Solemn overture 1812. Music history

The Year 1812 Solemn Overture, Op. 49- an orchestral work by Pyotr Ilyich Tchaikovsky in memory of the victory of Russia in the Patriotic War of 1812. Popular for its effective sound, among other things. The choir, bells are involved in the performance, cannon volleys are provided for in the finale.

The premiere of the overture took place at the Cathedral of Christ the Savior on August 8 (August 20), 1882.

Overview

The ceremonial overture "Year 1812" (1880) belongs to a special class of works intended for performance in large rooms or in the open air. This monumental, programmatic piece was written to be performed by a large symphony orchestra with the addition of a percussion group, large bells and a suspended drum used in opera orchestras to depict cannon shots, as well as a group of military orchestra instruments (optional).

Tchaikovsky did not give a literary program for the overture, but the images of the play are so specific that they do not need any explanations. In the big introduction to the sonata allegro, three themes are successively covered: the prayer for the granting of victory "Save, O Lord, thy people" and two original themes - alarms and heroic military signals. Sonata allegro is multi-dark. In addition to the main and secondary parts, contrasting with each other, themes are introduced into the allegro, symbolizing two hostile forces: the Russian song "At the Gate, the Gate of Fathers" and "Marseillaise". Both are of great importance in the development and reprise of the sonata form. In the solemn code, the theme of prayer sounds again in an imposing timbre of copper, after which the theme of the Russian anthem "God Save the Tsar!" ...

In the code, Tchaikovsky painted a vivid picture of the victory of the Russian army, using the effect of a bell chime and a cannon salute.

The thematicism of the overture is based on specific genre types. The melody of the side part is close to lyrical folk songs. The composer, as you can see, connected the valiant courage of Russian soldiers with the image of the chant "At the Gate, the Gate of Fathers". But if in describing Russian images Tchaikovsky successfully used folklore material, then in describing the French invasion he made a mistake. The idea came to him to use the theme of the Marseillaise. Throughout the 19th century, this melody was associated for Europeans with the ideas of freedom, the people's struggle for their rights. Here, the Marseillaise draws the image of the enemy, characterizes the invasion, which introduces a semantic dissonance. The heroic courageous character of the melody contradicts its role in the drama of the whole.

Despite this shortcoming, the 1812 overture is a spectacular piece. The patriotic idea gives it a heroic character, and the dignified ending affirms it.

Instruments

• Brass Band 1 (end only)
• Woodwinds: piccolo flute, 2 flutes, 2 oboes, English horn, 2 clarinets and 2 bassoons
• Brass: 4 French Horns in F, 2 Cornets, 2 Trumpets, 3 Trombones (2 Tenor, 1 Bass) and Tuba
• Percussion: Timpani, Bass Drum, Snare Drum, Cymbals, Tambourine, Triangle, Bells and Cannon
• Strings: violins, violas, cellos and double basses

Popular culture use

(mainly used a fragment with guns)

• Due to the use of the sound of cannons and bells, the work is very well suited for testing the quality of the low frequency range of hi-fi speakers.
• The release of phonograph records by Telarc with this work is noteworthy. Due to the use of a gap of about 300 microns on the track for recording thunder guns (gaps no more than 100 microns are considered normal), most pickups were not able to reproduce this place (up to the breakage of the stylus). However, this is precisely why this disc has acquired a cult significance in the circles of fans of high-end equipment.
• The work uses the anthems of France and Russia at the time of 1882, not 1812. From 1815 there was no anthem in France, and the Marseillaise was not restored as an anthem until 1870. God Save the Tsar was written and approved as the anthem of Russia in 1833. This fact is probably a case of the author's approach, when Tchaikovsky used melodies that were familiar to the public.

Notes (edit)

Links

• Russian anthem "God Save the Tsar!" in Tchaikovsky's music - the page contains several complete audio recordings of the overture.

Categories:

• Works by Pyotr Ilyich Tchaikovsky
• Works for orchestra
• Musical works of 1882
• Patriotic War of 1812 in monuments

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The Year 1812 Solemn Overture, Op. 49- an orchestral work by Pyotr Ilyich Tchaikovsky in memory of the victory of Russia in the Patriotic War of 1812. It is popular around the world due to its effective sound and the importance of the events of 1812 for Europe and America. Bells are used in the performance; cannon volleys are foreseen in the finale.

The premiere of the overture took place in the Cathedral of Christ the Savior on August 8 (20).

Overview

The ceremonial overture "Year 1812" (1880) belongs to a special class of works intended for performance in large rooms or in the open air. This monumental, programmatic piece was written to be performed by a large symphony orchestra with the addition of a percussion group, large bells and a suspended drum used in opera orchestras to depict cannon shots, as well as a group of military orchestra instruments (optional).

