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Tchaikovskys 1812 Overture

The romantic period (1815- 1910) stressed emotion, imagination and


individuality.
1
Romantic music consisted o e!pressive aims and su"#ects
as romantics e!plored eelings and composed music either "ased on
stories, poems, ideas and scenes or consciously included national
$avour "y including ol% music.
&
'eter (llych Tchai%ovs%y (18)0-189*) a Russian romanticist +as "orn in
the small to+n o ,ot%ins%. -is music +as more in the +estern tradition
though he +as in$uenced "y Russian elements.
*
-e stated. ( am
Russian, Russian, in the ullest sense o the +ord..
)
Tchai%ovs%y is
regarded as a nationalist composer,
5
as he used ol% music and +rote
music inspired "y Russia.s history.
Tchai%ovs%y.s 1812 Overture in / $at ma#or, op 0) is one o his "est
%no+n +or%s.
0
-e +or%ed on it rom 1cto"er 1& to 2ovem"er 19, 1880
3

and su"mitted it to cele"rate Russia.s deeat to+ards 2apoleon.s 4rand
5rmy at the 6attle o 6orodino in 181&.
8
(t +as 7rst de"uted in the
8athedral o 8hrist the 9aviour in 5ugust 188&
9
. (n his o+n +ords, he
ound it :very loud and noisy.
10

1
;amien, R. (&008) Music: An Appreciation.9
th
ed. 2e+ <or%= The >c4ra+--ill companies. page
&33
&
("id
*
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)
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http=??+++.classical.net?music?comp.1st?+or%s?tchai%ovs%y?181&.php
3
@ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le=
http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html
8
Aaugherty, 6 (&010) Mosco!" #istor$. 5vai%a&%e:
http=??+++.classical.net?music?comp.lst?+or%s?tchai%ovs%y?181&.php
9
i"id
10
/,/29, /= 'c(ai)ovs)$: (is %i*e an+ !or)s, !it( e,tracts *rom (is !ritin-s an+ t(e +air$ o* (is
tour a&ora+ in 1888 Cilliam 'u"lishers, @ondon (1998)
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Practical Application
PA2
*(ere is considered use
of resources+ (o,e-er.
t(e footnotes contain
so/e errors0
Knowledge and
Communication KC1
*(is introduction to t(e
in-estigation s(o,s an
infor/ed understanding
of t(e topic "ut it is too
si/p)istic to put it in a
(ig(er grade "and0
Analysis
A1
*(is infor/ation s(o,s
considered
understanding of t(e
piece in its (istorica)
context0 1t (as "een
descri"ed as !p0 6#.
(o,e-er it is !p0 #90
Romantic orchestras +ere larger than in the classical period and
composers +ere e!posed to a +ider variety o instruments. This can "e
seen in Tchai%ovs%y.s 1812 Overture as it is scored or a larger
orchestra= "rass "and, +ood+inds, "rass, percussion and strings. The
use o the "rass "and is considered innovative as it +as not commonly
ound in an orchestra. Tchai%ovs%y employs the "rass "and to portray
the story o Russia.s deence o 6orodino
11
. (t plays a moti +hich comes
rom the orthodo! tune +hich is introduced at the "eginning o the +or%.
(Digure 1)
Figure 1 Brass band, frst introduce in the Recapitulation
Tchai%ovs%y also introduced the use o cannons in this piece to re$ect
the Russian military.s advances, orcing the Drench urther to+ard the
"orders.
1&
The overture is "est %no+n or its climactic volley cannon 7re
and ringing chimes, ound in the recapitulation.
The 1812 Overture is in the orm o a concert overture, +hich emerged
rom the opera overture, +hich +as played at the commencement o an
opera, to esta"lish the mood.
1*
5 concert overture is an independent,
11
Aaugherty, 6 (&010) Mosco!" #istor$. 5vai%a&%e:
http=??+++.classical.net?music?comp.lst?+or%s?tchai%ovs%y?181&.php
1&
@ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le=
http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html
1*
;5>(/2, R= Music: An appreciation (0
th
/dition) The >c4ra+- -ill 8ompanies (nc, 2e+ <or%
(&008) page **5
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Knowledge and
Communication KC1
*(is is de/onstrating
2no,)edge and
infor/ed
understanding of t(e
topic0
Analysis
A1
*o /a2e t(is state/ent
re)e-ant to t(e
ana)3sis. t(ere needs
to "e c)earer
description of t(e tune
and exp)anation t(at it
is a Russian ort(odox
tune0
Practical Application
PA3
Considered
presentation disp)a3ing
appropriate use of
/usica) exa/p)es0
one movement +or% oten in sonata orm.
