The 1812 Overture: the hit that Tchaikovsky hated | Tchaikovsky - Classic FM Classic FM Become a VIP The 1812 Overture: the hit that Tchaikovsky hated Though he loathed it, Tchaikovsky ’s 1812 Overture won him fans the world over and made him a household name. In 1962 a Don Draper-like advertising executive decided to market the oaty goodness of an up-and-coming brand of breakfast cereal by detonating bowls of it from a cannon in time to the finale of Tchaikovsky ’s 1812 Overture. When Arthur Fielder led the Boston Pops through the same piece in 1974, during a televised July 4 concert, the 1812 Overture was elevated from advertising prop to full-on national anthem, one still performed today to mark American Independence Day. Woody Allen co-opted it for the soundtrack of his 1971 screwball comedy, Bananas.

It has been referenced in The Simpsons and in 1967, British comedian Charlie Drake struck comedy gold when he “performed” all Tchaikovsky’s instrumental parts and ended up in an exhausted, Norman Wisdom-like heap on the floor. Each re- imagining took us further away from the 1812 Overture as Tchaikovsky understood it. Not, I hasten to add, “as he knew and loved it”, because Tchaikovsky hated the piece. That infamous assessment of it as “very loud and noisy and completely without artistic merit, obviously written without warmth or love,” was penned by Tchaikovsky himself. The overture ’s popularity was a source of deep frustration to this sensitive, serious-minded symphonist whose imaginative fantasy and whimsical, melodic turn of phrase had also managed to transform the art of composing ballet music to a high calling. The success of the 1812 Overture told him that the world cared more about theatrical spectacle than the hard fought-for personal expression of his symphonies, concertos and chamber music. The more successful his overture, the more Tchaikovsky became convinced that the world fundamentally misunderstood his art.

The piece is drenched in proud nationalist sentiment; Russian folk songs are heard to chase the French national anthem, The Marseillaise, before obliterating it in sound. It has become fair game for “pops classics” concerts to trade off its showbiz pizzazz. Tchaikovsky’s climactic cannon shots are used to trigger indoor fireworks, acrobatic displays even. The populist ante is constantly upped. 1812 Overture On Ice? Underwater 1812 Overture? Celebrity 1812 Overture On Ice, The Musical? It’s only a matter of time. But what happened to the “real” 1812 Overture and how did Tchaikovsky come to write his Frankenstein monster? It is the 1812 Overture because it was conceived to commemorate the Battle of Borodino, fought in September 1812. In the 1880s Russian pride still glowed at the warm memory of Tsar Alexander I’s troops thrashing Napoleon’s army, although there was a certain level of rose-tinted hindsight going on here.

Napoleon had retained the tactical upper hand throughout the battle itself, and was only forced into a long and arduous retreat when, during his subsequent occupation of Moscow, food supplies ran out as winter started to bite. Armies march on their stomachs, and Napoleon’s men marched out of Moscow to fill theirs. Fast-forward to 1880 and a cunning plan from Tchaikovsky’s champion and mentor Nikolai Rubinstein. The Cathedral of Christ the Saviour, which had been commissioned to celebrate the Russian victory – never mind the nitty-gritty specifics of the battle itself – was nearing completion on the banks of the Moskva River in central Moscow. Rubinstein’s request to Tchaikovsky might have gone something like this: “Compose a ‘go to’ commemorative composition and fill it with national themes. Make it a ‘useful’ occasional work to be performed to mark the opening of the cathedral. And the 25th anniversary of Alexander II’s coronation. And don’t forget about the 1882 All-Russian Arts and Industry Exhibition.

They’ll want something too...” Tchaikovsky cranked out the 1812 Overture in six weeks, cutting his imagination loose with every note and theme designed to tug at Russian heartstrings. And although the most celebrated section of the work is inevitably Tchaikovsky’s flamboyant, proto-cinematic finale, its opening passage is equally spectacular – albeit spectacularly understated. Needing to ground the music in some fundamental truths about the Russian mind and spirit, Tchaikovsky opens by recalling a soulful Orthodox hymn, Troparion of the Holy Cross. A lesser composer might have sentimentalised the harmonies, but Tchaikovsky places this objet trouvé delicately on four violas and eight cellos, like an ethereal and wistful sound borrowed from the memory bank of history. And now two things have become clear – that the 1812 Overture is better than Tchaikovsky realised and, despite the indignities and abuse it has suffered in the name of entertainment, his score is robustly constructed and has maintained its compositional integrity.

