La Plaza Mayor at evening

It seems my secret is out at last. Having worked on Los Fantasmas de la Plaza Mayor for more years than I care to admit, I finally wrestled it into discernible shape. Now, ’tis true that that shape is twenty-four minutes long and comprises four sections without discernible breaks, but I have to confess that I have been somewhat surprised at its reception in some quarters. I will confess in advance that some friends and acquaintances have mentioned its “powerful architecture,” “masterly orchestration”, and fine handling of thematic material, but it is clear that my sins have found me out, for among the faults of the piece are the following:

1. It’s too long. Now, I admit that a twenty-four minute piece consisting of a slow introduction followed by a fast, energetic movement and then two slower sections is somewhat unconventional and, no doubt, asymmetrical, but—honestly—twenty-four minutes is “too long”? Mea culpa—mea maxima culpa.

2. It has been deemed “unrewardingly tacit with its communication,” and I take that to mean that there are not enough figurative signposts along the way. At least I hope that’s what this means. Of course, not being a fan of music that slavishly mimics every action in a painfully labored programme that is pasted in large letters across the listener’s perception, so to speak, I have not felt compelled to explain every nuance of the score in writing, but perhaps I did not reckon with the great pleasure that today’s audiences take in being told exactly what to think. Perhaps we should begin using surtitles with symphonic music, so that we can flash up the meaning of each phrase as it escapes into the aether. It is true that I have not provided a detailed description, and there are several historical, geographical, and stylistic references along the course, as is usual in my dialog with the past, but I had no idea that I would have to hurl missiles to get my point across. Or perhaps I might borrow Don Quixote’s sheep. Mea culpa—mea maxima culpa.

3. Because it is scored for large orchestra, it has been evaluated as not having enough orchestral tuttis in it. Mind, you it has several of them distributed judiciously throughout its laborious twenty-four minutes, but since I have chosen to concentrate on varied jewel-tones rather than a twenty-four minute onslaught of mixed colors (which usually results in a sort of brown, I would say), I have not resorted to the Elgarian technique of “all instruments, all the time.” Mea culpa-mea maxima culpa.

4. I’m indicted of the crime of having “soft-hued” or “inactive” motives and thematic ideas. First, I have no idea what is meant by “soft-hued.” Are all thematic ideas supposed to be ear-poppers? Second, a careful examination of the score will show that the thematic threads are often even more pervasive than is usual in my other compositions, so I’m a bit unsure about the “inactive” assessment, as well. Perhaps the thematic transformations were either too subtle or otherwise confusing? Mea culpa—mea maxima culpa.

5. Last, and most astonishing, is the crime of not having an “array of indigenous percussion.” I really had to think about this for a few moments. First, the term “indigenous percussion” makes it sound as though this is a piece for gamelan orchestra rather than an evocation of Spain, and second—well, I did use castanets, after all, and honestly, that was about as clichéd as I was willing to get. Then again, if the listener was hoping for more “ghostly” sound effects, I suppose I could have thrown in a few rattling chains, creaking doors, slamming of tombs, and could even have asked the musicians to contribute a few groans, moans, shrieks and boos for good measure. Well…no. Mea culpa—oh, heck…you get the idea.

In any case, please have a listen at the link above, and use your own judgment. I know it’s an odd work, and will not be to everyone’s taste, but I’d like to think that most hearers are capable of more acute perceptions than those I have mentioned above. If I’m to be pilloried, there are plenty of real faults to be found, I’m sure. What’s that about not being able to fool all of the people all of the time?