Tchaikovsky did not provide a literary program for the overture, but the images of the play are so specific that they do not need explanation. In the big introduction to the sonata allegro, three themes are successively covered: the prayer for the granting of victory "Save, O Lord, thy people" and two original themes - alarms and heroic military signals. Sonata allegro is multi-dark. In addition to the main and secondary parts, contrasting with each other, themes symbolizing two hostile forces were introduced into the allegro: the Russian song "At the Gate, the Gate of Fathers" and "Marseillaise". Both are of great importance in the development and reprise of the sonata form. In the solemn code, the theme of prayer in the imposing timbre of copper sounds again, after which the theme of the Russian anthem “God Save the Tsar! ".

In the code, Tchaikovsky painted a vivid picture of the victory of the Russian army, using the effect of a bell chime and a cannon salute.

The theme of the overture is based on specific genre types. The melody of the side part is close to lyrical folk songs. The composer connected the song "At the Gate, Gate of Fathers" with the primordial spiritual resilience of Russian soldiers. In describing Russian images, Tchaikovsky successfully used folklore material, in describing the French invasion, he used the theme of the Marseillaise. Despite the fact that the Marseillaise for a European is associated with purity and freedom in the overture, it sounds tense, ominous, with dissonances in the background - this is a logical decision, because the Russian nobility idolized French culture, they spoke French, repeated the manners of the French and their fashion. But now the Napoleonic army approached Moscow, and, naturally, everything "beautifully French" instantly takes on a different color, and "Marseillaise" already paints the image of the enemy, characterizes the invasion, which brings additional drama to the structure of the whole.

The 1812 Overture is a spectacular piece. The patriotic idea gives it a heroic character, and the dignified ending affirms it.

In Soviet times, this overture, as a rule, was performed in the version of Vissarion Shebalin, where instead of the theme "God Save the Tsar!" used the main theme of the epilogue from Glinka's opera "A Life for the Tsar" (transposed in E flat major). There are also versions by Sergei Koussevitsky and Andrew Cornell, in which the themes of prayer and the Russian anthem are dubbed by a mixed chorus.

Music lessons

In 1880, Pyotr Ilyich Tchaikovsky received an order to create music dedicated to the great victory of the Russian troops in the war with Napoleon and timed to coincide with the 25th anniversary of the accession to the throne of Emperor Alexander II.

Tchaikovsky himself was far from flattering about his work: "It will be very loud and noisy, besides, I wrote without the proper love and enthusiasm, therefore, this work will not have any artistic value." At the same time, the composer proved that, possessing true professionalism, a musician can fulfill any order, while achieving a brilliant result. Despite his own critical attitude towards the overture, he wrote perhaps one of the most famous orchestral works.

Anniversary

The idea of ​​creating a musical composition on this topic came from Anton Rubinstein, a musician, teacher and founder of the Russian Musical Society in Moscow.

Tchaikovsky began writing the work in 1880, and in 1882 the premiere took place at the Art and Industrial Exhibition in Moscow, which also coincided with the consecration of the Cathedral of Christ the Savior.

Despite Tchaikovsky's negative opinion of his work, the overture has become firmly entrenched in the classical repertoire and has become one of the most frequently performed works.

Sounds of War

The overture describes the invasion of Napoleon's army into Russia and the battle at the village of Borodino near Mozhaisk. In a terrible battle, both sides - both the Russians and the French - suffered huge losses, nevertheless, Napoleon managed to occupy Moscow. However, thanks to the bravery of the Russian troops, the great commander was forced to retreat and leave Russia in disgrace.

Triumphant finale

The ceremonial overture "Year 1812" (1880) belongs to a special class of works intended for performance in large rooms or in the open air. This monumental, programmatic piece was written to be performed by a large symphony orchestra with the addition of a percussion group, large bells and a suspended drum used in opera orchestras to depict cannon shots, as well as a group of military orchestra instruments (optional).

Tchaikovsky did not provide a literary program for the overture, but the images of the play are so specific that they do not need explanation. In the big introduction to the sonata allegro, three themes are successively covered: the prayer for the granting of victory "Save, Lord, Thy people" and two original themes - alarms and heroic military signals. Sonata allegro is multi-dark. In addition to the main and secondary parts, contrasting with each other, themes are introduced into the allegro, symbolizing two hostile forces: the Russian song "At the gate, gate of fathers" and "Marseillaise". Both are of great importance in the development and reprise of the sonata form. In the ceremonial coda, the theme of prayer sounds again in the imposing timbre of copper, after which the theme of the Russian anthem appears.