Because the opening sets the scene so powerfully, Tchaikovsky has access-all-areas to go anywhere musically as he begins to portray the shattering impact of the French invasion on his country. A Russian folk dance, At The Door, At My Door, trumpets national pride; pride that is rocked by the first appearance of The Marseillaise, characterised as mocking and provocative, which Tchaikovsky shoots down with five strategically aimed cannon shots. In a late, great symphony like his Fifth or Pathétique No.6, Tchaikovsky’s melodic invention rises to the surface as his themes are combined in counterpoint: polarised logics of the symphonic argument made to coexist or not, and Tchaikovsky’s genius for eloquent counterpoint is woven into the fabric of the 1812 Overture at a deep structural level too. With the battle gathering force, another Russian theme emerges, God Save The Tsar!, which he manoeuvres into a contrapuntal skirmish with The Marseillaise: two nations fighting it out in music, the composer never allowing the contour of one theme to nestle too cosily against its adversary.

Enemy lines are kept tautly demarcated. A plunging, descending string line symbolises the Russian retreat; cannon shots and cathedral bells peel over a victorious roar of God Save The Tsar! from the orchestra. Tchaikovsky ought to have been proud. He had written the ultimate showpiece, but his faith in the 1812 Overture quickly unravelled. His aspiration to see it performed in the cathedral square, with a brass band marching on stage to clinch the climax – only to top that with cathedral bells and cannon fire – proved impractical. Tchaikovsky hadn’t reckoned on a basic logistical flaw: that the arithmetic of exploding cannon shots in time to the music proved trickier than splitting the atom. A time lag between releasing the barrel and the shot sounding made shot-to-score co-ordination impossible. Then in 1881 the Emperor of Russia, Alexander II, was assassinated and triumphalist music suddenly seemed inappropriate. The work had its first hearing – indoors – at the Arts and Industry Exhibition two years later; no brass band, no cannon shots, no cathedral bells.

So what are the lessons of the 1812 Overture, much loved by an eager public but often mocked by musicians who play it, and even by its own composer? Perhaps that the person who wrote a piece of music cannot be trusted to give a reasoned opinion on it. Tchaikovsky failed to realise that it is impossible to take a piece back, or impose a view upon it retrospectively, once it leaves the composer’s desk. The material with which you once shared an intimate one-to-one relationship is in the public domain. It’s gone. But here’s an intriguing concluding idea. Manfred Honeck, principal conductor of the Pittsburgh Symphony Orchestra (and a Tchaikovsky obsessive) remarked that most conductors play the March section of the Pathétique Symphony too triumphantly, when Tchaikovsky meant it to sound ambiguous and questioning. There’s nothing ambiguous about the 1812 Overture of course; could that be why Tchaikovsky couldn’t comprehend the forces he had unleashed? For the rest of us, the 1812 is to be enjoyed in all its noisy, vulgar splendour.

IF HE DIDN’T LIKE HIS 1812, HE’D HAVE HATED HOW IT’S BEEN USED... ■ 1962 Used in a commercial for Quaker Puffed Wheat and Puffed Rice – with the slogan, ‘This is the cereal that is shot from guns.’ ■ 1967 Charlie Drake as orchestral musician, then conductor, tickles the nation’s funny bone by performing the 1812 Overture single-handedly, dressed in an ill-fitting tuxedo. ■ 1971 Woody Allen uses the 1812 Overture on the soundtrack to a love scene in his comedy Bananas. ■ 1974 The piece becomes part of American folklore after a televised Boston Pops performance captures the national mood. ■ 1976 In an episode of The Muppet Show, Gonzo grows a tomato plant to the accompaniment of the 1812 Overture. ■ 1990 In an episode of The Simpsons, Bart hums the 1812 Overture manically as he prepares an Evel Knievel-style death- defying stunt with his skateboard.