1)
8omposers rom the
romantic period oten modi7ed traditional orms to portray sel
e!pression and individuality o style.
15
Tchai%ovs%y modi7ed sonata orm
in the overture +hich can "e seen in ta"le 1.
Tchai%ovs%y.s e!position ("ar 1-89) ollo+s traditional rules, or instance
the use o t+o contrasting themes. This can "e seen in his 7rst theme
("ar 1-*5). The piece opens +ith the som"re tones o a Russian church
chant, :4od 'reserve thy 'eople., recalling that the declaration o +ar
+as announced at church services in Russia.
10
This announcement and
pu"lic reaction +as captured in @eo Tolstoy.s novel, .ar an+ /eace.
13

Tchai%ovs%y.s 7rst theme, presented "y the lo+er strings, is Euite slo+
rhythmically and repetitive melodically. (t is in the %ey o /" ma#or +ith
homophonic te!ture. (Digure &).
Traditionally, the "ridge acts as a transition rom the 7rst theme to the
second theme, +ith modulations leading to the ne+ %ey.
18
-o+ever, this
1)
i"id
15
i"id
10
@ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le=
http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html
13
i"id
18
;5>(/2, R= Music: An appreciation (0
th
/dition) The >c4ra+- -ill 8ompanies (nc, 2e+ <or%
(&008) page **5
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Figure 2 Tchaikovsky's frst theme
Knowledge and
Communication KC1
*(is de/onstrates
detai)ed 2no,)edge of
t(e topic0
Analysis
A1
*(e point is re)e-ant to
t(e ana)3sis and it is
i/portant in p)acing t(e
piece in its (istorica)
and cu)tura) context.
Knowledge and
Communication KC1
5ood use of /usica)
ter/ino)og30
is not the case in the 1812 Overture, as the second theme is in the
tonic, /" >a#or. Drom "ar *3 to 3* Tchai%ovs%y e!tensively uses
chromatic runs +hich could "e seen as depicting the distressed Russians
hurrying to church to pray.
19
-is second theme ("ar 3) to 83) is short
and detached and could depict the "attle
scene +ith the use o the snare drum
&0
. (Digure *)
19
@ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le=
http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html
&0
i"id
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Analysis
A2
*(is is ,e))6considered
ana)3sis of t(e st3)istic
features0
*C7A18!9S8:;S M!<1=1&< S!>A*A =!RM C?ASS1CA? S!>A*A =!RM
&@P!S1*1!>
*c(ai2o-s23;s 2
nd
t(e/e sta3s in t(e tonic 2e3 &" =)at
MaAor$0 7o,e-er t(is is a nota")e contrast "et,een t(e 1
st
t(e/e and t(e 2
nd
t(e/e0
1
st
t(e/e is in t(e tonic 2e3
'ridge passage )eading to t(e
2
nd
t(e/e B often in t(e <o/inant 2e3 or re)ati-e /aAor
1
S*
*7&M&
*c(ai2o-s23;s treat/ent to,ards t(e exposition opening to
"ar 89$ fo))o,s traditiona) ru)es. as (is first t(e/e is in t(e
tonic 2e3
1n tonic 2e3. or (o/e 2e30
'R1<5&
*(e "ridge is Cuite )engt(3 co/pared to t(e c)assica) sonata
for/+ (o,e-er t(is gi-es *c(ai2o-s23 to exp)ore ,it( ne,
c(ords ,(ic( e/p(asiDe ric(. co)ourfu) and co/p)ex
(ar/onies0
?eads to t(e ne, 2e3. eit(er t(e do/inant or re)ati-e /inor0
2>< *7&M&
second t(e/e is s(ort and detac(ed and cou)d depict t(e
"att)e scene ,it( t(e use of t(e snare dru/0 1nstead of
/odu)ating to t(e do/inant (e sta3s in t(e tonic &" /aAor0 7#
to 87$
!ften contrasts in /ood ,it( t(e first t(e/e0 *(ere is a)so a
repeat sign at t(e end of t(e exposition in c)assica). ,(ic(
indicates t(at it s(ou)d "e p)a3ed again0
<&9&?!PM&>*
*c(ai2o-s23;s de-e)op/ent is -er3 )ong and it fo))o,s tradition
ru)es. for instance /o-es rest)ess)3 t(roug( se-era) different
2e3s. for instance &" Minor6 t(e re)ati-e /inor of t(e tonic 2e3
and = s(arp MaAor. an unre)ated 2e30 7o,e-er. *c(ai2o-s23
doesn;t de-e)op an3 of t(e t(e/es found in t(e first
