Tschaikovsky - 1812 Overture, op. 49

Tchaikovsky's Overture 1812 expresses Russia's nationalist spirit for the Russians' magnificent victory over Napoleon. In 1880, when he was writing the charming Serenade for Strings, Tchaikovsky undertook to compose a "ceremonial introduction" for an exhibition of industrial art in Moscow. As a theme of his introduction he chose Napoleon's Russia Campaign, which ended with the great victory of the Russian Army. At first the composer intended the introduction to be for outdoor performance and felt that it should be "very loud and noisy". Since then the introduction has become his most famous and most popular concert work. The "1812 Overture" is in fact an introduction to a concerto, in other words is a stand-alone work of orchestral music and not an introduction to opera or a more extensive work. The play describes the invasion of Russia by Napoleon's troops in 1812 and their retreat and defeat in the winter of the same year. Despite

Beethoven - Für Elise

The beauty moved Beethoven and used to dedicate the music to his beloved. His work Für Elise was believed to have been written for his student Therese Malfatti.

This work belongs to the musical genre "bagatelle" - short work, light, with simple technique, usually for piano. Beethoven is the first to highlight the genre, having composed three series of such works.

Für Elise is the most popular work of the composer in this musical form. Some of Beethoven's biographers believe that the work was not dedicated to Eliza but to Therese and the change of title is due to a copycat error. If so, then Beethoven almost certainly dedicated the work to his student Therese Malfatti. Beethoven was in love with his young student at the time and wrote the play taking into account his student's limited piano skills. The work was written in 1810 but was not published until 1867.

This simple, unpretentious work is one of the composer's most sensitive. The opening theme is unusual because the melody is spread out in both hands - a blend of the resonant low part of the piano and the higher more vocal expanse of the instrument. The original music ends and follows an antithetical part with a more assertive character. The mood becomes more lively with the quick playing of the right hand. But suddenly the music reaches a sudden leap and we are again led to the serenity of the opening part.

At this point, as the music heads to a completion, Beethoven adds a final section with repetitive notes of bass. This section has its own few final meters, the glowing canvas of notes for the right hand that elevates the music to the largest extent of the piano. A descending scale then leads to a repeat of the original melody, which quietly completes the work.