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Tchaikovskys 1812 Overture

The romantic period (1815- 1910) stressed emotion, imagination and

individuality.1Romantic music consisted o e!pressive aims and su"#ects

as romantics e!plored eelings and composed music either "ased on

stories, poems, ideas and scenes or consciously included national

$avour "y including ol% music.&

'eter llych Tchai%ovs%y (180-189*) a Russian romanticist +as "orn in

the small to+n o ot%ins%. is music +as more in the +estern tradition

though he +as in$uenced "y Russian elements.*e stated am

Russian, Russian, in the ullest sense o the +ord.Tchai%ovs%y is

regarded as a nationalist composer,5as he used ol% music and +rote

music inspired "y Russias history.

Tchai%ovs%ys 1812 Overturein / $at ma#or, op is one o his "est

%no+n +or%s.e +or%ed on it rom cto"er 1& to 2ovem"er 19, 18803

and su"mitted it to cele"rate Russias deeat to+ards 2apoleons 4rand

rmy at the 6attle o 6orodino in 181&.8t +as 7rst de"uted in the

athedral o hrist the aviour in ugust 188&9. n his o+n +ords, he

ound it :very loud and noisy10

1

;amien, R. (&008) Music: An Appreciation.9

th

ed. 2e+ c4ra+-ill companies. page&33&"id*i"idi"id5i"id http=??+++.classical.net?music?comp.1st?+or%s?tchai%ovs%y?181&.php3 @ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. vaila"le=http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html

8Aaugherty, 6 (&010) Mosco!" #istor$. vai%a&%e:http=??+++.classical.net?music?comp.lst?+or%s?tchai%ovs%y?181&.php9i"id10

//2, /= 'cai)ovs)$: is %i*e an+ !or)s, !it etracts *rom is !ritin-s an+ te +air$ o* istour a&ora+ in 1888 Cilliam 'u"lishers, @ondon (1998)

Page 1 of 16 Stage 2 Music in Context annotated response for use in 2011Ref:A98705 !cto"er 201#$

% SAC& 'oard of Sout( Austra)ia 2011

Practical ApplicationPA2*(ere is considered useof resources+ (o,e-er.t(e footnotes contain

so/e errors

Knowledge andCommunication KC1*(is introduction to t(ein-estigation s(o,s aninfor/ed understandingof t(e topic "ut it is toosi/p)istic to put it in a(ig(er grade "and

AnalysisA1

*(is infor/ation s(o,sconsideredunderstanding of t(epiece in its (istorica)context t (as "eendescri"ed as !p 6#.(o,e-er it is !p #9

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Romantic orchestras +ere larger than in the classical period and

composers +ere e!posed to a +ider variety o instruments. This can "e

seen in Tchai%ovs%ys 1812 Overtureas it is scored or a larger

orchestra= "rass "and, +ood+inds, "rass, percussion and strings. The

use o the "rass "and is considered innovative as it +as not commonly

ound in an orchestra. Tchai%ovs%y employs the "rass "and to portray

the story o Russias deence o 6orodino11. t plays a moti +hich comes

rom the orthodo! tune +hich is introduced at the "eginning o the +or%.

(Digure 1)

Figure 1 Brass band, frst introduce in the Recapitulation

Tchai%ovs%y also introduced the use o cannons in this piece to re$ect

the Russian militarys advances, orcing the Drench urther to+ard the

"orders.1&The overture is "est %no+n or its climactic volley cannon 7re

and ringing chimes, ound in the recapitulation.

The 1812 Overtureis in the orm o a concert overture, +hich emerged

rom the opera overture, +hich +as played at the commencement o an

opera, to esta"lish the mood.1* concert overture is an independent,

11Aaugherty, 6 (&010) Mosco!" #istor$. vai%a&%e:http=??+++.classical.net?music?comp.lst?+or%s?tchai%ovs%y?181&.php1&@ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. vaila"le=http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html1*

;>/2, R= Music: An appreciation (

th

/dition) The >c4ra+- ill ompanies nc, 2e+

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one movement +or% oten in sonata orm.1omposers rom the

romantic period oten modi7ed traditional orms to portray sel

e!pression and individuality o style.15Tchai%ovs%y modi7ed sonata orm

in the overture +hich can "e seen in ta"le 1.