In the code, Tchaikovsky painted a vivid picture of the victory of the Russian army, using the effect of a bell chime and a cannon salute.

The thematicism of the overture is based on specific genre types. The melody of the side part is close to lyrical folk songs. The composer, apparently, connected the valiant courage of Russian soldiers with the image of the chant "At the Gate, the Gate of Fathers". But if in describing Russian images Tchaikovsky successfully used folklore material, then in describing the French invasion he made a mistake. The idea came to him to use the theme of the Marseillaise. Throughout the 19th century, this melody was associated for Europeans with the ideas of freedom, the people's struggle for their rights. Here, the Marseillaise draws the image of the enemy, characterizes the invasion, which introduces a semantic dissonance. The heroic courageous character of the melody contradicts its role in the drama of the whole.

Despite this shortcoming, the 1812 overture is a spectacular piece. The patriotic idea gives it a heroic character, and the dignified ending affirms it.

P.I.Tchaikovsky. Solemn overture "1812"
Performed by the All-Union Radio Orchestra, conductor V. Fedoseev

P.I.Tchaikovsky - Solemn overture "1812"
Performed by the Royal Symphony Orchestra, Conductor Mark Elder
London Royal Albert Hall of Arts and Sciences

Development of Prototype under Ready Tutorials, Development Tutorials and published on 7th December, 2014
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Received an order to create music dedicated to the great victory of the Russian troops in the war with Napoleon and timed to coincide with the 25th anniversary of the accession to the throne of Emperor Alexander II.

Tchaikovsky himself was far from flattering about his work: "It will be very loud and noisy, besides, I wrote without the proper love and enthusiasm, therefore, this work will not have any artistic value." At the same time, the composer proved that, possessing true professionalism, a musician can fulfill any order, while achieving a brilliant result. Despite his own critical attitude towards the overture, he wrote perhaps one of the most famous orchestral works.

Anniversary

The idea of ​​creating a musical composition on this topic was born from - a musician, teacher and founder of the Russian Musical Society in Moscow.

Tchaikovsky began writing the work in 1880, and in 1882 the premiere took place at the Art and Industrial Exhibition in Moscow, which also coincided with the consecration of the Cathedral of Christ the Savior.

Despite Tchaikovsky's negative opinion of his work, the overture has become firmly entrenched in the classical repertoire and has become one of the most frequently performed works.

Sounds of War

The overture describes the invasion of Napoleon's army into Russia and the battle at the village of Borodino near Mozhaisk. In a terrible battle, both sides - both the Russians and the French - suffered huge losses, nevertheless, Napoleon managed to occupy Moscow. However, thanks to the bravery of the Russian troops, the great commander was forced to retreat and leave Russia in disgrace.

Triumphant finale

The ceremonial overture "Year 1812" (1880) belongs to a special class of works intended for performance in large rooms or in the open air. This monumental, programmatic piece was written to be performed by a large symphony orchestra with the addition of a percussion group, large bells and a suspended drum used in opera orchestras to depict cannon shots, as well as a group of military orchestra instruments (optional).

Tchaikovsky did not provide a literary program for the overture, but the images of the play are so specific that they do not need clarification. In the big introduction to the sonata allegro, three themes are successively covered: the prayer for the granting of victory "Save, Lord, Thy people" and two original themes - alarms and heroic military signals. Sonata allegro is multi-dark. In addition to the main and secondary parts, contrasting with each other, themes are introduced into the allegro, symbolizing two hostile forces: the Russian song "At the gate, gate of fathers" and "Marseillaise". Both are of great importance in the development and reprise of the sonata form. In the ceremonial code, the theme of prayer sounds again in an imposing timbre of copper, after which the theme of the Russian anthem appears.

In the code, Tchaikovsky painted a vivid picture of the victory of the Russian army, using the effect of a bell chime and a cannon salute.

The thematicism of the overture is based on specific genre types. The melody of the side part is close to lyrical folk songs. The composer, apparently, connected the valiant courage of Russian soldiers with the image of the chant "At the Gate, the Gate of Fathers". But if in describing Russian images Tchaikovsky successfully used folklore material, then in describing the French invasion he made a mistake. The idea came to him to use the theme of the Marseillaise. Throughout the 19th century, this melody was associated for Europeans with the ideas of freedom, the people's struggle for their rights. Here, the Marseillaise draws the image of the enemy, characterizes the invasion, which introduces a semantic dissonance. The heroic courageous character of the melody contradicts its role in the drama of the whole.

Despite this shortcoming, the 1812 overture is a spectacular piece. The patriotic idea gives it a heroic character, and the dignified ending affirms it.