■ 1995 The Swingle Singers release an a cappella 1812 Overture, complete with air-raid sirens and machine gun fire. ■ 2005 The dystopian thriller V For Vendetta gives the 1812 Overture a sinister twist, referencing it alongside music by The Velvet Underground and The Rolling Stones to suggest a society out of balance. ■ 2009 An advert for Vodafone New Zealand recreates the 1812 Overture using the ringtones of 1000 mobile phones. It sounded horrible. THE BATTLE OF BORODINO September 7 1812 The Battle of Borodino, the event that Tchaikovsky’s 1812 Overture commemorates, was the key battle of the Napoleonic Wars, and also its bloodiest. Seventy thousand troops perished as Napoleon’s army attacked the Imperial Russian Army outside the village of Borodino, west of Moscow. Over a 24-hour period, the French bombarded the Russian Army, capturing the strategic points on the battlefield, but failed to destroy their enemy.

Napoleon occupied the battlefield after the fighting was over, exploiting his position to launch an attack on Moscow, where he waited for over a month for a Russian surrender that never came. Napoleon hadn’t reckoned on the awesome chill of a Russian winter, and with food running out he was forced to retreat, handing the Russians victory. THE RECORDINGS In 1954, a studio recording was released that finally did the 1812 Overture justice. Hungarian conductor Antal Doráti and the Minneapolis Symphony Orchestra used the authentic French muzzleloading cannon that Tchaikovsky had asked for in his score [hear the performance on your cover CD]. It was accompanied by a documentary about how the cannon and cathedral bell effects were achieved, and how the cannon shots were co-ordinated. This was the clear benchmark until, in 2007, Antonio Pappano released an intriguingly rethought 1812, performed with electric verve by the Orchestra dell’ Accademia Nazionale di Santa Cecilia (EMI Classics 637 0065).

Pappano’s concept was a historically re-envisaged 1812 Overture in which the hymn-based opening and anthem God Save The Tsar! are sung, rather than played. It’s not what Tchaikovsky wrote but the sung sections put the music into context: how rooted the work is in the Russian soul through its choral tradition. Pappano doesn’t hold back on the cannon shots and bells, either. Tchaikovsky's 1812 Overture | gramophone.co.uk Home » features » Tchaikovsky's 1812 Overture Tchaikovsky's 1812 Overture Coupled with Capriccio italien, Op 45 Beethoven Wellingtons Sieg, ‘Die Schlacht bei Vittoria’, Op 91 University of Minnesota Brass Band; Minneapolis Symphony Orchestra; London Symphony Orchestra / Antál Dorati Mercury download 434 360-2MM (66‘ · ADD) Recorded 1955-60.

Buy from Amazon Both battle pieces incorporate cannon fire recorded at West Point, with Wellington’s Victory adding antiphonal muskets, the 1812 the University of Minnesota Brass Band and the bells of the Laura Spelman Rockefeller carillon. In a recorded commentary on the 1812 sessions, Deems Taylor explains how, prior to ‘battle’, roads were blocked and an ambulance crew put on standby. The actual weapons used were chosen both for their historical authenticity (period instruments of mass destruction) and their sonic impact, the latter proving formidable even today. In fact, the crackle and thunder of Wel­ling­ton’s Victory could easily carry a DDD endorsement; perhaps we should, for the occasion, invent a legend of Daring, Deafening and potentially Deadly. Dorati’s conducting is brisk, incisive and dramatic. The 1812 in particular suggests a rare spontaneity, with a fiery account of the main ‘conflict’ and a tub-thumping peroration where bells, band, guns and orchestra conspire to produce one of the most riotous key-clashes in gramophone history.

Capriccio italien was recorded some three years earlier (1955, would you believe) and sounds virtually as impressive. Again, the approach is crisp and balletic, whereas the 1960 LSO Beet­hoven recording triumphs by dint of its energy and orchestral discipline. As ‘fun’ CDs go, this must be one of the best – provided you can divorce Mercury’s aural militia from the terrifying spectre of real conflict. Additional Recommendations 1812 Overture. Marche slave, Op 31. Festival Coronation March. Festival Overture on the Danish National Hymn. Moscow Cantata Lyubov Sokolova mez Alexey Markov bar Mariinsky Chorus and Orchestra / Valery Gergiev Mariinsky MAR0503 (64’ · DDD/DSD · T/t) Buy from Amazon However disparaging Tchaikovsky might have been about the Festival Coronation March, who but he could have turned such an obvious show-stopper into something quite so exhilarating?

But there you have it – state commissions meant something to Tchaikovsky (staunch monarchist and traditionalist that he was) and though he may have laboured with the means of delivery, the message was loud and clear. Valery Gergiev clearly shares those sentiments wholeheartedly but perhaps the most notable feature of these performances is their refusal to undermine the characterful in pursuit of the sensational. The Marche slave, for instance, is resonant and resolute but what you really come away humming are the fife and drum effects and brilliant trumpetings of the orchestration. The Festival Overture on the Danish National Hymn (celebrating the future Tsar Alexander III’s marriage to the Danish Princess Dagmar) wears its classical craftsmanship with pride with the Russian national anthem – in minor mode humility – showing deference to the celebratory mood of the Danish anthem. The 1812 catches one off-guard straight away with its unusually ‘vocal’ phrasing of the old Russian prayer at the outset and throughout the performance the song quotations sound ‘sung’. Tempo (blistering) rather than trenchancy defines the main Allegro with the Marseillaise sounding unusually corny (deliberate?) in the trumpets.

You might want a bit more ‘crunch’ from the canons in that most ubiquitous peroration but the peeling cascades of strings chime tellingly with the panoply of bells. Tchaikovsky, though, is most evidently (and gloriously) Tchaikovsky in the Moscow Cantata. A vintage melody turns the first page of Russian history, illuminating it in that inimitable Tchaikovskian way. The baritone monologue in praise of Moscow culminates in a marvellously stirring idea and in the second mezzo-soprano arioso honouring the women of Russia we find a heroine worthy of any Tchaikovsky opera. No doubt about it, Tchaikovsky had a gift for personalising even his most official duties. The word ‘dutiful’ was not really in his vocabulary. Francesca da Rimini. Romeo and Juliet. 1812 Overturea.

Eugene Onegin – Waltza; Polonaise Santa Cecilia Academy Chorus and Orchestra, Rome / Antonio Pappano EMI 370065-2 (71’ · DDD) Buy from Amazon With chorus added in the 1812 as well as the Waltz from Eugene Onegin, this is an exceptional Tchaikovsky collection, a fine start for Antonio Pappano’s recordings with his Italian orchestra. What is very striking is how refreshing the 1812 is when played with such incisiveness and care for detail, with textures clearly defined. It starts with the chorus singing the opening hymn, expanding thrillingly from an extreme pianissimo to a full-throated fortissimo. A women’s chorus then comes in very effectively, twice over, for one of the folk-themes, and at the end the full chorus sings the Tsar’s Hymn amid the usual percussion and bells, though Pappano avoids extraneous effects, leaving everything in the hands of the orchestral instruments. It is equally refreshing to have the Waltz from Eugene Onegin in the full vocal version from the opera, again wonderfully pointed, as is the Polonaise which follows.

What comes out in all the items is the way that Pappano, in his control of flexible rubato, is just as persuasive here as he is in Puccini, demonstrating what links there are between these two supreme melodists. So he builds the big melodies into richly emotional climaxes without any hint of vulgarity, strikingly so in both Francesca da Rimini and Romeo and Juliet. Pappano is impressive in bringing out the fantasy element in Francesca, and in Romeo the high dynamic contrasts add to the impact of the performance. There have been many Tchaikovsky collections like this, but with well balanced sound, outstandingly rich and ripe in the brass section, this is among the finest. Tchaikovsky - 1812 Overture (Full with Cannons) - YouTube Tchaikovsky - 1812 Overture (Full with Cannons) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Uploaded on Feb 21, 2011 WARNING: Cannons may make dogs bark, scare your mom, leave your neighbor dumbfounded, make cats panic, wake you up in the middle of the night shouting at the top of your lungs because you think you are being robbed, scare the crap out of you, and/or blow up your ears and brains; among other things... The 1812 Overture, composed by Pyotr Ilyich Tchaikovsky in 1880. This version with cannons! No copyright infringement intended. The rights of this composition go to their respective owners. **I'm talking about the recordings** Category The History of Tchaikovsky’s 1812 Overture Updated January 18, 2016. Overview: 1812 Overture For the past 30+ years, Tchaikovsky ’s 1812 Overture has been performed during countless United States Independence Day celebrations, due largely in part to an exhilarating performance by the Boston Pops in 1974, conducted by Arthur Fiedler. Watch the performance on YouTube .

(In an effort to increase ticket sales, Fiedler choreographed fireworks, cannons, and a steeple-bell choir to the overture. Tchaikovsky himself called for the use of cannons in his score.) Since then, orchestras all over the USA quickly followed suit, and it became tradition to perform the overture on Independence Day. Now, many American’s believe that Tchaikovsky’s overture represents the USA’s victory against the British Empire during the War of 1812, however, Tchaikovsky’s music actually tells the story of Napoleon’s retreat from Russia in 1812. ( I’ll let About’s European History Expert fill you in on the details of the war .) In fact, Tchaikovsky even references the French national anthem La Marsillaise ( listen on YouTube ) and Russia’s God Save the Tsar ( listen on YouTube ) within the overture.

continue reading below our video Best Vacation Reads of 2015 History: 1812 Overture In 1880, Tchaikovsky’s friend, Nikolai Rubinstein, suggested that he should compose a grand work with intentions for its use at a number of upcoming events including the completion of the Cathedral of Christ the Saviour (which also served as a memorial commemorating Russia’s victory in the French Invasion of Russia), the 25th anniversary of Emperor Alexander II’s coronation, and the Moscow Arts and Industry Exhibition of 1882. In October that same year, Tchaikovsky began composing the work and completed it six weeks later. Big plans were made for the overture’s first performance. Concert organizers envisioned the performance taking place in the square just outside of the newly completed cathedral with a large brass ensemble supplementing the orchestra. The cathedral’s bells as well as the bells of other downtown Moscow churches would ring on cue with the overture. Even cannons with electronically wired ignition switches were planned to fire on cue. Sadly, this grand concert never materialized, largely in part to it’s overambitious production and the assassination of Emperor Alexander II on March 13, 1881.

The overture was finally performed in 1882 during the Moscow Arts and Industry Exhibition in a tent outside of the cathedral (which wasn’t completed until 1883) Musical Structure: 1812 Overture Tchaikovsky’s score is nearly a literal account of events that transpired in the war. When over 500,000+ French soldiers with their 1,000+ cannons and artillery began marching towards Moscow, Russia’s Holy Synod called its people to pray for safety, peace, and deliverance, knowing full well that Russia’s Imperial Army was only a fraction of the size and ill-equipped for battle. Russians gathered in churches across the country and offered their prayers. Tchaikovsky represents this in the overture’s opening by scoring the Eastern Orthodox Troparion (a short, one stanza hymn) of the Holy Cross (O Lord, Save Thy People) for four cellos and two violas.

Aftershocks of 1812: Nationalism and Censorship in Tchaikovsky’s 1812 Overture | Music 242 – Spring 2014 Aftershocks of 1812: Nationalism and Censorship in Tchaikovsky’s 1812 Overture Posted by micholic by Peter Micholic For most of its history, Tchaikovsky’s famous 1812 Overture has been censored in both print and public performance. It was only until after the collapse of the Soviet Union in 1991 that the piece could be performed in Russia as the composer originally intended. 1812 Overture was the product of Tsarist Russian nationalism, a political movement seventy years in the making, which had its roots in the defeat of the French during the War of 1812. Soon after its completion, however, 1812 Overture would be subject to a completely different way of thinking. This piece can be thought of as a sort of bridge between two drastically different periods of Russian history: the old imperial ways and the radical new Soviet regime.

First, an understanding of the actual War of 1812 must be established to see where these conditions originated. Following the Russian victory, nationalism spread quickly and climaxed around the turn of the Twentieth century. Finally, in order to understand the development of anti-Tsarist ideas, one must analyze the rapid shift in national identity that occurred during the events of the Russian Revolution. As the sun dawned on the morning of September 7th, 1812, two forces prepared for battle near Borodino, Russia. The French army, led by Napoleon, advanced on Moscow in their conquest of Russia. The French outnumbered the Russians by over 20,000 men, but both sides had suffered heavy losses. [1] Before the battle, Kutuzov, a field marshal of the Russian army, made a religious procession through the troops, followed by popes and priests and speaking of defending their holy homeland from the godless invaders. [2] This reveals the Russians as a deeply religious culture, something that would be a central focus in the rise of Russian nationalism after their victory over the French. The battle itself was incredibly bloody and drawn out, lasting almost the entire day.

The French had technically won, but their victory came at a great price. Napoleon was careless with his military tactics, using his army’s greater numbers to stage a brute force attack on the Russians. Had he been more careful in his assault, France may have eventually conquered the Russians, but this tactic was far too risky and irresponsible. [3] The Russians had lost nearly twice as many troops as the French, but the French could not sustain themselves with their current numbers, and eventually had to retreat after a futile occupation of an abandoned Moscow and the onset of the Russian winter. [4] This victory over the French inspired a stronger sense of nationalism in Russia. After all, they had just held their own against Napoleon, the greatest military commander that the world had ever seen, and sent him back to France with his tail between his legs. At this point, Russia had become a rising world power. This allowed Tsar Nicholas I to have even greater influence, and Russia quickly grew in influence on a global scale. With this newfound sense of national pride, the Russian government and private patrons began to commission more works proclaiming their country’s greatness.

1812 Overture was composed in 1880, and it premiered in 1882 at the Moscow Arts and Industry Exhibition [5] . Its composition coincided with the construction of a cathedral built to commemorate the Russian victory over the French. The cathedral, commissioned by Tsar Nicholas I, was actually not complete at the time of the premiere. Instead, the piece was performed in a tent near the construction site. The theme of a great battle is apparent in this overture, with many martial motives. The infamous cannon fire in the finale is certainly indicative of a battle, but there are a few other places in the piece that show nationalistic and military influence. The very beginning of the piece is an adaptation of a Russian Orthodox liturgical hymn, praying for deliverance from the invading army. In later versions of 1812 Overture, a choir singing in Russian was added to this section to better reflect its prayer-like quality. Throughout the piece, La Marseillaise, the French national anthem, can be heard creeping through the other textures of the piece, referencing the impending battle.

At the finale, La Marseillaise appears again, but this time it is joined by Bozhe, Tsarya khrani! (God Save the Tsar!), the Russian national anthem. These two quoataions of national anthems represent the two opposing forces on the battlefield. Also, the Russian liturgical hymn cited at the beginning of 1812 Overture returns in the finale as a triumphant anthem. The finale begins with a quotation of La Marseillaise in the horns, which is answered by a descending figure in the strings (p.52, m.6) [6] . La Marseillaise is heard again, with the strings repeating their figure. This call and response continues for the next 21 measures, until the theme for the French climaxes to the sound of cannons. After the first climax of the finale, the entire orchestra plays diatonically descending lines of four notes each (p. 57, m.1). As the lines get lower and lower, the piece starts a very drawn out decelerando and the section ends after 22 measures with the brass punctuating each individual note.

Next, the chorale from the very beginning of the piece is quoted again, except this time it is accentuated with large sweeping gestures from the strings and the wild ringing of carillon bells (p. 61, m.5). After the chorale is completed 22 measures later, 1812 Overture transitions to its famous allegro vivace section (p.67, m.1). This itself is a restatement from earlier in the piece, and is the main musical motif for the overture as a whole. Eight measures into this section, the Russian national anthem can be heard in the low brass section (at a ffff dynamic), accented with blasts from the cannon (p.69, m.1). After this last theme has been stated, the overture finishes with a powerful closing cadence. Musical found in 1812 Overture’s finale For a time, national pride in Russia was higher than it had been in decades. This nationalist sentiment could only last so long, however. A stronger national identity led to more citizens criticizing the Russian government, and around the turn of the twentieth century, a strong need for reform started to appear.

Russian citizens were dissatisfied with the amount of resources they had. The war had left Russia in a large amount of debt, and the government’s solution to this problem was to tax the poor working classes very heavily. By 1917, the Tsarist government had fallen into disrepair, and many workers and soldiers were poor, tired, and hungry. [7] They claimed that the old government had lost touch with its people and did not care about the well-being of its citizens. There was widespread famine, and food prices had exploded. Families literally could not afford to eat, and this unease in the lower classes eventually grew to a head. Fed up with their lot in life, a group of political dissidents overthrew Tsar Nicholas II and forced him to abdicate. [8] The Tsar, once a champion of the Russian people, had been demonized to the point of his execution in 1918. With such an unstable political climate, the Soviets needed a scapegoat, and that scapegoat came in the form of the old Tsarist government. Condemning their decadence and selfishness, the Soviets painted the Tsarists as enemies of the state.

The old system was completely revised, but it was not without its share of bloodshed. There were over seven revolutions that took place within the span of a year. [9] Eventually, however, the Soviets consolidated control to the point where they were the ruling political party of Russia The Soviets distanced themselves from the old Tsarist government in as many ways as possible, even going so far as to censor works of art that showed the Tsar in a positive light. For example, a specific part of 1812 Overture was changed from what was written at first. Near the end of the finale, a quotation of “God Save the Tsar” can be heard in Tchaikovsky’s original version, which can be heard here: The Original However, in the new Soviet regime, this would have obviously raised some red flags (pun intended). Even the mere reference to the old national anthem was unacceptable to the new government. Instead, it was decided that that quotation should be replaced with one more in line with Soviet thought; namely, Glory, Glory to You, Holy Rus!, which was taken from the nationalist opera by Mikhail Glinka, A Life for the Tsar.

This change was brought about officially by the Russian government, and it was expected that all public performances would include this revised musical line: The Censored Version This removed any connection of the Tsar in Tchaikovsky’s work, thereby making it acceptable by Soviet standards. It would remain in this altered state for over 100 years, up until the collapse of the Soviet Union in 1991. Why is this change relevant, or important at all? Why did a change need to be made in the first place? 1812 Overture is in a unique historical position; caught between two polar opposites. 1812 Overture can therefore be used to view some of the real-world applications of the changes that took place in 1917. This censorship shows that the Russian Revolution pervaded all aspects of life in Russia; not even its great works of music were free from Soviet influence. This would have been just one of the innumerable changes that took place near the turn of the twentieth century in Russia. Apart from being an excellent piece of music, 1812 Overture provides us with an inside look at the level of patriotism during the Tsarist regime.

It can also be used to observe the extreme malice that the Soviets had towards the old government, going so far as to remove an instrumental passage from a piece of music that was reminiscent of the Tsarist government. The fact that the original victory over the French had such a lasting impact on the development of Russian nationalism and culture is also worth noting. 1812 Overture is a very historically relevant piece, because it marked the turning point for a country with one of the most turbulent histories the world has ever seen. Bibliography: Felsenfield, Daniel. Tchaikovsky: A Listener’s Guide. Amadeus Press, 2006. This book is a companion to many of Tchaikovsky’s most famous works, providing program notes and interesting facts about each piece. It also includes information about the premieres of the pieces in question. Reihn, Richard K. 1812: Napoleon’s Russian Campaign. New York : McGraw-Hill, 1990. This book documents the Napoleonic invasion of Russia, and his subsequent defeat at the hands of the brutal Russian winter.

This will provide some historical context for 1812 Overture and the feelings of national pride that arose after the French retreat. Suny, Ronald Grigor. “Toward a Social History of the October Revolution.” The American Historical Review 88/1 (Feb. 1983): 31-52. This article gives a new perspective on the traditionally given history of the Russian Revolution of 1917. It gives an in-depth look at the causes and consequences of the October Revolution, and the spread of anti-Tsarist sentiment that led to the censoring of certain quotations in 1812 Overture, as well as a few other works by Tchaikovsky. Daniels, Robert V. The Russian Revolution. Englewood Cliffs, New Jersey: Prentice-Hall, inc. 1972. This book provides an introduction to the Russian Revolution, with inside looks at the causes and effects using eyewitness accounts and documents from that era. Recordings: Tchaikovsky, Pyotr Ilyich. 1812 Overture, Op. 49. Perf. London Philharmonic Orchestra. Cond. Alexander Gibson. 1989.

Censored Version: Tchaikovsky, Pyotr Ilyich. 1812 Overture, Op. 49. Perf. USSR State Symphony Orchestra. Cond. Evgeny Svetlanov. 1974. [1] The French had roughly 124,000 men, while the Russians had roughly 103,000. Richard K. Reihn, 1812: Napoleon’s Russian Campaign (New York: McGraw Hill, 1990), 243. The United States Army Band "Pershing's Own" Saturday, August 13, 2016 at 7:30 pm Sylvan Theater , Washington Monument Grounds, Washington, DC Download Printable Program The U.S. Army Band “Pershing’s Own” will continue its annual tradition with the end-of-summer music spectacular: The 1812 Overture Concert at Sylvan Theater (base of the Washington Monument) on Saturday, August 13 at 7:30 p.m.

(rain date is Sunday, August 14 at 7:30 p.m.; weather call will be made at 8:00 a.m. on Saturday). Bring a picnic (no alcohol or glass), a low chair, and a blanket and enjoy this evening of music under the stars (and stripes)! The evening’s music will culminate with Tchaikovsky’s 1812 Overture complete with live cannon fire supplied by the Presidential Salute Battery of the 3d Infantry Regiment (The Old Guard). Also featured on the program: The U.S. Army Herald Trumpets, The U.S. Army Chorus, and The U.S. Army Voices. A great family fun/date night! Like ALL Army Band events, it’s FREE! No advance tickets are required. Tchaikovsky Overture 1812 - The Final - ending (V for Vendetta) - YouTube Tchaikovsky Overture 1812 - The Final - ending (V for Vendetta) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented.

