1812 Overture (arr Kimura)
Peter I Tchaikovsky (arr. Kimura)
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II
Horn in F I-II-III-IV
Euphonium (Bass Clef & Treble Clef) I-II
(percussion detail needed)
None discovered thus far.
Written in 1880, this overture is intended to be descriptive of the invasion of Russia in 1812, by the French under Napoleon, and their final defeat. After his victory of Borodino, the army of Napoleon marched into Moscow and took possession of the Kremlin. Thereupon the patriotic Russians set fire to their city, forcing the French to retreat.
The theme of the introduction is drawn from a Russian hymn, God, Preserve Thy People, and this is soon succeeded by the vividly picturesque "battle music." The fight begins, and the French at first have matters all their own way. High above the tumult are heard fragments of the Marseillaise, but soon a theme of obvious Russian extraction appears, a folk song from the government of Novgorod, the two motifs alternating as the fight gives advantage, first on one side and then on the other. As time goes on, the Russian theme become more and more predominant, and the Marseillaise dies gradually away. Napoleon is beaten, and his army is in retreat. The victorious Russians give themselves up to rejoicing, the famous bells of Moscow peal forth gloriously in honor of Russian victory, and the fine rhythmic melody of the national hymn is heard triumphantly thundered out.
- Program Note by Richard Franko Goldman, in Program Notes for Band
It's safe to say that almost everyone knows the flashier aspects of Tchaikovsky's 1812 Overture: cannons, church bells, brass bands. The solemn overture is undoubtedly one of the most surefire crowd pleasers to resound through the concert all (although it was originally intended for outdoor performances). Tchaikovsky was at the height of his career when he was commissioned in 1880 to compose a feature piece for performance at the All-Russian Exhibition of arts and Crafts in 1882. His first four symphonies, the First Piano Concerto and several celebrated orchestral showpieces had firmly established his international reputation as the current grand master if Russian composers. For the exhibition, he wrote a tribute to one of the most triumphal moments in Russian history, the defeat of Napoleon's invading army near the beginning of the century.
Most of Tchaikovsky's music is at least somewhat programmatic, but in no other piece is the program quite so transparent. The overture begins with a Novgorod peasant tune, played first by the strings, then augmented by woodwinds, representing the simple purity of Mother Russian. One can almost imagine the land itself as a slumbering giant, secure in its own strength. Suddenly, the serene atmosphere is broken by a stormy passage heralding the incipient war. It was as if a messenger burst through the doors into a church service announcing "We've been invaded."
A single snare drum signals the march of Napoleon's army onto the scene, announced by the horns. The Russian Imperial Army defends its territory in a fierce clash, by the invader prevails as bits of the French national anthem Le Marseillaise periodically rises above the clamor. The Russians retreat.
In quiet retrospect, the people mourn the desecration of their homeland by invaders and prepare to rise against the French. Battle is resumed, but once again Le Marseillaise is heard, as the French prevail, and once again the people mourn. Yet a third time the Russian troops attack, and this time the land itself – the sleeping giant – rises up to join with its people and throw off the invaders' yoke. (Coincidentally, this is historically accurate, for it was the Russian winter that actually defeated Napoleon's far superior military forces.)
The victorious third conflict leads to a celebration unprecedented in orchestral music: a salute of cannons, pealing of church bells, the Czarist national anthem, along with the solemn melody that opened the work. Tchaikovsky even throws in snatches of the march that originally heralded the arrival of the French, but Le Marseillaise is nowhere to be heard. Mother Russian has prevailed, and joy is everywhere.
- Program Note by California Polytechnic State University, San Luis Obispo, Wind Ensemble concert program, 6 December 2015
None discovered thus far.
- Tennessee: VI
To submit a performance please join The Wind Repertory Project
- Atascadero (Calif.) Community Band (Randy Schwalbe, conductor) – 1 November 2015
- Banda de Música Municipal de Caldas de Reis (Spain), (Daniel Portas Gonzalez, conductor) - 2014
Works for Winds by this Composer
- 1812 Overture (arr. Lake) (1880)
- 1812 Overture (arr. Kimura) (1880)
- 1812 Overture (arr. Mol) (1880)
- 1812 Overture (arr. Laurendeau, ed. Schissel) (1880/1904/2010)
- 1812 Overture (arr Whitcomb) (1880)
- 1812 Overture (arr Williams) (1880/1997)
- 1812 Overture (tr. Patterson) (1880)
- Capriccio Italien (tr. Hindsley) (1880/1984)
- Characteristic Dances from "The Nutcracker Suite" (arr. Rogan/McAllster/Reed)
- Dance of the Jesters (arr. Cramer) (1873/1997)
- Dance of the Reed Flutes (arr. Cook) (1892/1990)
- Dance of the Reed Flutes (arr. Schwalbe) (1892/2015?)
- Dances from The Oprichnik (tr. Bourgeois) (1872/2008)
- Dances des mirlitons (arr. Buitenhuis) (1892/)
- Entry March from "Swan Lake" (tr. Billis) (1877/1996)
- Faeries (arr. Davis; adapt. Longfield) (1891/)
- Festive Overture on the Danish National Anthem (arr. Godfrey) (1908)
- Finale from Symphony in F minor No 4 (arr. Safranek) (ed. Ragsdale) (1878/1912/2004)
- Finale from Symphony in F minor No 4 (tr Hindsley) (tr. Hindsley) (1878/197-?)
- Finale from Symphony in F minor No 4 (arr Sato) (arr. Sato) (1878/2014)
- Jurisprudence (1885)
- Le Lac des Cygnes: Act I, Scene 1 (arr. Nefs) (1876/)
- Mad Russian's Christmas, A (arr. Phillips and Megaw) (1891/1996/2015)
- Marche Militaire (arr. Schaeffer)
- March from "The Sleeping Beauty" (arr. Bourgeois) (1890/2018)
- March Slav (tr. Daehn) (1876/1994)
- March Slav (orch. Simpson) (1876/2000)
- Marche Slav (arr. Laurendeau) (1876/1906)
- Miniature Overture from "Suite from 'The Nutcracker'" (tr. Rogan; ed. McAlister and Reed) (1892/2001)
- Nutcracker Fantasy, The (ad. Yo Goto)
- Nutcracker Suite (arr. Lake) (1891/1924)
- Nutcracker Suite (arr Curnow) (arr. Curnow) (1891)
- Nutcracker Sweets (arr. Corwell) (1891/2010)
- Polonaise from "Third Suite" (arr. Godfrey) (1884/1916)
- Romeo and Juliet (trans. Hindsley) (1880/?)
- Selections from "The Nutcracker Suite" (arr. Longfield) (1884/1992)
- Sleeping Beauty, The (arr. Bennett) (1960)
- Sleeping Beauty: Waltz (arr. Eilhardt) (1889)
- Suite from "Swan Lake" (tr. Yodo) (1876/)
- Suite from the Ballet "The Swan Lake" (arr. Godfrey) (1876/1911)
- Symphony No. 6
- Tchaikovskyana (arr. Daehn) (1979/2015)
- Theme and Variations from "Suite in G Major" (arr. Winterbottom) (1884/1937)
- Themes from "The Nutcracker Suite" (arr. Johnson) (1891/1952)
- Waltz from "Sleeping Beauty" (tr. Lake) (1889/1937)
- Waltz of the Flowers (tr. Lake) (1892/1919)
- Smith, Norman E. (2002). Program Notes for Band. Chicago: GIA Publications. pp. 583.
- Tchaikovsky, P.; Kimura, Y. (1995). Overture 1812 [score]. De Haske Music: Heerenveen, Holland.