Presentation

Included:
1. Presentation of 15 slides, ppsx;
2. Sounds of music:
The Year 1812 Solemn Overture in E flat major, Op. 49, finale of the symphonic overture, mp3;
The Year 1812 Solemn Overture in E flat major, Op. 49 (full version), mp3;
3. Accompanying article, docx.

The only major piece of music dedicated to the Patriotic War of 1812, to this day, remains the Solemn Overture "1812", written by Pyotr Ilyich Tchaikovsky in 1880, for the opening of the Cathedral of Christ the Savior. The composer sang in it the feat of the Russian people.

The overture belongs to a special class of works intended for performance in large rooms or outdoors. This monumental, programmatic piece was written to be performed by a large symphony orchestra with the addition of a percussion group, large bells and a suspended drum used in opera orchestras to depict cannon shots, as well as a group of military orchestra instruments (optional).

Tchaikovsky did not provide a literary program for the overture, but the images of the play are so specific that they do not need any explanations. In the big introduction to the sonata allegro, three themes are successively covered: the prayer for the granting of victory "Save, Lord, thy people" and two original themes - alarms and heroic military signals. Sonata allegro is multi-dark. In addition to the main and secondary parts, contrasting with each other, themes are introduced into the allegro, symbolizing two hostile forces: the Russian song "At the gate, gate of fathers" and "Marseillaise". Both are of great importance in the development and reprise of the sonata form. In the solemn coda, the theme of prayer in the imposing timbre of copper sounds again, after which the theme of the Russian anthem "God Save the Tsar" appears.

In the code, Tchaikovsky painted a vivid picture of the victory of the Russian army, using the effect of a bell chime and a cannon salute.

The patriotic idea of ​​the overture gives it a heroic character, and the stately ending affirms it.

In 1927, the Main Repertoire Committee banned the public performance of Tchaikovsky's 1812 Overture. Russia's victory over Napoleon was called the war of the "reactionary people" against the "republic, the successor of the Great French Revolution." It was possible to stop this entire campaign only after Stalin defeated the "opposition" in the CPSU (b). A sharp turnaround took place in May 1934. Then Tchaikovsky's overture "Year 1812" was performed.

In October 1941, Moscow became a front-line city. The symphony orchestra of the radio committee, which remained in the capital, under the direction of People's Artist of the USSR Nikolai Semenovich Golovanov, gave a concert in the Column Hall of the House of Unions for the soldiers going to the front. And again the overture "Year 1812" was performed. The symphony and the brass band that participated with it performed this work of the great composer with great enthusiasm. The soldiers, dressed in marching uniforms, stood and applauded the musicians. The orchestra repeated the final part of the overture five times. It sounded like a hymn to the great Russian people, like a call for victory over the enemy.

However, the campaign of persecution of the great work did not sink into oblivion and was resumed with an even greater scale by the efforts of the "sixties" in a short moment of Khrushchev's "thaw". Film director Mikhail Romm, speaking on February 26, 1963 in front of scientists and artists, said: “I would like to understand some of the traditions that have developed in our country. There are very good traditions, and there are also quite bad ones. Here we have a tradition: to perform Tchaikovsky's 1812 Overture twice a year. Comrades, as far as I understand, this overture carries a clearly expressed political idea - the idea of ​​the triumph of Orthodoxy and autocracy over the revolution. After all, this is a bad overture, commissioned by Tchaikovsky. I am not an expert on the history of music, but I am convinced that the overture was written for opportunistic reasons, with the clear intention of flattering the Church and the monarchy. Why would the Soviet government humiliate the Marseillaise, the splendid anthem of the French Revolution, to the sound of bells? Why affirm the triumph of the tsarist Black Hundred anthem? But the performance of the overture has become a tradition ”.

The filmmaker linked Tchaikovsky's overture to "Soviet anti-Semitism." And today some foreign historians call it and the very victory of Russia in the Patriotic War of 1812 "Russian fascism." Even in the popular monographs devoted to the work of P.I. Tchaikovsky, it is said about all the works of the great composer, except for the Solemn Overture. This campaign continues to this day. The task of destroying the historical memory of the people corresponds to the stable philosophical attitudes of the Westerners, according to which "time should not be a keeper of age-old wisdom, not a natural guarantee of the continuity of tradition, but a destroyer of the old and creator of a new world."

Sources:

P.I. TCHAIKOVSKY. CELEBRATION OVERTURE "YEAR 1812"

Performed by the Orchestra of the Headquarters of the Western Military District and the Central Military Orchestra of the Ministry of Defense of the Russian Federation. Conductor: Lieutenant General Valery Khalilov, 25.09.2011