money's hiding place. Composer Mennini spent a summer learning the ins and outs of opera composition at Tanglewood, and used his knowledge well. The rub was the music; it seemed too charmingly melodious for the gruesome plot...
...Orchestra contributed a surprisingly suave rendition of Mozart's Symphony No. 36. The concert really came to life, however, in the Third Symphony of Peter Mennin, a contemporary American composer. While the form of this work is discursive, its incisive rhythms and dramatic orchestration give it a tension and a vitality that the war-horses on the program lacked...
Third composition on the program was Peter Mennin's Concerto for Violoncello and Orchestra, which made fewer demands on the listener, and showed less originality and toughness. It provided a neoromantic contrast to Sessions, and for long stretches sounded as if it might have been titled "Mr. Brahms Goes to Juilliard." Composer Mennin, who has six performed symphonies to his credit, kept the orchestra mostly under wraps to make his concerto one long melodious song for Leonard Rose's fluent cello...