/o-e/ent0 (e instead "rings ne, /ateria) and de-e)ops it0
*(e /usic /o-es rest)ess)3 t(roug( se-era) different 2e3s00
*(e/es fro/ t(e exposition are de-e)oped. or treated in
ne, ,a3s0 *(e3 are "ro2en into frag/ents. or /oti-es ,(ic(
are s(ort /usica) ideas de-e)oped0
R&CAP1*E?A*1!>
*(e first t(e/e is "roug(t "ac2 in t(e tonic 2e3. (o,e-er
c(anges t(e orc(estration "3 (a-ing a "rass "and as ,e)) as
t(e "rass section p)a3ing00 *c(ai2o-s23 a)ters ,it( t(e texture
and does t(is "3 (a-ing t(e "rass "and and t(e "rass section
p)a3ing t(e t(e/e. preceded i//ediate)3 "3 ascending
c(ro/atic runs p)a3ed "3 t(e strings and ,ood,ind section0
*c(ai2o-s23 "rings "ac2 t(e 2
nd
t(e/e and instead of Aust
(a-ing t(e ,ood,inds p)a3ing. *(ere is (o,e-er an a"sence
of t(e "ridge0 *c(ai2o-s23 a)so does a -er3 inno-ati-e t(ing
"3 "ringing in a co/p)ete)3 ne, /oti-e0 5od sa-e t(e tsar
,(ic( depicts Russia;s; defeat
1n t(e recapitu)ation. t(e first t(e/e. "ridge. second t(e/e
and conc)uding section *(e recapitu)ation is announced "3 a
dou")e return: to t(e /ain t(e/e and to t(e tonic 1n t(e
recapitu)ation. t(e second su"Aect can start in an3 2e3 "ut it
(as to go to t(e tonic
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Knowledge and Communication
KC2: Considered and genera))3 c)ear co//unication of in-estigation findings0
Practical Application
PA3
Considered presentation disp)a3ing appropriate use of /usica) exa/p)es "ar nu/"ers fro/ t(e score$0
7o,e-er /ost of t(e infor/ation contained in t(e ta")e is a)so in t(e "od3 of t(e in-estigation0
The
development section is +here themes and materials rom the e!position
are treated in ne+ +ays. Tchai%ovs%y.s development ollo+s traditional
rules, or instance the rapid modulations. -o+ever, Tchai%ovs%y does
not develop either the 1
st
or &
nd
themes. (nstead, he introduces ne+
material, the Drench national anthem, and develops that "y changing
the orchestration and ragmenting the rhythm. This depicts the Drench
victories in the +ar, as +ell as the capture o >osco+ in 9eptem"er
181&.
&1

Tchai%ovs%y.s melodies are very romantic in style as the phrases are
uneven ma%ing them un"alanced and not symmetrical. -is melodies are
very long and e!pressive and he included e!isting ol% tunes +hich
&1
@ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le=
http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html
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Figure Tchaikovsky's second theme
Knowledge and
Communication KC2
Co//unication of
e)e/ents of an
in-estigation0
Knowledge and
Communication KC1
*(is de/onstrates an
infor/ed
understanding of t(e
topic0
Analysis
A2
Considered ana)3sis
of st3)istic features0
portray and re$ect real events that occurred in the 6attle o 6orodino in
181&. Dor instance, the use o an e!isting Russian orthodo! tune at the
"eginning o the overture +hich portrays distressed Russians +hen
:declaration o +ar +as announced at church services in Russia
&&
(Digure
1). The use o 0a Marsei%%aise- the national anthem o Drance re$ects the
early Drench victories in the +ar, including the capture o >osco+ in
9eptem"er 181&,
&*
+hich is introduced in the development section "y
the horns at "ar 1&3. (Digure ))
F4od save the TsarGH the national anthem o the late Russian empire- is
7rst introduced "y the lo+er strings and "rass, as +ell as the lo+er
sections o the "rass "and in the recapitulation. The horns play, as +ell
as the cannons going oI, +hile the marching li%e second theme is "eing
played "y the upper +ood+inds and strings. The Russian anthem is then
in counterpoint to the second theme.
