(1999)
For String Quartet

Amadeus Eddie

Duration: ca. 8 minutes

First performance:
November 3, 1999
at Northern Illinois University by:

Death and the Iron Maidens

Anja Rohn - violin
Cordula Merks - violin
Evrim Bastas - viola
Jeff "Death" McAuley - violoncello

Death and the Iron Maidens
L-R: Jeff "Death" McAuley, Anja Rohn, Cordula Merks and Evrim Bastas

Program Notes

What if Mozart had lived in the 1980s instead of the 1780s? Would the Viennese composer have been a headbanger? Surely he would have wanted to have been involved with Iron Maiden, the greatest heavy metal band of all time? While these questions will never be answered, Rondo Alla Iron Maiden was written as an attempt to simulate what it might have been like. It is the first-ever fusion of Iron Maiden and Mozart.

The title Rondo Alla Iron Maiden is a parody of the third movement of the Mozart piano sonata K. 331, "Rondo Alla Turca." As the name suggests, this new work for string quartet is a classical rondo in the style of the British heavy metal band Iron Maiden. These style characteristics are explained at the Music Theory According To Iron Maiden information page. Although Rondo form is basically adhered to, some Iron Maiden structural ideas are used within this context.

While a majority of the piece is newly composed, there are a few quotations of Mozart melodies. However, these passages are treated stylistically using Iron Maiden compositional techniques (see the Music Theory According To Iron Maiden information page). Sometimes the quotations are more subtle and in other instances they are blatant. In some cases, a Mozart tune is disguised within the context of an Iron Maiden-like melody and harmonization. The introduction is a great example of this.

The two violins play the role of the twin harmonized lead guitar approach which is so crucial to the Iron Maiden sound. They also each have their own solos, which are comprised of Iron Maiden guitar solo cliches and Mozart quotations. The cello provides the root of the power chord while the viola contributes the fifth.

Photo of Rondo Alla Iron Maiden Autograph (fol 1r)
ca: Somewhere In Time
Courtesy of the Adrian Smithsonian Collection, Harrisburg

The form of Rondo Alla Iron Maiden is diagramed below:

Introduction - Rondo Theme - Contrasting Section 1 - Rondo Theme - Contrasting Section 2 - Bridge - First Violin Solo - Second Violin Solo - Transition - Rondo Theme - Contrasting Section 3 - Rondo Theme - Outro

There are particular Iron Maiden songs which are being parodied in certain parts. How many of them do you recognize? On the flip side, how many Mozart quotes can you catch? Have fun!

Don't know Iron Maiden's music?
Check out the
Iron Maiden For Dummies Page

or go to their official website:
http://www.ironmaiden.co.uk/

Composer’s Comments

It is not the composer’s intention to mock the British heavy metal band Iron Maiden in any way, other than in an endearing manner. It is clearly apparent to anyone familiar with the band’s music that the composer is himself a fan.

Performance Notes

Rondo Alla Iron Maiden is intended to be a comedic piece. While the music itself has many jokes which will only make total sense to someone who knows both the music of Iron Maiden and Wolfgang Amadeus Mozart, there are a number of optional elements which can enhance a performance. These are presented below.

The quartet should dress like members of Iron Maiden. This includes either, leather pants, spandex pants or ripped jeans, Iron Maiden T-shirts, sweat bands (head and/or arms), and anything studded. The glam-metal look should be avoided. This means, no brightly colored dyed hair, make-up or hairspray. The players should rock out and use any typical metal poses. During the solos, the violinists should stand up and put one foot on top of their chairs to emulate the way members of Iron Maiden (particularly Steve Harris, the bass player) put a foot on top of the stage monitor (speaker which faces the band so they can hear). The violist should also stand up at the very end during the quote from Mozart’s Sinfonia concertante beginning at the end of measure 213.

There is an optional chorus beginning at measure 100. This can be performed one of several ways. The quartet can sing along or additional people can be brought in just for that section. This part of the piece is a parody of the middle of an Iron Maiden song called "Heaven Can Wait." Traditionally when the band performs it live, the road crew comes out on stage and sings the chorus with them. Therefore, a bunch of people huddling around the quartet would be quite appropriate. At the premiere of Rondo Alla Iron Maiden several people dressed as Maiden fans were placed in the audience and they ran up on stage to sing this part. The chorus may be just a few people or many more.

Since Iron Maiden’s mascot Eddie usually appears on stage with the group at some point during their concerts, his presence during the performance of this piece is ideal. Eddie is basically a skeletal monster and is most often dressed according to a particular theme. Therefore in this scenario he should appear as Amadeus Eddie, a Mozart-themed creature. His costume can be a combination of 18th century Viennese court attire and the 80s metal look. Leather knickers are a great example of one piece of clothing which has both elements. A powdered wig on top of Eddie’s head is a must. A quill and a piece of parchment staff paper or score are good props as well. Eddie should appear when the theme from Mozart’s "Rondo Alla Turca" is presented at measure 90. When the 2nd violinist starts clapping at measure 98, Eddie should as well.

View the score
Download mp3s of versions with or without the chorus

Copyright © 1999 by Kurt Mortensen