The one major goal we have here at The Reviewist is to help people to find, and appreciate, new music. Maybe something they haven’t experienced before. For 1812 Overture (officially called Festive Overture: 1812, Op. 49) this may be slightly difficult, as most of you have heard it. Many times actually…the problem though, is that you heard it on the 4th of July, all drunkered up and not paying attention to a single thing (except Uncle Jeb and his cavalier attitude towards explosives and alcohol). We think that a little history is in order here, because the piece is so stunningly beautiful when you know what is going on. Many classical composers were master story tellers…they just didn’t use words. As a matter of fact, there are so many pieces of classical music that tell whole stories! Once you know the stories, though, you get hooked. So, proceed with caution…or heaven forbid you might ACTUALLY like the classical music you have only claimed to like in the past.
One note before we begin: We are going to tell you the story from the perspective from which it was composed and initially performed. There are probably some slight historical inaccuracies, but that is not the point. The point is what this meant to the people of Russia, whose perspective we will share on this journey.
Before the French offensive against Russia, Napoleon had pretty much trashed every nation in Europe (or at the least had a treaty favorable to France with them). This was causing difficulties in Russia, as they were low in industry, but had huge amounts of raw resources…but the treaties did not allow them to trade. This brought Russia to its knees, and soon their economy buckled. Faced with these facts it became clear to the leadership of the country that their options were:
1. Die because of an overtly sinister and unfair treaty, or
2. Die fighting their way out of it. They decided to fight, and broke off from the “union” of the time.
Do you have the guts? Seriously…do you have the kibbles and bits to listen to something you never would have considered before? Something you may have even mocked in the past?
Really? Prove it!
This is the time. Now.
We are making the whole song available, because we think it’s time. Don’t you? Have you been rotting away in repetitive uber borked techno hosiery for long enough? We aren’t kidding. Get the headphones, turn on the speakers, shut the door.
Click:
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We consider what you are hearing (you clicked, right?) to be one of the most beautiful pieces ever written. It is so elegant, so well composed…the talent required to play it is considerable. Actually…to really play it you have to be built different than most other people (we’ll get to that). This is Rachmaninoff’s “Prelude in C-Sharp Minor”.
Alright, to start off, this piece is rated as “HOLY CRAP!” on “The Reviewist scale” (which ranges from “Cat on keyboard” to “You will learn to walk on water first”). Having seen and attempted the music to the piece, I can attest to that rating. It starts with the left hand playing sextet arpeggios (don’t get all exited, it does not mean what you think it means). After 2 measures of that an impossible 16th note section playing on top joins in at ludicrous speed, flying all over the place. Not only would each hand be difficult on it’s own, but the rhythm is syncopated.
You’re done…stop trying. You will never play this piece of music.
Oh yeah…also, it’s in C # Minor. In the decades of musical experience that The Reviewist has, he has only played one piece in that key. And it was a punishment for not cleaning his room or something. The key alone is so hard that I’m pretty sure that Beethoven couldn’t play anything in it, and would go into fits when he saw it marked on paper. I think it’s how he died actually, though that may be just a rumor. None the less, no one should ever try playing any song in C# Minor, as you can end up in the hospital.
Originally composed for Julian Fontana, Chopin requested that it not be published and instead remain for Julian only. Fortunately for us, Julian was a skeevy wanker, and decided that he would go ahead and publish it anyways. YAY FOR US!
Please take the time to listen to it…as it is beautiful. And, there is a good chance that immediately after finishing the pianist died…
The one major goal we have here at The Reviewist is to help people to find, and appreciate, new music. Maybe something they haven’t experienced before. For 1812 Overture (officially called Festive Overture: 1812, Op. 49) this may be slightly difficult, as most of you have heard it. Many times actually…the problem though, is that you heard it on the 4th of July, all drunkered up and not paying attention to a single thing (except Uncle Jeb and his cavalier attitude towards explosives and alcohol). We think that a little history is in order here, because the piece is so stunningly beautiful when you know what is going on. Many classical composers were master story tellers…they just didn’t use words. As a matter of fact, there are so many pieces of classical music that tell whole stories! Once you know the stories, though, you get hooked. So, proceed with caution…or heaven forbid you might ACTUALLY like the classical music you have only claimed to like in the past.
Do you have the guts? Seriously…do you have the kibbles and bits to listen to something you never would have considered before? Something you may have even mocked in the past?