&)
(Digure 5)
Tchai%ovs%y e!plores rich colour and comple! harmonies in the "ridge,
re$ecting romantic style.
&5
There are a num"er o passages +hich are
highly chromatic, adding colour to portray the con$ict as the desperate
Russians prepare or "attle. Tchai%ovs%y, reEuently changes %ey in the
&&
@ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le=
http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html
&*
i"id
&)
i"id
&5
;5>(/2, R= Music: An appreciation (0
th
/dition) The >c4ra+- -ill 8ompanies (nc, 2e+ <or%
(&008)
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Figure ! The introduction o" the French #rmy, introduced by the $orns Analysis
A2
*(is ana)3sis of t(e
st3)istic features of
t(is section is ,e))6
considered0
Analysis
A2
Considered ana)3sis
of st3)istic features0
overture and it is oten to unrelated %eys, or instance 4 ma#or, D sharp
ma#or, /" minor. Tchai%ovs%y also employs the use o seventh chords.
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Figure % The Russian national anthem introduced by the lo&er strings, the lo&er brass and the lo&er
&ood&inds
Throughout the overture, Tchai%ovs%y e!plores te!tural contrasts, as he
e!periments +ith ull orchestral orces and cham"er li%e sections as +ell
as homophony and polyphony. The use o ull orchestral orces,
depicting the Drench loss to Russia is re$ected in the diJJying spirals o
a diminuendo
&0
leading to the recapitulation (see Digure 0). 'olyphony
occurs Euite reEuently throughout this +or%, or instance at "ar *88
+hen the Russian anthem is "eing played at the same time as the
second theme. (Digure 5)
Throughout the overture, Tchai%ovs%y uses compositional techniEues
such as seEuences, rhythmic alteration, ragmentation and syncopation.
The use o syncopation in the development depicts the con$ict "et+een
the Russian and Drench armies, this is played "y the lo+er +ood+inds
and the "rass section. (Digure 3)
&0
@ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le=
http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html
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Figure ' (i))ing spirals o" dimineundos
Knowledge and
Communication KC1
*(e use of /usica)
ter/ino)og3 is accurate
"ut t(e state/ent is
genera)0
Figure * +se o" syncopation
Tchai%ovs%y also rhythmically alters motives, or instance the
development o the Drench anthem in the development. Tchai%ovs%y 7rst
introduces the theme in the horns (Digure 8).
Figure , The French anthem motive introduced by the horns
Then he has it in the trom"ones, preceded "y a rhythmic alteration.
(nstead o having our crotchets in the second "ar, he adds a minim and
a Euaver rest proceeded "y the t+o semi Euavers and t+o crotchets.
(Digure 9)
Figure - rhythmic alteration o" the .ational French #rmy
5t the "eginning o the overture, the time signature is simple triple or
the 7rst part o the e!positionK ho+ever at 7gure *, the second theme is
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Analysis
A2
Fe)) considered ana)3sis
of st3)istic features0 *(is
is a good co/parison
,it( "ot( exa/p)es
used to i))ustrate t(e
point0
in cut common time. The development stays in common time and
changes to simple triple leading up to the recapitulation.
Tchai%ovs%y.s 1812 Overture is one o his "est %no+n +or%s. (t re$ects
romantic style through a num"er o elements including a "rass "and as
+ell as the use o cannonsK the chromatic harmony and orchestral
colours e!ploredK the e!treme dynamics and the modi7cation o sonata
orm to suit personal e!pression depicting the real lie events o +hat
too% place at the 6attle o 6orodino in 181&.
