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PYOTR ILYICH TCHAIKOVSKY
Solemn Overture, 1812, Op. 49 (1880)

In 1881 Tchaikovsky was asked to write something for the upcoming Exhibition of Industry and the Arts to be held in Moscow. He was presented with three possibilities: write an overture, or something for the Tsar’s silver jubilee, or a piece to mark the consecration of a new cathedral, “a cantata in whatever form or style you like but with a hint of church music that must certainly be Orthodox.” Tchaikovsky chose to pursue the option connected with the new Cathedral of Christ the Savior in Moscow. As it was built to mark Russia’s victory over Napoleon in September 1812, he decided to write a celebratory orchestral work, which he dispatched in just a little over a week’s time.

The 1812 Overture received its premiere in August 1882 in a new hall built for the Exhibition. Over time the Overture emerged as one of the composer’s most popular pieces, indeed as one of the most familiar works in the orchestral repertoire.

As composers have known for centuries, certain subjects invite musical representation more than others. It is a simpler task to convey associations with birds, storms, water than it is abstract events and emotions. Battles have long proved especially inviting. Beethoven took contrasting approaches in two pieces. In his history-making Third Symphony, he grappled with issues of heroism, based on the figure of Napoleon. He also wrote a so-called “Battle Symphony,” better known as Wellington’s Victory, in which war between the English (represented by “Rule Britannia”) and the French (“Marlborough s’en va-t’en guerre”) also includes cannons and other effects, leading to the minor mode dissolution of the French music for their defeat and a final set of variations on “God Save the King” celebrating English victory.

Tchaikovsky probably had Beethoven’s piece in mind when he was composing the 1812 Overture. He also calls upon national themes, beginning with a solo sextet of violas and cellos intoning the Orthodox Russian chant “Save Us, O Lord,” which is juxtaposed with the French national anthem, “La Marseillaise.” Tchaikovsky brings in as well the Russian folksong “U Vorot” (At the Gate) and part of a duet recycled from his first opera, The Voyevoda. This all leads up to the grand finale making marvelous use of bells and cannons in combination with the Imperial Russian national anthem, “God Save the Tsar!”

                                                                   —Christopher H. Gibbs

Program notes © 2021. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.

PYOTR ILYICH TCHAIKOVSKY
Solemn Overture, 1812, Op. 49 (1880)

In 1881 Tchaikovsky was asked to write something for the upcoming Exhibition of Industry and the Arts to be held in Moscow. He was presented with three possibilities: write an overture, or something for the Tsar’s silver jubilee, or a piece to mark the consecration of a new cathedral, “a cantata in whatever form or style you like but with a hint of church music that must certainly be Orthodox.” Tchaikovsky chose to pursue the option connected with the new Cathedral of Christ the Savior in Moscow. As it was built to mark Russia’s victory over Napoleon in September 1812, he decided to write a celebratory orchestral work, which he dispatched in just a little over a week’s time.

The 1812 Overture received its premiere in August 1882 in a new hall built for the Exhibition. Over time the Overture emerged as one of the composer’s most popular pieces, indeed as one of the most familiar works in the orchestral repertoire.

As composers have known for centuries, certain subjects invite musical representation more than others. It is a simpler task to convey associations with birds, storms, water than it is abstract events and emotions. Battles have long proved especially inviting. Beethoven took contrasting approaches in two pieces. In his history-making Third Symphony, he grappled with issues of heroism, based on the figure of Napoleon. He also wrote a so-called “Battle Symphony,” better known as Wellington’s Victory, in which war between the English (represented by “Rule Britannia”) and the French (“Marlborough s’en va-t’en guerre”) also includes cannons and other effects, leading to the minor mode dissolution of the French music for their defeat and a final set of variations on “God Save the King” celebrating English victory.

Tchaikovsky probably had Beethoven’s piece in mind when he was composing the 1812 Overture. He also calls upon national themes, beginning with a solo sextet of violas and cellos intoning the Orthodox Russian chant “Save Us, O Lord,” which is juxtaposed with the French national anthem, “La Marseillaise.” Tchaikovsky brings in as well the Russian folksong “U Vorot” (At the Gate) and part of a duet recycled from his first opera, The Voyevoda. This all leads up to the grand finale making marvelous use of bells and cannons in combination with the Imperial Russian national anthem, “God Save the Tsar!”

                                                                   —Christopher H. Gibbs

Program notes © 2021. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.