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

Maurice Ravel - Valses nobles et sentimentales

 

Performance of the ballet "Adélaïde, ou le langage des fleurs" in 1912.

The seven "Valses nobles et sentimentales" and the epilogue of this orchestral suite were originally written for piano in 1911. Maurice Ravel chose the title in homage to Franz Schubert, who had released collections of waltzes in 1823 entitled Valses nobles and Valses sentimentales. 

The work was first presented in Paris in a recital of anonymous compositions. Many of Ravel's fans disapproved of the music, not imagining that the deliberate "wrong notes" belonged to one of the most beloved French composers.

In 1912 Ravel orchestrated the suite and presented it as a ballet under the title "Adélaïde, ou le langage des fleurs (Adelaide: The Language of Flowers).

The dynamic start reminds us that this is an unusual waltz. On the contrary, the second part is slow and expressive. For this lanzy subject, Ravel chose the flute, which plays in its lower extension. With a relaxed oboe melody begins the third part that is more reminiscent of waltz. The music continues without interruption in the next more lively part. The clarinet introduces the dreamy fifth part. Here the rythm of the waltz is more disguised. 

In the short sixth part, the traditional rhythms return. Restless shapes of strings and woodwinds create a gentle climax, while drums make a rare appearance. The music calms down and disappears suddenly, as it began.

A slow introduction with syncopating notes of the horn and harp defines the beginning of the seventh waltz before the music returns to the rhythms of the first part. The music evolves to stand in a dissentful chord. A tender middle section leads to a repetition of the first section.

The last part is slow and expressive. The instruments contrast and intertwine different parts of the melody. The strings play with sourdina and are finally separated. The horn, trumpet and tambourine make a final comment reminiscent of a waltz and a solo clarinet, accompanied by a harp, strings and celesta, quietly completes the work.


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