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Additional Comments
Practical Application PA1
Appropriate de/onstration of independent ,or2. p)anning. and in-estigation processes t(roug(out t(is piece of ,or20
Knowledge and Communication
KC2
*(e co//unication is genera))3 c)ear0
Bibliography
books
-ARE1234, A: A composer in 'c(ai)ovs)$5s s(a+o!, 6ocuments, %etters, memoirs,
+iscussion o* !or)s. 2ue+er%- 6uch und musi%alienhandlung, 6erlin (&00*)
- 6R(449, 5A'= 'c(ai)ovs)$ an+ /us()in, men o* Russian %etters 1pera >agaJine
@ondon (1998)
- - /,/29, /= 'c(ai)ovs)$: (is %i*e an+ !or)s, !it( e,tracts *rom (is !ritin-s an+
t(e +air$ o* (is tour a&ora+ in 1888 Cilliam 'u"lishers, @ondon (1998)
- ;5>(/2, R= Music: An appreciation (0
th
/dition) The >c4ra+- -ill 8ompanies (nc,
2e+ <or% (&008)
- @5249T12, 6 and '1L2529;<, 5= '(e 'c(ai)ovs)$ (an+&oo): a -ui+e to t(e
man an+ (is music. (ndiana Mniversity 'ress.
-
- 9TRMTT/, C= 'c(ai)ovs)$, (is %i*e an+ times. The >c4ra+- -ill 8ompanies (nc,
@ondon
/ebsites
- 8orner, C. 1812 Overture. 5vaila"le=
http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html.
- Aaugherty, 6 (&010) Mosco!" #istor$. 5vai%a&%e:
http=??+++.classical.net?music?comp.lst?+or%s?tchai%ovs%y?181&.php
- @ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le=
http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html
- ;no!, 9. (&00)) :1812 Overture 5vaila"le= http??+++."hso.org.a%?repert-13*-
Tchai%ovs%y-181&-overture-1p-)9.htm.
0core
- Tchai%ovs%y, 'eter (llych, 1812 Overture Op 79. 8arrenreiter 9rte,t
#udio
- Tchai%ovs%y.s 181& 1verture. 'erormed "y the @ondon 'hilharmonic 1rchestra,
Mnited 5udio /ntertainment @td 1993
- Tchai%ovs%y.s 181& Destival 1verture. 'erormed "y the 9ydney 9ymphony
1rchestra, 5ustralian 6roadcasting 8ompany &005
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Practical Application
PA2
Considered use of
resources0
Performance Standards Stage 2: Music in Context
Practical Application Knowledge and
Communication
Analysis
A
7ig()3 effecti-e de/onstration of
independent ,or2. and p)anning and
in-estigation processes0
&xtensi-e and (ig()3 effecti-e
/anage/ent of t(e in-estigation.
,it( insig(tfu) use of a range of
resources and re)e-ant
docu/entation0
Confident and co/pre(ensi-e
presentation. disp)a3ing (ig()3
effecti-e use of /usica) exa/p)es.
tec(no)ogies. and processes0
Co/pre(ensi-e 2no,)edge and
understanding of t(e topic. ,it(
exce))ent use of /usica) ter/ino)og3.
and (ig()3 creati-e exp)oration and
insig(tfu) discussion of aspects of
/usic0
1ncisi-e and c)ear co//unication of
in-estigation findings0
7ig()3 de-e)oped aura) recognition
s2i))s0
Percepti-e ana)3sis and understanding of /usic in
its (istorica) and cu)tura) context0
Percepti-e ana)3sis of st3)istic features0
<iscerning s2i))s in aura) ana)3sis of /usic0
B
&ffecti-e de/onstration of
independent ,or2. and p)anning and
in-estigation processes0
9er3 capa")e /anage/ent of t(e
in-estigation. ,it( ,e))6considered
use of resources and re)e-ant
docu/entation0
9er3 capa")e presentation disp)a3ing
effecti-e use of /usica) exa/p)es.
