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

Franz Liszt - Introduction

The recording techniques were unfortunately not invented when Franz Liszt conquered Europe with his fascinating pianistic performances. Thus his juggling interpretations enjoyed only the ephemeral and we are limited to the written testimonies, which describe him as a pianist with unconventional virtuosic gifts. His recitals amounted to a performance that provoked furious excitement and exaggerated manifestations of worship.

His emphasis on virtuosity and the long-term focus of his creative disposition on the pianistic compositions of "demonstration" but also on the transcriptions - for piano of course - of works by other composers, prevented his immediate acceptance as an inspired composer.

However, no careful observer of evolution and researcher of his contribution can question the incisions he caused in the musical expression of his time. His symphonic poems herald new forms of the art of sounds, his instrumentals paving the way for the musical commandments of Wagner, Mahler, Richard Strauss, in the bold harmonys of his mature pianistic works eavesdropping on Debussy's impressionism.

Liszt loved music with passion, just as he loved women. The first was the means to conquer the latter, which could hardly resist its charm. But he was not seduced by all his successes. He remained until the end of his life benevolent and generous, willing to benefit with his knowledge and skills the music, but also his fellow human beings.