Peter Mennin

With Mark Carrington

August 4, 1981

New York

TABLE OF CONTENTS

Side a                                                                                                                         pp. 1-21

Earliest musical experiences--his father's record collection--beginning to compose--setting poems of Emily Dickinson--study with Normand Lockwood at Oberlin--enrolling at the Eastman School--showing his First Symphony to Howard Hanson--work with Bernard Rogers--winning the first Gershwin Memorial Award, for his Second Symphony--importance of individuality in a composer's work--analysis vs. creation--advanced music, reactionary music and quality--Second Symphony--Third Symphony--Dmitri Mitropoulos--friendship with George Szell--Concerto for Piano and Orchestra--Second Symphony--soloist for Piano Concerto:  Eunice Podis--Flute Concerto--other symphonies--writing his own text for the Fourth Symphony--poet Robinson Jeffers--Virgil Thomson--Robert Shaw--abstract vs. programmatic music--"anonymous" music--serviceable music vs. music with an individual quality--Copland--Gershwin--very original earlier composers.

Side b                                                                                                                        pp. 21-36

More on individuality in music--influences of his earlier compositions on his later work--disinterest in other composers--balancing tensions in composing--discipline of composition--objectivity towards your work--communication with audience vs. intellectualism--composition as a refining process--evaluating music--importance of talent--career as an administrator: Director of Peabody Conservatory and President of Juilliard--accomplishments at Juilliard--his administration vs. that of William Schuman--electronic music--future of music.