Everything Everywhere Daily: History, Science, Geography & More - The 1812 Overture

Episode Date: April 29, 2022

In 1880, the Russian composer Pyotr Ilyich Tchaikovsky was commissioned to compose a work in honor of the completion of a new cathedral.  What he wrote became one of the best known, over the top, and difficult to produce pieces of music in history. Despite its popularity almost 150 years later, the composer actually thought it was one of his worst works.  Learn more about the 1812 Overture, how it was created, and just how crazy it actually is to properly perform, on this episode of Everything Everywhere Daily. Subscribe to the podcast!  https://podfollow.com/everythingeverywhere/ Record your family's memories at https://StoryWorth.com/Everything -------------------------------- Executive Producer: Darcy Adams Associate Producers: Peter Bennett & Thor Thomsen   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Update your podcast app at newpodcastapps.com Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/everything-everywhere-daily-podcast/ Everything Everywhere is an Airwave Media podcast." or "Everything Everywhere is part of the Airwave Media podcast network Please contact [e-mail] to advertise on Everything Everywhere. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1880, the Russian composer Piotr Ilyich Tchaikovsky was commissioned to compose a work in honor of the completion of a new cathedral. What he wrote became one of the best known, over-the-top, and difficult to produce pieces in music history. Despite its popularity, almost 150 years later, the composer actually thought it was one of his worst works. Learn more about the 1812 overture, how it was created, and just how crazy it is to properly perform on this episode of Everything Everywhere Daily. What if your perceptions about the past were wrong? ThruLine is a podcast that takes you back in time to uncover the parts of the story that may have gone unnoticed. It effectively turned day into night. And how it shaped the world now.

Time travel with us every week on the Thurline podcast from NPR. In 1812, Napoleon Bonaparte and his French army invaded Russia in a disastrous attempt to capture Moscow. Prior to taking Moscow, the French and the Russians fought at the Battle of Borodino, where there may have been as many as 100,000 casualties on both sides. After the Pyrrhic French victory, they entered Moscow only to find that most of the city had been burned to the ground, and there wasn't enough supplies for them, which forced them into a long, agonizing retreat. Upon their retreat, the Russians Tsar Alexander I commissioned the construction of the Cathedral of Christ the Savior in Moscow to be built in honor of the victory. Fast forward 68 years later to the year 1880.

The cathedral was finally nearing completion. In 1881, Russia would be celebrating the 25th anniversary of the coronation of Tsar Alexander II, and in 1882 there was going to be a huge industrial exhibition in Moscow. Chikovsky was commissioned to compose something that could be used for all these events. He didn't actually like the cathedral, and he wasn't a fan of the Tsar, so he took the 1812 victory over Napoleon as his theme. He began work on the composition on October 12, 1880, and managed to complete it just six weeks later. What he wrote was audacious.

It was big. It wasn't just something that was written for an orchestra. It had instruments and volumes which hadn't been seen in music before or since. So what makes this composition so different? When a composer writes a piece of music, they include what's known as an instrumentation. This is nothing more than a list of all the instruments which are required to perform the piece. As with most musical compositions, it had brass, woodwinds, and strings. However, the instrumentation also had other things.

For starters, in addition to an orchestra, the instrumentation required an entire brass band or marching band. On top of that, one of the instruments was a carillon, or as it's pronounced in England, a carillion. If you're familiar with a carillon, it's a bell tower with multiple bells that can play music. There aren't many of them in the world, and they aren't the sort of thing that you can just put in an orchestra hall. Their permanent structure is usually associated with a church or a university. There are almost no live performances of the 1812 orverture which use a carillon or even church bells. Most orchestras will just use chimes, which, to be honest, does a good enough job. The big thing, however, there really sets the overture apart from everything else is the thing that it's best known for, cannons.

More on the use of canons in a bit. The plans for the premier performance were that it would be performed outdoors in front of the cathedral. A special electrical device would be created to fire the cannons because otherwise you couldn't time the firing properly if you fired them with a flame. Another thing that was planned was that the church bells all over Moscow were going to be wrong at the exact same time on cue. Finally, a marching band would join the orchestra on cue as well. It was going to be a massive production, in fact, one of the biggest musical productions in history at that point. However, it never happened. The primary reason for the cancellation of the performance was the assassination of Tsar Alexander

II. This put the finalization of the cathedral on hold, as well as the surrounding festivities. In the end, the world premiere did take place in 1883, inside of a tent near the unfinished cathedral, with a fraction of the production value of what was originally planned. Now, for this episode, everyone has a homework assignment. I would like you to go online and listen to the 1812 overture after you're done listening to this. It's only about 15 minutes long and you can find many, many versions on Spotify or YouTube or wherever you listen to music. There are several other pieces of music that are actually used within the overture. If you aren't Russian, and in particular a 19th century Russian, you might not even be aware of them.

