1812 Overture by Tchaikovsky

The 1812 overture by Tchaikovsky is a unique piece as it brings together many characteristic elements of the European romantic music together with elements of traditional Russian folk music, just as many of Tchaikovsky´s pieces.

The 1812 Overture is polyphonic; although it begins with a monophonic texture, soon after (in bar 32), it changes to polyphonic, as tension first rises. Throughout the piece there are various sections where a single melodic line is played by various instruments, but as a form of response to that relaxation, different melodic lines are introduced at the same time creating contrast. This element contributes to the building up of tension and relaxation. In this piece, Tchaikovsky makes a unique use of the polyphony; completely different melodic lines are played simultaneously, this element may also be referred to as "two part counterpoint". For instance, in bar 119 the "Le Marseille" motif is played as the violins play a completely different (faster, higher pitch) melody. But still, he manages to create a coherent mixture of melodic lines that at a certain point come together to create relaxation once again. Other elements such as the repetition of a constant note by a specific instrument or by a group of instruments (as a "background" to the main melody and as form of homophony) also contributes to the creation of tension.

The melodic motion in this piece is mostly by steps and conjunct, meaning that generally, the pitch gap between two consecutive notes is of no more than one note. Ascending and descending conjunct, short note progressions played consecutively by the same or different instruments are present throughout the piece (another element used to create tension). .

Throughout the piece, Tchaikovsky repeats different motifs and themes, many of which are used to represent a specific element within the context of the piece. This is a tonal piece of music as it starts and ends in the same key (E flat major). Throughout the piece, Tchaikovsky plays with dynamics to a very great extent, changing from a mezzo forte to a fortizzimo, from a piano to a forte, from a forizzimo to a silence etc., in repeated occasions.

Instrumentation:

• Woodwind: 2 flutes, 2 oboes, 2 clarinets and 2 bassoons

• Brass 4 horns in F, 2 cornets in B♭, 2 trumpets in E♭, 3 trombones, tuba

• Percussion: including timpani, bass drum, snare drum, cymbals, tambourine, triangle, bells2, cannon3

• Strings: (violins I, II, violas, cellos, double basses)

• Woodwind: piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets in B♭, 2 bassoons

• Brass: 4 horns in F, 2 cornets in B♭, 2 trumpets in E♭, 3 trombones, tuba

• Percussion: timpani, bass drum, snare drum, cymbals, tambourine, triangle, bells2, cannon3

• Strings: (violins I, II, violas, cellos, double basses)

It is outstanding the way in which the different musical elements are used within the piece to establish the different moods. The use of ostinato (continues repetition of a rhythm of melodic line) for instance, and wide tonal gap between consecutive notes and the use of traditional Russian folk motifs are just some of the characteristic features of this piece that makes it unique.

In his 1812 Overture Tchaikovsky manages to make this an effective programme music piece, as he is able to narrate the attempted Napoleonic invasion to Russia through the use of various music elements. From this piece we can also outline appropriate use of different elements such as contrasting dynamics, repetitive polyphony, ascending and descending movement (among many others) to create tension and relaxation along the piece.

This is a masterpiece!

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