tec(no)ogies. and processes0
<etai)ed 2no,)edge and infor/ed
understanding of t(e topic. ,it( c)ear
and consistent use of /usica)
ter/ino)og3. and creati-e exp)oration
and ,e))6considered discussion of
aspects of /usic0
Fe))6considered and /ost)3 c)ear
co//unication of in-estigation findings0
9er3 good aura) recognition s2i))s0
Fe))6considered ana)3sis and understanding of
/usic in its (istorica) and cu)tura) context0
Fe))6considered ana)3sis of st3)istic features0
9er3 capa")e s2i))s in aura) ana)3sis of /usic0
C
Appropriate de/onstration of
independent ,or2. p)anning. and
in-estigation processes0
!rganised /anage/ent of t(e
in-estigation. ,it( considered use of
resources. and /ost)3 re)e-ant
docu/entation0
Considered presentation disp)a3ing
appropriate use of /usica)
exa/p)es. tec(no)ogies. and
processes0
8no,)edge and infor/ed understanding
of t(e topic. ,it( /ost)3 accurate use of
/usica) ter/ino)og3. and so/e
creati-it3 in exp)oration. and considered
discussion. of aspects of /usic0
Considered and genera))3 c)ear
co//unication of in-estigation findings0
5enera))3 co/petent aura) recognition
s2i))s0
Considered ana)3sis and understanding of /usic in
its (istorica) and cu)tura) context0
Considered ana)3sis of st3)istic features0
5enera))3 co/petent s2i))s in aura) ana)3sis of
/usic0

<e/onstration of so/e independent


,or2. p)anning. and "asic
in-estigation processes0
Atte/pted in-estigation. ,it(
inconsistent use of resources and
docu/entation0
Presentation t(at disp)a3s
inconsistent use of /usica)
exa/p)es. tec(no)ogies. or
processes0
So/e 2no,)edge and understanding of
aspects of t(e topic. ,it( atte/pted use
of appropriate /usica) ter/ino)og3. and
so/e "asic exp)oration and description
of aspects of /usic0
Co//unication of e)e/ents of an
in-estigation0
&/erging aura) recognition s2i))s0
<escription of so/e aspects of /usic in its
(istorica) and cu)tura) context0
<escription of so/e st3)istic features0
So/e s2i)) in aura) ana)3sis of /usic0
!
?i/ited de/onstration of
independent ,or2. effecti-e
p)anning. or in-estigation processes0
?i/ited in-estigation atte/pted ,it(
use of one or /ore resources. ,(ic(
/a3 (a-e )i/ited re)e-ance. and
-er3 )itt)e docu/entation0
?i/ited presentation ,it( so/e
identification of a /usica) exa/p)e.
tec(no)og3. or process0
So/e a,areness of t(e topic. ,it(
)i/ited use of /usica) ter/ino)og3. and
atte/pted exp)oration and description of
aspects of /usic0
Atte/pted co//unication of )i/ited
e)e/ents of an in-estigation0
?i/ited aura) recognition s2i))s0
1dentification of one or /ore aspects of /usic in its
(istorica) or cu)tura) context0
1dentification of one or /ore st3)istic features0
?i/ited s2i)) in aura) ana)3sis of /usic0
Page 14 of 16 Stage 2 Music in Context annotated response for use in 2011
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-Para ouvir o hino russo "Deus salve o Czar" cliquei aqui. (Hino do imprio Russo de 1830
Para ouvir o hino francs cliquei aqui (vers!o lon"a ou aqui (#ers!o cur$a
Page 1# of 16 Stage 2 Music in Context annotated response for use in 2011
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A Abertura Solene Para o Ano de 1812 uma obra orquestral dePyotr Ilyich
Tchaikovsky comemorando o fracasso da invaso francesa Rssia em 1812 e a
subsequente devastao da !rande "rmada de #a$oleo% " obra & mais conhecida $ela sua
sequ'ncia de tiros de canho que &( em al)uns concertos ao ar livre( e*ecutada com
canh+es verdadeiros%
,ist-ria
" "bertura 1812 foi com$osta $ara a abertura da .*$osio /niversal das "rtes( em
0oscou( encomendada a Tchaikovsky $elo diretor dos 1oncertos da 2ociedade Im$erial
Russa( #icolas Rubinstein% Tchaikovsky no )ostava desse ti$o de encomenda( mas aceitou
