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Tchaikovsky’s 1812 Overture is a work that either bores or excites you. It is a work that I have enjoyed over the past 40 years but it is also a work that I have read and heard quite a lot of commentators passing very negative comments on. This stems, more than likely, from Tchaikovsky’s own confession to his patroness Mme von Meck that he had turned it out hurriedly and he had warned her: “It will be very loud and noisy and I have written it with little warmth or love”. Tchaikovsky was an ardent admirer of Mozart and we know how hurriedly that composer churned out works; also, just because Tchaikovsky felt little warmth or love for it certainly does not diminish the value of the work for me and I certainly think that it is a well crafted piece.

So, if asked, it is still one of those works that I would recommend as one of the first works to investigate by those new to Classical music. Why? Simply because it tells a great heroic story in quite a dramatic fashion. One does not need to be a Classical music aficionado to appreciate symphonic intricacies once one is aware of what is actually going on; it tells a simple story.

Although I have been listening to this work for a long time as a collector of Classical Music I have only five different versions of this work. This is a relatively small number but is accounted for simply by the fact that, for me, one conductor has nailed this work as far back as the 1950s and that was Antal Dorati. This is for me, as I have said, the benchmark performance of this work. If you have not already heard it, cannons and all, give it a listen and see what you think....





At a later stage we will break down the work into a number of sections and investigate what exactly is going on but for the moment just enjoy the 15 minute performance!!

Background:

Tchaikovsky was commissioned in 1880 by Nicholas Rubenstein to write a festive and patriotic work to coincide with the Moscow Arts and Industry Exhibition and with the consecration of the Moscow Cathedral of the Saviour which was built to commemorate the liberation of the Russians from the 1812 Napoleonic invasion. The plan was for an open air performance in the great square before the Kremlin with the use of brass band, church bells and cannon together with symphony orchestra, with the cannon to be fired by an electrical signal from the conductor’s desk. Tchaikovsky indicated in the score precisely the instant when the sixteen cannon shots were to be heard and he also devoted a separate line of the full score to showing the duration of the bell peals. However, the consecration of the Cathedral took place without Tchaikovsky’s work in the summer of 1881. The work was finally premiered in a concert at the Moscow Exhibition – presumably under normal concert hall conditions.

Structure:

The 1812 Overture is a work that is divided into five parts or sections, each section setting a different scene or telling a different part of the story. Tchaikovsky was a composer who was noted as a great orchestrator so listen out for the way in which the various instruments of the orchestra are used to illustrate different points, moods or scenes through their different tones or timbres as the work progresses.

The following notes are based on the liner notes from the various editions of the work in my collection coupled with my own thoughts.


Note: all timings to follow will relate to the embedded YouTube in the first post.

Introduction:

The 1812 Overture is Programme music i.e. it is music that tells a story; so let us begin.

The scene is Russia represented by a theme based on a solemn chant from the Russian Orthodox Church (God Preserve Thy People) which is played on violas and cellos. The strong, mellow tones suggest that stability and calm reign. Listen out for the beautiful harmonies in this section.
(Timing = 0:00 – 2:02)


Suddenly, (at Timing 2:03), this mood is broken and then a very plaintive melody is played on the oboe. The peace and stability that reigns is now threatened. This sense of impending disaster leads to a great climax in the menacing music played by the bassoons, cellos and double basses, the introduction ending at Timing 3:36.

Part I:

The scene changes from Russia to Western Europe which is being ravaged by the Napoleonic wars. In the distance we hear typical military music played on trumpets and side drum.
Now the excitement really heats up with Tchaikovsky unleashing the fury of the war. And for the first time, we are introduced to Napoleon’s infallible French army represented by the famous Marseillaise.
(Timing 3:36 – 6:29).

Part II:

In sharp contrast to the menace and threat of war the scene reverts to the serenity of Russia and Tchaikovsky illustrates an idyllic scene in the Russian countryside (Timing 6:30- 8:00).
One can imagine peasants dancing to the folk tune that Tchaikovsky incorporates into the score (Timing 8:01 – 8:44). Note the use of the tambourine to accentuate the dance rhythms.

Part III:

Tension is raised as the scene reverts to Napoleon’s army marching towards Russia threatening the pastoral idyll.
The music gains momentum as the Russians are still dancing and singing, quite unaware that the French army are advancing and that danger is imminent.
Suddenly we hear the Marseillaise as Napoleon has crossed the border into Russia.
The Russian people rise to defend their country and a tremendous battle is waged. The music begins to reach a wonderful crescendo (Timing 11:48) and the cannons are first heard (Timing 11:56).

The Russians are forced to retreat before the superior army of the French and Napoleon occupies Moscow. But his glory is short-lived. The war so far has cost him many men and horses. The Russians are unwilling to negotiate a peace treaty, and with a hard Russian winter beginning, the morale of the French troops is low. The harsh weather prevents food supplies from reaching Moscow and Napoleon is forced to retreat from the city (being driven out by fire). This news quickly reaches the Russian army outside Moscow and they pursue and harry Napoleon’s army. Tchaikovsky illustrates this by the whole orchestra playing sweeping descending scales representing the Russians driving the French out of their country marking the start of the long and disastrous retreat which was to eventually destroy the once great grande armeé.
(Timing 8:45 – 12:45).

Part IV:

The Russians are victorious and the bells of Moscow ring out to celebrate the victory! Their thoughts first turns to the Saviour, and we hear the theme which opened the Overture, now played by the full orchestra the power of the brass and percussion instruments being augmented by the use of cannons.
The victorious soldiers also think of their country and we hear the Russian National Anthem God Preserve the Czar before the work is brought to an end. Festivities and celebrations abound!
(Timing 12:46 – 14:58)

So, you do not need to go out and buy this CD as the music is already laid on for you.

Hopefully you can appreciate this wonderful work a little more as a result of the bite size analysis pieces that I have lifted from various sources.

Now, go and enjoy and then discuss.

Happy listening!!

Superb Fergus, you're starting with a high standard for all but fair play, that's exactly what the likes of myself needs. Huge thanks.