Tchai%ovs%ys e!position ("ar 1-89) ollo+s traditional rules, or instance

the use o t+o contrasting themes. This can "e seen in his 7rst theme

("ar 1-*5). The piece opens +ith the som"re tones o a Russian church

chant, :4od 'reserve thy 'eople, recalling that the declaration o +ar

+as announced at church services in Russia.1This announcement and

pu"lic reaction +as captured in @eo Tolstoys novel, ar an+ /eace.13

Tchai%ovs%ys 7rst theme, presented "y the lo+er strings, is Euite slo+

rhythmically and repetitive melodically. t is in the %ey o /" ma#or +ith

homophonic te!ture. (Digure &).

Traditionally, the "ridge acts as a transition rom the 7rst theme to the

second theme, +ith modulations leading to the ne+ %ey.18o+ever, this

1 i"id15i"id1@ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. vaila"le=http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html13i"id18


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is not the case in the 1812 Overture, as the second theme is in the

tonic, /">a#or. Drom "ar *3 to 3* Tchai%ovs%y e!tensively uses

chromatic runs +hich could "e seen as depicting the distressed Russians

hurrying to church to pray.

19

is second theme ("ar 3 to 83) is short

and detached and could depict the "attle

scene +ith the use o the snare drum&0. (Digure *)

19@ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. vaila"le=

http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html&0 i"id

Page # of 16 Stage 2 Music in Context annotated response for use in 2011Ref:A98705 !cto"er 201#$


AnalysisA2*(is is ,e))consideredana)3sis of t(e st3)isticfeatures

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*CA!S ;SM!A*A=!RM

&@P!S*!> *c(aio-s3;s 2nd t(e/e sta3s in t(e tonic e3 &" =)at

Maor$ o,e-er t(is is a nota")e contrast "et,een t(e 1 st

t(e/e and t(e 2ndt(e/e

1stt(e/e is in t(e tonic e3

'ridge passage )eading to t(e

2ndt(e/e B often in t(e *(e first t(e/e is "roug(t "ac in t(e tonic e3. (o,e-erc(anges t(e orc(estration "3 (a-ing a "rass "and as ,e)) as

t(e "rass section p)a3ing *c(aio-s3 a)ters ,it( t(e texture

and does t(is "3 (a-ing t(e "rass "and and t(e "rass section

p)a3ing t(e t(e/e. preceded i//ediate)3 "3 ascending

c(ro/atic runs p)a3ed "3 t(e strings and ,ood,ind section

*c(aio-s3 "rings "ac t(e 2ndt(e/e and instead of ust

(a-ing t(e ,ood,inds p)a3ing. *(ere is (o,e-er an a"sence

of t(e "ridge *c(aio-s3 a)so does a -er3 inno-ati-e t(ing

"3 "ringing in a co/p)ete)3 ne, /oti-e od sa-e t(e tsar

,(ic( depicts Russia;s; defeat

n t(e recapitu)ation. t(e first t(e/e. "ridge. second t(e/eand conc)uding section *(e recapitu)ation is announced "3 a

dou")e return: to t(e /ain t(e/e and to t(e tonic n t(e

recapitu)ation. t(e second su"ect can start in an3 e3 "ut it

(as to go to t(e tonic



Knowledge and CommunicationKC2: Considered and genera))3 c)ear co//unication of in-estigation findings

Practical Application

PA3

Considered presentation disp)a3ing appropriate use of /usica) exa/p)es "ar nu/"ers fro/ t(e score$

o,e-er /ost of t(e infor/ation contained in t(e ta")e is a)so in t(e "od3 of t(ein-estigation