a $ro$osta e comeou a trabalhar em uma obra que celebrasse simultaneamente os 34 anos
da vit-ria russa sobre #a$oleo 5ona$arte e o anivers6rio da coroao do 17ar%
#a$oleo era um )eneral temido e o e*&rcito franc's era considerado imbat8vel% .m 1812(
a 9rana venceu a $rimeira batalha( a 5atalha de 5orodin% 0as os franceses foram
derrotados $elo frio ri)oroso do inverno russo( que( associado a uma e$idemia de tifo( fe7
com que #a$oleo ordenasse uma retirada desordenada e catastr-fica% : e*&rcito de
;44%444 homens foi redu7ido a <4%444% :s russos consideraram =interveno divina> a
favor da Rssia%
1aracter8sticas
.ntre outras $eas do autor( como a 0archa .slava( esta & uma obra de car6ter fortemente
nacionalista( com$osta no ano de1884( $ara a comemorao da vit-ria russa sobre as
tro$as#a$ole?nicas%
" com$osio se baseia num anta)onismo entre a inicial vit-ria francesa e a $osterior
revanche russa% " 9rana & musicalmente re$resentada $elo tema de @a 0arseillaise( hino
da Revoluo 9rancesa% " $osterior vit-ria russa no m's se)uinte( & re$resentada $or um
diminueto do hino c7arista Aeus 2alve o 17ar e & se)uido $elo sonoro e cl6ssico troar
de canh+es% "ssim( encerraBse a contra$osio entre as duas vit-rias B de in8cio( a francesa(
re$resentada $ela @a 0arseillaise( e no final( $elo triunfo russo( retratado $elo hino
c7arista%
" obra contra$+e o hino da Rssia e o hino da 9rana( com fra)mentos do folclore russos
temas reli)iosos% " "bertura 1812 comea com um coro ins$irado no hino =Aeus aCude
vosso $ovoD( da i)reCa ortodo*a russa%
"$-s a Revoluo do sovietes e a consequente e*tino do hino c7arista( a obra sofreu
modifica+es( sendo o tema ori)inal substitu8do $elo coro final da -$era Ivan 2usanin(
de 0ikhail !linka( cuCo nome ori)inal & E" Fida $elo T7arE( modificao tamb&m
reali7ada $or ordem do re)ime sovi&tico%
.m sua forma com$leta( a $ea & e*ecutada $or coro( orquestra sinf?nica e banda militar
com o au*8lio de $eas de artilharia e carrilho% .m e*ecu+es em salas fechadas( costumaB
se substituir os canh+es $or t8m$anos GtamboresH( a fim de se obter um efeito semelhante
ao do dis$aro das $eas%
" "bertura 1812 & fonte de ins$irao $ara releituras( como no caso de I)or 5uketoff( que
na se)unda met6de da d&cada de ;4 G1I;JB34H( fe7 diversas modifica+es( tanto no coro
inicial( quanto outras altera+es instrumentais% .la & tributada na cano E2112 da RssiaE%
Page 15 of 16 Stage 2 Music in Context annotated response for use in 2011
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Also sprach Zarathustra" #p$ 3% e/ a)e/Go: Assim falou Zaratustra$ H u/ poe/a
sinfInico co/posto e/ 1896 por Ric(ard Strauss. inspirado no tratado fi)osJfico de /es/o
no/e escrito por =riedric( >ietDsc(e0 ! prJprio co/positor conduDiu a pri/eira perfor/ance
na cidade de =ran2furt0 E/a execuKGo tLpica dura cerca de /eia (ora0
Sua introduKGo tornou6se /undia)/ente con(ecida por ter sido usada co/o te/a /usica) no
fi)/e 2001: A Space Odyssey. criaKGo de Art(ur C0 C)ar2e e Stan)e3 8u"ric2. de19680 & co/o
introduKGo dos espetMcu)os de &)-is Pres)e3 a partir dos anos 700
Marc6Antoine C(arpentier co/posed (is grand po)3p(onic /otet Te Deum 70 1#6$ in <
/aAor pro"a")3 "et,een 1688 and 1698. during (is sta3 at t(e Nesuit C(urc( of Saint6?ouis
in Paris. ,(ere (e (e)d t(e position of /usica) director0
O1P
*(e ,or2 is ,ritten for t(e group of
so)oists. c(oir. and instru/enta) acco/pani/ent0
C(arpentier aut(ored six Te Deum settings. a)t(oug( on)3 four of t(e/ (a-e sur-i-ed0
O1P
1t is
t(oug(t t(at t(e co/position (a-e "een perfor/ed to /ar2 t(e -ictor3 ce)e"rations and
t(e 'att)e of Stein2ir2 in August. 16920
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