The entire piece starts out with a rendition of an Orthodox hymn by the name of O Lord Save Thy People. In the overture, it's usually performed with strings, four cellos and two violas. However, because it's a hymn, it's sometimes performed by a choir, which just adds to the complexity and production of performing it. Here is what it would sound like in a normal performance. Now, just for comparison, here's what the hymn sounds like. The use of the hymn at the beginning of the piece is intended to invoke a peaceful people living in their village. The second musical work, which is found inside the overture, is the French national anthem, the Marseillaise. This is used several times to pretty obviously invoke.

the presence of the French forces. And it sounds something like this. Historical fun fact, during the reign of Napoleon Bonaparte, he actually banned the singing of the Marseillaise, which was the national anthem after the French Revolution. So in 1812, this wouldn't have been the French National Anthem. However, because it's so well known and associated with France, it served its purpose as an audio cue. The final musical work within the 1812 overture is the Imperial Russian National Anthem, God Save the Tsar. Here, Here's how it's used in the orvature. And here's what the anthem would sound like if it was sung by itself.

So you can see that Chikovsky actually borrowed liberally from other sources, but the things he was borrowing from were supposed to be rather obvious to the people that were listening to it and were supposed to invoke certain things. The hymn meant a peaceful village, the French national anthem, of course, meant the French, and the Russian national anthem, of course, meant the Russians. Since the release of the 1812 Overture, it has become one of the most popular works of classical music of all time. However, because of the unique requirements that Chikovsky laid out, it's almost never performed as it was envisioned. The first recording of the overture took place by the

Royal Albert Hall Orchestra in 1916. This performance didn't even bother to try and use canons, and neither did any other contemporary recordings from that time. The first real attempt to actually try and make a recording that was faithful to the vision set out by Chikovsky took place in 1994. The Minneapolis Symphony recorded a version using actual cannon fire from a Napoleonic-era cannon, an actual carillon, and an actual brass band. The way they did it was by recording all the hard parts separately. The canons were recorded at the West Point Military Academy in New York. The cannon which was used was an actual French muzzle-loading cannon built in 1775. They actually fired the cannon multiple times to get an explosion that sounded good, changing the amount of

powder and microphone position. The carillon parts were recorded separately at the Yale University Carolon, and the University of Minnesota brass band provided the separate brass parts. All of these separate recordings were then combined in the studio to create the version which was the closest up to that point of what Chikovsky wanted. This 1954 recording was published on Mercury Records, and it's still available on Spotify today. One side of the record is the actual performance, and the other side is a short commentary explaining how they did it. In 1950s, this album was remastered with a different Carolyn recording, and it was also published in stereo. In fact, it was one of the very first stereophonic recordings ever released on vinyl, which made it a landmark recording, and it sold well enough to become a gold record, and it was the best-selling classical recording of the 1950s.

It also set the expectations for future performances of the 1812 overture very high. An orchestra couldn't just use a kettle drum in place of the cannons. People now expected cannons. There are two ways that most orchestras replicate the cannon fire. The first is to use an actual explosion. They'll sometimes use a very small cannon that can fit on a desk. These will usually fire blanks and make a pretty big sound indoors, as well as give off a little bit of smoke. The other way is to pipe in the sound of cannon fire over loudspeakers. However, there is a third way, and that is to use an honest-to-goodness actual cannon.

This was popularized in 1974 when the Boston Pops, conducted by Arthur Featler, performed the 1812 overture for a 4th of July concert. That performance was important for two reasons. First, they used real cannons, howitzers actually, in the live performance. And second, the performance was televised. As the performance was shown around the United States, it began a tradition of performing the 1812 overture on Independence Day. The piece is performed by both orchestras and recordings all over the country,

and one of the reasons it's so popular is that it goes really well with fireworks. Most Americans mistakenly think, that the 1812 overture has something to do with the war of 1812 that the Americans fought against the British. And that is not at all the case. The 1812 overture has also become a popular piece for military bands to perform because, well, they have cannons. Just doing a cursory search on YouTube, I found performances done by military bands in Norway, South Korea, the United States, Taiwan, and Russia. And I'm sure there are many, many more. In 1990, in a celebration of Chikovsky's 150th birthday, the St. Petersburg

Philharmonic Orchestra performed the piece for the very first time with 16 different muzzle-loading cannons, according to his original specifications. Perhaps my favorite version that I found was by an orchestra from a small town in Spain. The orchestra wasn't great, but they performed the piece in their town square where they had a bell tower with some additional bells set up in buildings, and they also had small cannon set up on top of some of the buildings in the square. It was the only version that I've found that has both actual bells and canon in a live performance. Not everyone likes the 1812 Overture. Many classical music snobs looked down on it.

Yet, oddly enough, no one hated it more than Chikosky himself. It bothered him that this had become his best-known composition. He said to his friend who had helped him get the commission that it was, quote, very loud and noisy, but without artistic merit, because I wrote it without warmth and without love, end quote. Despite Tchaikovsky's lack of love for this piece, it has become a favorite of music lovers around the world, and a cornerstone of the classical music canon.

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