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The

development section is +here themes and materials rom the e!position

are treated in ne+ +ays. Tchai%ovs%ys development ollo+s traditional

rules, or instance the rapid modulations. o+ever, Tchai%ovs%y does

not develop either the 1stor &ndthemes. nstead, he introduces ne+

material, the Drench national anthem, and develops that "y changing

the orchestration and ragmenting the rhythm. This depicts the Drench

victories in the +ar, as +ell as the capture o >osco+ in eptem"er

181&.&1

Tchai%ovs%ys melodies are very romantic in style as the phrases are

uneven ma%ing them un"alanced and not symmetrical. is melodies are

very long and e!pressive and he included e!isting ol% tunes +hich

&1

@ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. vaila"le=http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html



ure Tchaikovsky's second theme

Knowledge and

Communication KC2Co//unication of

e)e/ents of an

in-estigation

Knowledge and

Communication KC1

*(is de/onstrates an

infor/ed

understanding of t(e

topic

AnalysisA2Considered ana)3sisof st3)istic features

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portray and re$ect real events that occurred in the 6attle o 6orodino in

181&. Dor instance, the use o an e!isting Russian orthodo! tune at the

"eginning o the overture +hich portrays distressed Russians +hen

:declaration o +ar +as announced at church services in Russia&&(Digure

1). The use o a Marsei%%aise- the national anthem o Drance re$ects the

early Drench victories in the +ar, including the capture o >osco+ in

eptem"er 181&,&*+hich is introduced in the development section "y

the horns at "ar 1&3. (Digure )

F4od save the TsarGH the national anthem o the late Russian empire- is

7rst introduced "y the lo+er strings and "rass, as +ell as the lo+er

sections o the "rass "and in the recapitulation. The horns play, as +ell

as the cannons going oI, +hile the marching li%e second theme is "eing

played "y the upper +ood+inds and strings. The Russian anthem is then

in counterpoint to the second theme.&(Digure 5)

Tchai%ovs%y e!plores rich colour and comple! harmonies in the "ridge,

re$ecting romantic style.&5There are a num"er o passages +hich are

highly chromatic, adding colour to portray the con$ict as the desperate

Russians prepare or "attle. Tchai%ovs%y, reEuently changes %ey in the

&&@ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. vaila"le=http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html&*i"id& i"id&5


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overture and it is oten to unrelated %eys, or instance 4 ma#or, D sharp

ma#or, /" minor. Tchai%ovs%y also employs the use o seventh chords.



Figure % The Russian national anthem introduced by the lo&er strings, the lo&er brass and the lo&er&ood&inds

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Throughout the overture, Tchai%ovs%y e!plores te!tural contrasts, as he

e!periments +ith ull orchestral orces and cham"er li%e sections as +ell

as homophony and polyphony. The use o ull orchestral orces,

depicting the Drench loss to Russia is re$ected in the diJJying spirals o

a diminuendo&leading to the recapitulation (see Digure ). 'olyphony

occurs Euite reEuently throughout this +or%, or instance at "ar *88

+hen the Russian anthem is "eing played at the same time as the

second theme. (Digure 5)

Throughout the overture, Tchai%ovs%y uses compositional techniEues

such as seEuences, rhythmic alteration, ragmentation and syncopation.

The use o syncopation in the development depicts the con$ict "et+een

the Russian and Drench armies, this is played "y the lo+er +ood+inds

and the "rass section. (Digure 3)

&

@ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. vaila"le=http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html



Figure (i))ing spirals o" dimineundos

Knowledge and

Communication KC1*(e use of /usica)

ter/ino)og3 is accurate

"ut t(e state/ent is

genera)

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Figure * +se o" syncopation

Tchai%ovs%y also rhythmically alters motives, or instance the

development o the Drench anthem in the development. Tchai%ovs%y 7rst

introduces the theme in the horns (Digure 8).

