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

Robert Schumann - Introduction

In the case of Robert Schumann, the proximity of genius to madness is confirmed. From his father he had inherited a troubled psyche, which was extended by various unpleasant episodes of his life, culminating in his reckless act, after which he realized that he would never become the great virtuoso pianist he dreamed of. So he easily crossed the dividing line and dived into worlds where logic oscillated from existence to non-existence.

His youthful love for the piano filtered by his inspiration, came to fruition with some pianist masterpieces. By the time he was 30, only the piano enjoyed the favor of his fertile imagination.

When his love found a human bright object of desire, Clara Wieck wanted to sing his love for her. He composed beautiful song cycles, enriching with precious mosaics the art that Franz Schubert had brought out.

With the encouragement and support of his life partner, he tested his creative skills in other aspects of music, such as symphonic and chamber music. He completed works exquisitely in every kind of music he dealt with. His imagination, sometimes beseed by the calmness of Eusebius, sometimes by the romantic passion of Florestan, lured him into quests between dream and reality.

In music these quests yielded works full of lyricism, kindness, sensitivity but also passion, dynamism, vitality. In life they attributed the early passage to the infinity of eternity.

(George Monemvasitis)