SYMPHONY NO.29 IN A MAJOR, K.201

Wolfgang Amadeus Mozart (1756-1791)



I. Allegro moderato
II. Adante
III. Menuetto
IV. Allegro con spirito

The piece was completed in Salzburg in April of 1774.
The character of this symphony is created by two main factors; the adoption of chamber music style orchestration consisting of two oboes, two horns and a string ensemble, and the use of A major in which Mozart often wrote fluent melodies.

The subtle second movement is the most beautiful and elegant passage, but we also appreciate the noble taste of the minuet in the third movement. The last movement revives the characteristics of the first movement in a more lighthearted and lively way, leading to the dramatic climax. With its excellent overall composition, the piece is one of the best works of Mozart from his early days.

In “Symphony No.29 in A major,” Mozart frequently incorporate bright and happy melodies and harmonies reminiscent of Italian music, which he tactfully mixes with the Austrian style. He also attempts a fusion between symphony and chamber music styles, to open up new possibilities.

UN BEL DI, VEDREMO FROM MADAM BUTTERFLY

Giacomo Puccini (1858-1924)

“Madam Butterfly” is one of Puccini’s best known operas along with “Manon Lescaut,” “La Bohème,” “Tosca” and “Gianni Schicchi.”

“Madam Butterfly” is particularly familiar to Japanese because the story is set in the Japanese city of Nagasaki, and “Un bel di vedremo” is their favorite aria.

Puccini was inspired to write an opera version of “Madam Butterfly” when he saw a theatrical adaptation by David Belasco of John L. Long’s novel of the same title in London at the turn of the century, when London was having a Japanese boom triggered by the International Exposition in Paris. Puccini is said to have been attracted by the dramatic character of the heroine.

“Madam Butterfly” was first performed in public in Milan in 1904.

The story is about a tragic love between an American navy officer, Pinkerton, and a Geisha professional female entertainer Chocho-san. They are united and have a boy baby after a short period of happiness Pinkerton returns home alone. Chocho-san anxiously awaits the day when they can reunite. She sings this aria, “Un bel di vedremo” as she naively tells her nursemaid, Suzuki, how she imagines to herself the joy of reunion with him:

“On a clear day, a streak of smoke will rise beyond the horizon, and a ship will come in sight. That white ship must be a warship with my husband aboard. Soon he comes climbing up the hill and calls out to me. But I won’t come out right away to greet him. I will hide, for otherwise I would die from joy…”

In reality, however, Pinkerton returns three years later with his new wife. Seeing this Chocho-san kills herself out of despair.

Tchaikovsky: Serenade For Strings

Performances of the orchestral arrangement of Souvenir de Florence are rare, as it seems are recordings. The work however is quite lovely and evocative and suits a string orchestra capable of playing as both an entity and a collection of fine soloists. Look no further therefore than this recording for an excellent interpretation.
The more familiar serenade is also a fine example of the work of one of Europe's leading Chamber Orchestras.
I play this disc frequently, most especially the Souvenir and have only a minor quibble and that is with a rather fast take up of the opening of the work. Otherwise this has to be one of the best quality recordings I have heard from Naxos but then they used an interesting recording venue, Casino Baumgartner in Vienna, and presumeably Austrian engineers.
Take it to your desert island! --Mr.David Geer "Korngold Fan" Listen to Samples.

Serenade For Strings In C Major, Op.48

Pyotr Ill'ych Tchaikovsky (1840-1893)

I. Pezzo in forma di sonatina

II. Waltz

III. Elegia

IV. Tema Russo

The formal title is "Serenade for String Ensemble."

This type of Music was in fashion during the heyday of the classical music, with Mozart as the typical example. Tchaikovsky wrote this serenade probably out of admiration with the same intention as that with which he wrote "Mozartiano" several years after.

Around 1880 when he wrote this serenade, he made puplic a series of orchestral suites which reflected his form of inclination toward the baroque or classical music. "Serenade for String in C major, Op.48" also shows the influence of this music and the composer himself confessed that he originally intended to call this piece a suite.

In his letter to Mrs Von Meck dated in September, 1880, Tchaikovsky wrote that he had not decided whether to write a symphony or a string quarter and then admitted that he had not yet the ability to write a symphony. So, he chose the middle road and wrote a string ensemble.

In a letter in October, he said that, although the piece was written based on his inner impulse, its artistic value had not been lost. "Serenade for Strings in C major, Op.48" is a crystalization of his pursuit of genuine formal beauty using strings alone, and of the balanced beauty of the classical music. In order words, this piece typically shows the West European taste of Tchaikovsky, who is often said to have belonged to the European school.