text: The "Allegro" that follows continues to express homesickness in a faster twelve-bar blues.In the B section, Gershwin uses common time, syncopated rhythms, and bluesy melodies with the sounds of trumpet, saxophone, and snare drum."Moderato con grazia" is the last A section that returns to the themes set in A.After recapitulating the "walking" themes, Gershwin overlays the slow blues theme from section B in the final "Grandioso".Response Gershwin did not particularly like Walter Damrosch's interpretation at the world premiere of An American in Paris.He stated that Damrosch's sluggish, dragging tempo caused him to walk out of the hall during a matinee performance of this work.The audience, according to Edward Cushing, responded with "a demonstration of enthusiasm impressively genuine in contrast to the conventional applause which new music, good and bad, ordinarily arouses." Critics believed that An American in Paris was better crafted than Gershwin's Concerto in F.Some did not think it belonged in a program with classical composers César Franck, Richard Wagner, or Guillaume Lekeu on its premiere.Gershwin responded to the critics: Instrumentation An American in Paris was originally scored for 3 flutes (3rd doubling on piccolo), 2 oboes, English horn, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, 4 horns in F, 3 trumpets in B-flat, 3 trombones, tuba, timpani, snare drum, bass drum, triangle, wood block, ratchet, cymbals, low and high tom-toms, xylophone, glockenspiel, celesta, 4 taxi horns labeled as A, B, C, and D with circles around them, alto saxophone, tenor saxophone, baritone saxophone (all doubling soprano and alto saxophones), and strings.Although most modern audiences have heard the taxi horns using the notes A, B, C, and D, it had been Gershwin's intention to use the notes A4, B4, D5, and A3.