Figure The French anthem motive introduced by the horns

Then he has it in the trom"ones, preceded "y a rhythmic alteration.

nstead o having our crotchets in the second "ar, he adds a minim and

a Euaver rest proceeded "y the t+o semi Euavers and t+o crotchets.

(Digure 9)

Figure - rhythmic alteration o" the .ational French #rmy

t the "eginning o the overture, the time signature is simple triple or

the 7rst part o the e!positionK ho+ever at 7gure *, the second theme is



AnalysisA2Fe)) considered ana)3sisof st3)istic features *(isis a good co/parison,it( "ot( exa/p)esused to i))ustrate t(epoint

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in cut common time. The development stays in common time and

changes to simple triple leading up to the recapitulation.

Tchai%ovs%ys 1812 Overtureis one o his "est %no+n +or%s. t re$ects

romantic style through a num"er o elements including a "rass "and as

+ell as the use o cannonsK the chromatic harmony and orchestral

colours e!ploredK the e!treme dynamics and the modi7cation o sonata

orm to suit personal e!pression depicting the real lie events o +hat

too% place at the 6attle o 6orodino in 181&.



Additional Comments

Practical Application PA1Appropriate de/onstration of independent ,or. p)anning. and in-estigation processes t(roug(out t(is piece of ,or

Knowledge and CommunicationKC2*(e co//unication is genera))3 c)ear

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Bibliographybooks

-ARE3, A: A composer in 'cai)ovs)$5s sa+o!, 6ocuments, %etters, memoirs,

+iscussion o* !or)s.2ue+er%- 6uch und musi%alienhandlung, 6erlin (&00*)

- 6R44, A'= 'cai)ovs)$ an+ /us)in, men o* Russian %etters pera >agaJine

@ondon (1998)

- - //2, /= 'cai)ovs)$: is %i*e an+ !or)s, !it etracts *rom is !ritin-s an+

te +air$ o* is tour a&ora+ in 1888 Cilliam 'u"lishers, @ondon (1998)

- ;>/2, R= Music: An appreciation (th/dition) The >c4ra+- ill ompanies nc,

2e+

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Performance Standards Stage 2: Music in Context

Practical Application Knowledge andCommunication

Analysis

A ig()3 effecti-e de/onstration ofindependent ,or. and p)anning andin-estigation processes

&xtensi-e and (ig()3 effecti-e/anage/ent of t(e in-estigation.,it( insig(tfu) use of a range ofresources and re)e-antdocu/entation

Confident and co/pre(ensi-epresentation. disp)a3ing (ig()3effecti-e use of /usica) exa/p)es.tec(no)ogies. and processes

Co/pre(ensi-e no,)edge andunderstanding of t(e topic. ,it(exce))ent use of /usica) ter/ino)og3.and (ig()3 creati-e exp)oration andinsig(tfu) discussion of aspects of/usic

ncisi-e and c)ear co//unication ofin-estigation findings

ig()3 de-e)oped aura) recognitionsi))s

Percepti-e ana)3sis and understanding of /usic inits (istorica) and cu)tura) context

Percepti-e ana)3sis of st3)istic features

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-Para ouvir o hino russo "Deus salve o Czar" cliquei aqui. (Hino do imprio Russo de 1830

Para ouvir o hinofrancs cliquei aqui(vers!o lona ouaqui(#ers!o cur$a

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http://www.youtube.com/watch?v=tIGsJ4Sx3Uw&feature=relatedhttp://www.youtube.com/watch?v=4K1q9Ntcr5g&feature=relatedhttp://www.youtube.com/watch?v=IHuvnGNKcnc&feature=relatedhttp://www.youtube.com/watch?v=IHuvnGNKcnc&feature=relatedhttp://www.youtube.com/watch?v=tIGsJ4Sx3Uw&feature=relatedhttp://www.youtube.com/watch?v=4K1q9Ntcr5g&feature=relatedhttp://www.youtube.com/watch?v=IHuvnGNKcnc&feature=related

