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(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
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