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

Chopin - Waltzes, Op. 70

At Chopin's time, the composition of a "waltz concerto" was not new - composers like Mozart had helped shape this form. However, the elements, introduced by Chopin, was new. He turned the waltz into a musical genre of exceptional subtlety and kindness, dominated by the piano. The composer was still a teenager when he composed his first work in this form and continued to compose waltzes almost until the end of his life. 


Waltz in G-flat major, Op. 70, No.1

In this waltz, the melody is full of vibrancy. Then a slow dreamy musical idea is presented and the rhythm changes abruptly. But the new mood doesn't last long. The first melody returns, now like a coda, completing the work serenely.




Waltz in F minor, Op. 70, No. 2

Although this waltz is particularly lively, the prevailing mood is melancholy. The two melodies on which the work is based are the first in minor tonality and the second in major and are interpreted twice. The waltz is calmly completed in a major tonality.



Waltz in D-flat major, Op. 70, No. 3

In this work the expressive melody shows no sudden contrasts - the rhythm remains the same and the dynamics of the work are limited. Although this particular work is not clearly a waltz directly connected to the ballroom, the triple meter is permanently present, relaxed and distinctive.


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