Puget Sound Concert Opera Instrumental: Variations on a Theme by Giacomo Puccini by Peter B. Cornell

Variations on a Theme by Giacomo Puccini
Composed by Peter B. Cornell
Performed by Kristin Bateman (flute), Yi-Ting Kuo (violin), Janice Lee (cello) and John Burkhardt (piano)

PROGRAM NOTES
Giacomo Puccini's opera "Madama Butterfly" is the story of a U.S. naval officer, B. F. Pinkerton, and a young Japanese girl, Cio-Cio-San. Pinkerton marries Cio-Cio-San and leaves shortly thereafter, returning three years later with his new American wife. Meanwhile, Cio-Cio-San has given birth to their son and waited patiently and faithfully for Pinkerton's return. Cio-Cio-San's marriage is clearly over, and she agrees to give up her son to Pinkerton and his new wife on the condition that Pinkerton comes to see her. Cio-Cio-San says goodbye to her son and kills herself via seppuku (or harakiri, a samurai ritual suicide) just as Pinkerton arrives. The story highlights the costs of reckless choices, the beauty of hope and faithfulness in the face of uncertainty, and the tragic consequences thereof.

In Puccini's opera, "Coro a bocca chiusa" (commonly known as the "Humming Chorus") occurs at the end of Act 2, delicately accompanying Cio-Cio-San's sleepless night awaiting the return of her husband. In this composition, which focuses solely on Cio-Cio-San, Puccini's theme represents the essence of Cio-Cio-San's character, and each variation represents a different aspect of her experience, following the opera's order of events.

It is important to clarify the intent of the final variation, "Honor." The opera presents Cio-Cio-San as an individual shamed by society due solely to the actions of others; shame that leads her to suicide. Her method of suicide was sometimes performed by those who had brought shame to themselves, and it includes the notion of restoring honor to the individual. In contrast, the final variation of this composition affirms Cio-Cio-San's honor as fully intact and not in need of restoration. Her character--her faithfulness and hopefulness despite the admonitions of those around her--is to be revered in spite of the wrongs done to her by others.

The theme and six variations are structured as follows:

1. Theme: Puccini's theme transposed to C major, representing Cio-Cio-San. Adapted from the original score, featuring flute and cello.

2. Wedding: This festive variation fits the theme into a lilting waltz featuring flute, as well as violin and cello.

3. Waiting: A rondo illustrating the three years Cio-Cio-San waits hopefully for her husband's return, despite the admonitions of those around her.

4. Child: A playful variation depicting Cio-Cio-San's young son.

5. Loss: This variation in relative minor (A minor) depicts losses suffered by Cio-Cio-San. The end of her marriage is portrayed by the flute's reference to the "Wedding" variation. The loss of her son is represented by flute, violin, and piano echoing the "Child" variation. Finally, Cio-Cio-San's loss of self-worth is depicted by the cello referencing the most triumphant aspect of the "Humming Chorus" theme. The violin's lamenting melody between each loss portrays Cio-Cio-San's feelings, and is accompanied by fewer instruments as this movement progresses.

6. Death: Corresponds to Cio-Cio-San's suicide at the end of the opera. Written in the darker, parallel minor (C minor), the melody carried by the cello in this variation is derived from the accompaniment of the "Humming Chorus" theme.

7. Honor: In contrast to the opera, this variation affirms Cio-Cio-San's honor as fully intact and not in need of restoration. Her character--her faithfulness and hopefulness despite the admonitions of those around her--is to be revered in spite of the wrongs done to her by others.

'Many thanks to John Muehleisen for his guidance, insight, and attention to detail throughout the development of this work.'

Peter B. Cornell is a Seattle area composer who is continuously expanding his command of a variety of musical forms, genres, and modes of expression. A software engineer by trade, Peter took piano lessons from a young age and began writing piano solos in 2009. Through private study with John Muehleisen, these efforts expanded to include compositions for solo voice, choir, and instrumental ensemble.

In addition to composing, Peter plays the piano, organ, and accompanies solo vocalists regularly. He has sung in various choirs for many years, among them nine years with the Choral Arts Society of Washington including performances at the Kennedy Center (D.C.), Lincoln Center (New York City), Royal Albert Hall (London), Teatro Colón (Buenos Aires), and Theatro Municipal (Rio de Janeiro).

_______________________________
About Puget Sound Concert Opera:
Stay in touch: