The 1812 Overture, Op. 49 (French: Ouverture Solennelle, L'Année 1812, Russian: Торжественная увертюра 1812-ого года, Toržestvennaja uvertjura tysjača vosem'sot dvennadstovo goda, Festival Overture The Year 1812) is a classical overture written by Russian composer Pyotr Ilyich Tchaikovsky in 1880. 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[1] (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.
On his 1891 visit to the United States, Tchaikovsky conducted the piece at the dedication of Carnegie Hall in New York City.[2] While this piece has no connection with United States history, it is often a staple at Fourth of July celebrations, such as the one by the Boston Pops.[3]
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Instrumentation
The 1812 Overture is scored for an orchestra comprising of the following:
1Sometimes substituted with tubular bells or recordings of Carillons.
2In the sections in which cannon shots are played, the actual cannons are sometimes replaced by recorded cannons or played on a piece of staging, usually with a large wooden mallet or sledge hammer. The bass drum and tam-tam are also regularly used in indoor performances.
3"Open" Instrumentation consisting of "any extra brass instruments" available. In some indoor performances, the part may be played on an organ.
Musical structure
Sixteen cannon shots are written into the score of the Overture. Beginning with the plaintive Russian Orthodox Troparion of the Holy Cross ("God Preserve Thy People") played by eight cellos and four violas, the piece moves through a mixture of pastoral and militant 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."[4] 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 song.
Although God Save The Tsar! was the Russian National Anthem in Tchaikovsky's time, it was not the anthem in 1812. There was no official Russian anthem until 1815, from which time until 1833 the anthem was "Molitva russkikh," Prayer of the Russians, sung to the tune of God Save the King.
There are several recordings of the overture in a transcription by American conductor Igor Buketoff.[5] with the following changes and additions:
- The opening segment, "God Preserve Thy People" is sung a cappella by a choir.
- A children's or women's choir added to the flute and cor anglais duet rendition of "At the Gate".
- The orchestra and chorus unite in the climax with a triumphant version of "God Preserve Thy People" and "God Save the Tsar".
Composition
Historical background: Napoleon's invasion of Russia
Main article: French invasion of RussiaOn September 7, 1812, 120 km (75 miles) west of Moscow at Borodino, Napoleon's forces met those of General Mikhail Illarionovich Kutuzov in the only concerted stand made by Russia against the seemingly invincible French army. The Battle of Borodino saw casualties estimated as high as 100,000 and resulted in victory for neither side. It did, however, break the back of the French invasion.
With resources depleted and supply lines overextended, Napoleon's crippled forces moved into Moscow, which surrendered without resistance. Expecting capitulation from the displaced Tsar Alexander I, the French instead found themselves in a barren and desolate city razed to the ground by the retreating Russian Army.
Deprived of winter quarters, Napoleon found it necessary to retreat. Beginning on October 19 and lasting well into December, the French army faced several overwhelming obstacles on its long retreat: famine, frigid temperatures, and Russian forces barring the way out of the country. Abandoned by Napoleon in December, the Grande Armée was reduced to one-tenth its original size by the time it reached Poland.
The music can be interpreted as a fairly literal depiction of the campaign: in June 1812, the previously undefeated French Allied Army of over half a million battle-hardened soldiers and almost 1200 state-of-the-art guns (cannons, artillery pieces) crossed the Niemen river into Lithuania on its way to Moscow. The Russian Orthodox Patriarch of All the Russians, aware that the Russian Imperial Army could field a force only a fraction of this size, inexperienced and poorly equipped, called on the people to pray for deliverance and peace. The Russian people responded en masse, gathering in churches all across Russia and offering their heartfelt prayers for divine intervention (the opening hymn). Next we hear the ominous notes of approaching conflict and preparation for battle with a hint of desperation but great enthusiasm, followed by the distant strains of La Marseillaise (the French National Anthem) as the French approach. Skirmishes follow, and the battle goes back and forth, but the French continue to advance and La Marseillaise becomes more prominent and victorious - almost invincible. The Tzar desperately appeals to the spirit of the Russian people in an eloquent plea to come forward and defend the Rodina (Motherland). As the people in their villages consider his impassioned plea, we hear traditional Russian folk music. La Marseillaise returns in force with great sounds of battle as the French approach Moscow. The Russian people now begin to stream out of their villages and towns toward Moscow to the increasing strains of folk music and, as they gather together, there is even a hint of celebration. Now La Marseillaise is heard in counterpoint to the folk music as the great armies clash on the plains west of Moscow, and Moscow burns. Just at the moment that Moscow is occupied and all seems hopeless, God intervenes, bringing an unprecedented deep freeze with which the French cannot contend (one can hear the winter winds blowing in the music). The French attempt to retreat, but their guns, stuck in the freezing ground, are captured by the Russians and turned against them. Finally, the guns are fired in celebration and church bells all across the land peal in grateful honor of their deliverance from their "treacherous and cruel enemies."
Commission of the overture
In 1880 the Cathedral of Christ the Saviour, commissioned by Tsar Alexander I to commemorate the French defeat, 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 Nikolay Rubinstein suggested that 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 cannonfire 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. This performance did not actually take place. The plan may have been too ambitious. 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 in 1883.
Meanwhile, Tchaikovsky complained to his patron Nadezhda von Meck that he was "not a concocter 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 the work that would have made the Tchaikovsky estate exceptionally wealthy, as it is one of the most performed and recorded works from his catalog.
Performance practice
Logistics
Logistics of safety and precision in placement of the shots require either well-drilled military crews using modern cannon, or else the use of sixteen pieces of muzzle-loading artillery, since any reloading schemes to attain the sixteen shots or even a semblance of them in the two minute time span involved makes safety and precision impossible with 1800s artillery. Time lag alone precludes implementation of cues for the shots for 1812-era field pieces.
Did Tchaikovsky ever hear the piece as written?
Musicologists questioned across the last third of a century have given no indication that the composer ever heard the Overture performed in authentic accordance with the 1880 plan. It is reported that he asked permission to perform the piece as planned in Berlin, but was denied it. Performances he conducted on U.S. and European tours were apparently done with simulated or at best inexact shots, if with shots at all, a custom universal until recent years.
Antal Doráti and Erich Kunzel are the first conductors to have encouraged exact fidelity of the shots to the written score in live performances, beginning in New York and Connecticut as part of Dorati's recording, and Kunzel in Cincinnati in 1967 with assistance from J. Paul Barnett, of South Bend, Indiana.[6] Of recorded versions of these performances, Dorati's recording for Mercury Records is the more faithful performance. Dorati uses an actual carillon called for in the score and the bells are rung about as close to a zvon then known. The art of zvon ringing was almost lost due to the Russian Revolution[citation needed]. The Dorati recording also uses actual period French cannon for the 1812 period, which belonged to the United States Military Academy at West Point.
Recording history
- A 1927 Cleveland recording contains dozens of bass drum "shots" at random in the final moments of the piece.
- A Royal Opera Orchestra recording of about the same time contains no shots at all. Various more recent recordings feature modern or antique artillery firing in approximation of the score, and other improvisations and bell sounds from tubular chimes to fake bell sounds which do no zvon ringing.
- Antal Doráti's landmark 1954 Mercury Records recording with the Minneapolis Symphony Orchestra (recorded in mono in 1954 and in stereo in 1958), partially recorded at West Point, and using the Yale Memorial Carillon (then a mere chime) in New Haven, Connecticut, uses a period French single muzzleloading cannon shot dubbed in 16 times as written, and was such an advancement in authenticity that on the first edition of the recording, one side played the Overture and the other side played a narrative by Deems Taylor about how the feat was accomplished. The stereophonic version was recorded on April 5, 1958 using the bells of the Laura Spelman Rockefeller Memorial Carillon, at Riverside Church. On this Mercury Living Presence Stereo recording the spoken commentary was also given by Deems Taylor and was coupled with Tchaikovsky's "Capriccio Italien". Later editions coupled the 1812 Overture with Dorati's recording of Beethoven's Wellington's Victory, which featured the London Symphony Orchestra and real cannons.
- Later recordings have been variously done by similar means. The Black Dyke Mills Brass Band have also recorded a brass band arrangement of the piece. This recording includes the cannon shots as originally written. In 1990, in a worldwide celebration of the 150th anniversary of Tchaikovsky's birth, the Overture was recorded in the city of his youth by the St. Petersburg Philharmonic using 16 muzzleloading cannons fired live as written in the 1880 score. That recording was done within earshot of the composer's grave.
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References
- ^ Lax, Roger; Frederick Smith (1989). The great song thesaurus. Oxford: Oxford University Press. p. 230. ISBN 9780195054088.
- ^ Matz, Carol; Bernadine Johnson (2006). A Night at the Symphony. New York: Alfred Publishing. p. 45. ISBN 9780739041079.
- ^ Matz ibid.
- ^ See: http://www.utexas.edu/courses/russian/rus330-sp07/lecs/lec21.pdf
- ^ See: http://web.singnet.com.sg/~lionelc/nov97.htm
- ^ "Tchaikovsky: 1812 Overture: The New Recording". Telarc International. http://www.telarc.com/gscripts/title.asp?gsku=0541&mscssid=6KBMEGSXS4R08G1M8XRPBB7KL83C60DC.
External links
- Article from 2003 Pittsburgh Post-Gazette on how “1812” has become a piece of patriotic Americana
- Russian national anthem “God Save the Tsar” in Tchaikovsky’s music — contains several audio recordings of the 1812 Overture.
- 1812 Overture: Free scores at the International Music Score Library Project.
- Interview with J. Paul Barnett about the 1812 Overture by Bruce Duffie, November 20, 1999
Categories: Compositions by Pyotr Tchaikovsky | Overtures | 1812 in music | 1880 in music | Cannon | Napoleonic Wars | Musical memes
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