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A Abertura Solene Para o Ano de 1812 uma obraorquestraldePyotr Ilyich

Tchaikovskycomemorando o fracasso da invaso francesa Rssiaem1812e a

subsequente devastao da !rande "rmada de#a$oleo% " obra & mais conhecida $ela sua

sequ'ncia de tiros de canhoque &( em al)uns concertos ao ar livre( e*ecutada com

canh+es verdadeiros%

,ist-ria

" "bertura 1812 foi com$osta $ara a abertura da .*$osio /niversal das "rtes( em

0oscou( encomendada a Tchaikovsky $elo diretor dos oncertos da ociedade Im$erial

Russa(#icolas Rubinstein% Tchaikovsky no )ostava desse ti$o de encomenda( mas aceitou

a $ro$osta e comeou a trabalhar em uma obra que celebrasse simultaneamente os 34 anos

da vit-ria russa sobre#a$oleo 5ona$artee o anivers6rio da coroao do 7ar%

#a$oleo era um )eneral temido e o e*&rcito franc's era considerado imbatvel% .m 1812(

a 9rana venceu a $rimeira batalha( a 5atalha de 5orodin% 0as os franceses foram

derrotados $elo frio ri)oroso do inverno russo( que( associado a uma e$idemia de tifo( fe7

com que #a$oleo ordenasse uma retirada desordenada e catastr-fica% : e*&rcito de

;44%444 homens foi redu7ido a a

favor da Rssia%

aractersticas

.ntre outras $eas do autor( como a 0archa .slava( esta & uma obra de car6ter fortemente

nacionalista( com$osta no ano de1884( $ara a comemorao da vit-ria russa sobre as

tro$as#a$ole?nicas%

" com$osio se baseia num anta)onismoentre a inicial vit-ria francesa e a $osterior

revanche russa% " 9rana & musicalmente re$resentada $elo tema de@a 0arseillaise( hino

da Revoluo 9rancesa% " $osterior vit-ria russa no m's se)uinte( & re$resentada $or umdiminueto do hino c7arista Aeus alve o 7ar e & se)uido $elo sonoro e cl6ssico troar

de canh+es% "ssim( encerraBse a contra$osio entre as duas vit-rias B de incio( a francesa(

re$resentada $ela @a 0arseillaise( e no final( $elo triunfo russo( retratado $elo hino

c7arista%

" obra contra$+e o hino da Rssia e o hino da 9rana( com fra)mentos do folclore russos

temas reli)iosos% " "bertura 1812 comea com um coro ins$irado no hino =Aeus aCude

vosso $ovoD( da i)reCa ortodo*a russa%

"$-s a Revoluo dosovietese a consequente e*tino do hino c7arista( a obra sofreu

modifica+es( sendo o tema ori)inal substitudo $elo coro final da -$era Ivan usanin(

de 0ikhail !linka( cuCo nome ori)inal & E" Fida $elo T7arE( modificao tamb&m

reali7ada $or ordem do re)ime sovi&tico%

.m sua forma com$leta( a $ea & e*ecutada $or coro( orquestra sinf?nica e banda militar

com o au*lio de $eas de artilharia e carrilho% .m e*ecu+es em salas fechadas( costumaB

se substituir os canh+es $or tm$anos GtamboresH( a fim de se obter um efeito semelhante

ao do dis$aro das $eas%

" "bertura 1812 & fonte de ins$irao $ara releituras( como no caso de I)or 5uketoff( que

na se)unda met6de da d&cada de ;4 G1;JB34H( fe7 diversas modifica+es( tanto no coro

inicial( quanto outras altera+es instrumentais% .la & tributada na cano E2112 da RssiaE%


