She helped several artists financially, including Nikolai Rubinstein and Claude Debussy.
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- Endless source of inspiration is… Blues!
Man can sacralize time, creating anniversaries and time cycles.
The completion of each cycle also defines the sacred point as the beginning of the new one.
These cycles bring the past back to the present.
Creating, at the same time, a new reality defined by each cycle, as well as a point of contact with the sanctuary.
Creating a link to everything, and, in some cases, to ourselves.
No better companion exists, for this contact than music!
This power that, at times, many authorities have tried to exploit.
By asking for grandiose musical compositions or preying on existing compositions, to celebrate some historical event.
But the notes are untamed and can easily escape, they can change from a symbol of power to becoming supporters of freedom.
Classical and pro-classical music has always been under the control of power, often without the will of the artist.
Hitler supported his blood-stained “politics” on the music of the anarchist Wagner without his own acknowledgment.
The Soviet “democracy” had a number of composers following its orders, against their will.
The romantic movement has made a serious effort to escape the yoke of each and every power.
Choosing themes more personally and escaping from the pompous style of the compositions.
The romantic movement, however, was the invisible root of modern music, but also of art in general.
Rebellious compositions, in addition to this movement, escaped and started being symbols of freedom instead of orders by authorities.
Although the reason may be just commercial …
A composition has the potential to manage to pierce its way into human thoughts along with its independence as an entity.
Overture of 1812
The “1812 Overture” or “The Year 1812” or “Overture of 1812” by Pyotr Ilyich Tchaikovsky can be described as such a composition.
Although well-known to classical music fans, it has become almost famous not only through the movie V for Vendetta (2000).
Also for its dystopian theme, directed by James McTeigue and the contribution of the Wachowski brothers.
(Who among other things created the Matrix).
In the soundtrack of the film, the overture of the great Russian composer occupies a key position, as it can be heard at the beginning as well as the end of it.
That way, starts the plot and accompanies its tragic – redeeming end.
Choosing this composition may not have been accidental.
Seeing how it contributed to the plot of the movie, taking into account the story behind its creation.
The basic idea behind the creation of the overture was the ambition of Tsar Alexander II.
Who wanted to commemorate the anniversary of the conflict of Russian troops against Napoleon’s.
The famous battle of Borodino, 12 km west of Moscow, took place on 7 September 1812 and had over 100,000 dead.
It was a Pyrrhic victory for the French, who, although managed to enter empty Moscow very easily…
They were quickly forced to leave because of the Russian winter… And because no more wooden floors were left in the Kremlin.
The return decimated the wounded French army even more.
However, it hurt, even more, Napoleon’s prestige and his ambitious plans.
A simple fact is indicative of the defeat of the French:
Upon returning, Napoleon asked a villager if he had seen any deserters since his soldiers have started leaving.
The villager recognized the great marshal and, with courage, replied that he was the first deserter he saw, referring to Napoleon himself.
When he managed to reach Poland, his troop was left in just 1/10 from the original Grande Armée.
The composition
To commemorate these events as well as the 25th anniversary of the Crown of Alexander II …
The Russian composer was assigned to musically dress a very ambitious project.
Following the encouragement of his friend’s friend and mentor, Nikolai Rubinstein …
He began its creation of October 12, 1880 and it was completed 6 weeks later.
The plan for the presentation was quite ambitious, accompanied by brass instruments, but also involving the bells of the cathedral, the so-called “zvons“.
Along with them, cannons would be connected through a switchboard that would make them fire simultaneously.
Regardless of the assassination of Tsar Alexander II, who failed to celebrate the 25 years since his coronation, the plan was too ambitious.
In the end, the first presentation of the overture took place on August 20, 1882, on a stage, in front of the unfinished cathedral of Christ Savior.
During the Exhibition of Arts and Industry, under the direction of the conductor Hipolito Altañi.
The Cathedral of Christ Savior was built in memory of the defense of Russia in 1812.
However, Tchaikovsky was not at all delighted with his creation.
As he himself complained to Nadezhda Filaretovna von Meck‘s protector, he considered it too noisy and without artistic value.
The reason was that he did not compose it with love and sentiment, but instead, he was executing orders.
Nevertheless, this composition made him even richer, as it is one of his most famously played compositions.
Ten years after its creation he visited New York where his work was presented at Carnegie Hall.
Often the overture is played on the celebration of Independence Day, although it has nothing to do with American history.
In the album “2112” by Rush, pieces of the Russian’s composition are used in several of their songs.
Historical data
Nadezhda Filaretovna von Meck: She was a Russian businessman, who was considered to be an eminent protector of the arts, especially of music.
She is known for her artistic relationship with Pyotr Ilyich Tchaikovsky.
Whom he supported for thirteen years in order to devote himself only to composing.
The two of them never met! Tchaikovsky dedicated Symphony No. 4 to her.
She helped several artists financially, including Nikolai Rubinstein and Claude Debussy.