Strauss often played in the glittering Imperial balls, conducting the orchestra and playing the first violin at the same time. The majestic launch of this fascinating waltz presents the backdrop of the celebration of the 40th anniversary of the hegemony of the Austrian Emperor Franz Joseph in 1888. Johann Strauss II was Music Director of the Dance Hesperides of the Imperial Court from 1863 to 1872 and composed on occasion for the celebration of an imperial anniversary. The ingenuity of the melody of the Emperor Waltz, which was originally orchestrated for a full orchestra, is such that it was easily adapted for the four or five instruments of a chamber ensemble by the Austrian composer Arnold Schoenberg in 1925. This waltz is a tender and somewhat melancholic work, which at times turns its gaze nostalgically to the old Vienna. The waltz praises the majesty and dignity of the old monarch, who was fully devoted to his people. It begins with a majestic, magnificent march, which soon re
Mendelssohn - Symphony No. 4, "Italian", in A Major, Op. 90
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"The Bay of Naples" by William James Muller When Mendelssohn visited Naples, he was shocked by the great poverty he saw, but he liked the Neapolitan saltarello dance, on which he based the main theme of his "Italian" Symphony in A Major.
At the urging of his good friend, the German poet Goethe, Mendelssohn made a long journey to Italy in 1830-31. He arrived in October and was berested by the noise and vitality of the country. He visited Venice and then Rome, where he was impressed by a procession of cardinals and a choir at the church of St. Peter's.The echo of that chorus can be heard in the second part of the symphony.
Mendelssohn was shocked by the poverty she saw in Naples, but fascinated by its folk dances. The impetuous saltarello at the end of the symphony is directly influenced by these local folk dances.
Movements:
Ι. Allegro vivace
The first part, Allegro vivace, begins with a cheerful and energetic outburst that soon subsides. After a transitional part the second theme is introduced. It is a wonderful illuminating piece that in turn prepares the return of the first theme with variations. Then it is repeated with subtle variations. The part ends with a wonderful crescendo and a final bow.
ΙΙ. Andante con moto
The second part, Andante con moto, completely alters the mood. Oboe, bassoons and violas, supported by soft string pizzicatti, introduce a charmed melody. For a moment the melody repeats itself distantly and a glowing theme appears in a major tone to disappear soon after. Variations follow the main theme before finishing the part with a gentle splash of deep strings.
ΙΙΙ. Con moto moderato
The third part, Con moto moderato, is a cute piece reminiscent of a minuet. Here, a sense of mystery is added, when an attractive trio of horns knocks on the door asking to enter. After the trio of horns reappear once again, the main theme of the minuet comes back short and fades, finishing the part.
IV. Saltarello: Presto
The last part, Saltarello:Presto, is a fast and lively place based on a Neapolitan dance similar to tarantella. Almost immediately the dance begins its frenetic rhythm, at first quietly and then with gradual increase in intensity. Somewhere, the rhythm relaxes, but then the almost infernal swirl of dance reappears in strings and is scanned by the entire orchestra. At the end of the last part, the music returns for a while to the original theme before returning to the dance.
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