http://pt.wikipedia.org/wiki/Orquestrahttp://pt.wikipedia.org/wiki/Orquestrahttp://pt.wikipedia.org/wiki/Orquestrahttp://pt.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovskyhttp://pt.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovskyhttp://pt.wikipedia.org/wiki/R%C3%BAssiahttp://pt.wikipedia.org/wiki/1812http://pt.wikipedia.org/wiki/1812http://pt.wikipedia.org/wiki/Napole%C3%A3o_I_de_Fran%C3%A7ahttp://pt.wikipedia.org/wiki/Canh%C3%A3ohttp://pt.wikipedia.org/w/index.php?title=Nicolas_Rubinstein&action=edit&redlink=1http://pt.wikipedia.org/wiki/Napole%C3%A3o_Bonapartehttp://pt.wikipedia.org/wiki/Napole%C3%A3o_Bonapartehttp://pt.wikipedia.org/wiki/1880http://pt.wikipedia.org/wiki/Napole%C3%A3o_Bonapartehttp://pt.wikipedia.org/wiki/Napole%C3%A3o_Bonapartehttp://pt.wikipedia.org/wiki/Antagonismohttp://pt.wikipedia.org/wiki/La_Marseillaisehttp://pt.wikipedia.org/wiki/La_Marseillaisehttp://pt.wikipedia.org/wiki/Revolu%C3%A7%C3%A3o_Francesahttp://pt.wikipedia.org/wiki/Canh%C3%A3ohttp://pt.wikipedia.org/wiki/Sovieteshttp://pt.wikipedia.org/wiki/Sovieteshttp://pt.wikipedia.org/w/index.php?title=Ivan_Susanin&action=edit&redlink=1http://pt.wikipedia.org/wiki/Mikhail_Glinkahttp://pt.wikipedia.org/wiki/Orquestrahttp://pt.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovskyhttp://pt.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovskyhttp://pt.wikipedia.org/wiki/R%C3%BAssiahttp://pt.wikipedia.org/wiki/1812http://pt.wikipedia.org/wiki/Napole%C3%A3o_I_de_Fran%C3%A7ahttp://pt.wikipedia.org/wiki/Canh%C3%A3ohttp://pt.wikipedia.org/w/index.php?title=Nicolas_Rubinstein&action=edit&redlink=1http://pt.wikipedia.org/wiki/Napole%C3%A3o_Bonapartehttp://pt.wikipedia.org/wiki/1880http://pt.wikipedia.org/wiki/Napole%C3%A3o_Bonapartehttp://pt.wikipedia.org/wiki/Antagonismohttp://pt.wikipedia.org/wiki/La_Marseillaisehttp://pt.wikipedia.org/wiki/Revolu%C3%A7%C3%A3o_Francesahttp://pt.wikipedia.org/wiki/Canh%C3%A3ohttp://pt.wikipedia.org/wiki/Sovieteshttp://pt.wikipedia.org/w/index.php?title=Ivan_Susanin&action=edit&redlink=1http://pt.wikipedia.org/wiki/Mikhail_Glinka

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Also sprach Zarathustra" #p$ 3%e/ a)e/Go:Assim falou Zaratustra$ H u/ poe/a

sinfInicoco/posto e/ 1896por Ric(ard Strauss. inspirado no tratado fi)osJfico de /es/o

no/eescrito por =riedric( >ietDsc(e ! prJprio co/positor conduDiu a pri/eira perfor/ance

na cidade de=ranfurt E/a execuKGo tLpica dura cerca de /eia (ora

Sua introduKGo tornouse /undia)/ente con(ecida por ter sido usada co/o te/a /usica) no

fi)/e 2001: A Space Odyssey. criaKGo deArt(ur C C)aree Stan)e3 u"ric. de1968 & co/o

introduKGo dos espetcu)os de &)-is Pres)e3 a partir dos anos 70

MarcAntoine C(arpentierco/posed (is grand po)3p(onic/otetTe Deum 1#6$ in

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análise 1812.doc