This feature is not available right now. Please try again later. Uploaded on Mar 20, 2009 Ouverture Solennelle, L'Année 1812, Op. 49 (Festival Overture, The Year 1812) (Russian: Торжественная увертюра 1812 года, Toržestvennaja uvertjura 1812 goda), better known as the 1812 Overture, is a classical opus written by Russian composer Pyotr Ilyich Tchaikovsky. The piece was written to commemorate Russia's defense of Moscow against Napoleon's advancing Grande Armée at the Battle of Borodino in 1812. The Overture debuted in the Cathedral of Christ the Saviour in Moscow on August 20, 1882 (in the Gregorian or NS calendar; the date in the Julian or OS calendar was 8 August). The overture is best known for its climactic volley of cannon fire and ringing chimes. While this piece has no historical connection with United States history, it is often a staple at Fourth of July celebrations.

Remember, Remember the 5th of November Category Brief History of the 1812 Overture Brief History of the 1812 Overture Brief History of the 1812 Overture Author: The 1812 Overture , which you will hear on the Fourth of July, was written by a Russian composer, Tchaikovsky , to celebrate Russia's defeat of Napoleon at Moscow. The Overture begins with a Russian Orthodox hymn and includes the Russian national anthem, God Save the Czar; the French national anthem, La Marseillaise, is very clearly blown to smithereens. The Overture entered the American patriotic songbook in 1974 as a brilliant publicity stunt by Boston Pops conductor Arthur Fiedler . History. (from Wikipedia) In 1880, the Cathedral of Christ the Saviour, commissioned by Tsar Alexander II to commemorate the Russian victory, was nearing completion in Moscow; the 25th anniversary of the coronation of Alexander II would be at hand in 1881; and the 1882 Moscow Arts and Industry Exhibition was in the planning stage.

Tchaikovsky's friend and mentor Nikolai Rubinstein suggested that he write a grand commemorative piece for use in related festivities. Tchaikovsky began work on the project on October 12, 1880, finishing it six weeks later. The piece was planned to be performed in the square before the cathedral, with a brass band to reinforce the orchestra, the bells of the cathedral and all the others in downtown Moscow playing " zvons " (pealing bells) on cue, and live cannon fire in accompaniment, fired from an electric switch panel in order to achieve the precision demanded by the musical score in which each shot was specifically written. However, this performance did not take place, possibly partly due to the over-ambitious plan. Regardless, the assassination of Alexander II that March deflated much of the impetus for the project. In 1882, at the Arts and Industry Exhibition, the Overture was performed indoors with conventional orchestration. The cathedral was completed on May 26, 1883.

Meanwhile, Tchaikovsky complained to his patron Nadezhda von Meck that he was "not a conductor of festival pieces," and that the Overture would be "very loud and noisy, but [without] artistic merit, because I wrote it without warmth and without love," adding himself to the legion of artists who from time to time have castigated their own work. It is this work that would make the Tchaikovsky estate exceptionally wealthy, as it is one of the most performed and recorded works from his catalog. Musical structure Beginning with the plaintive Slavic Orthodox Troparion of the Holy Cross played by four cellos and two violas, the piece moves through a mixture of pastoral and martial themes portraying the increasing distress of the Russian people at the hands of the invading French. This passage includes a Russian folk dance, At the Gate, at my Gate (U Vorot, Vorot"). At the turning point of the invasion—the Battle of Borodino—the score calls for five Russian cannon shots confronting a boastfully repetitive fragment of La Marseillaise.

A descending string passage represents the subsequent retreat of the French forces, followed by victory bells and a triumphant repetition of God Preserve Thy People as Moscow burns to deny winter quarters to the French. A musical chase scene appears, out of which emerges the anthem God Save the Tsar! thundering with eleven more precisely scored shots. The overture utilizes counterpoint to reinforce the appearance of the leitmotif that represents the Russian forces throughout the piece. A total of sixteen cannon shots are written into the score of the Overture.

Question: What weapon is used in Tchaikovsky's "1812 Overture"?
Answer: Cannon