The Well-Tempered Ear
Should the 1812 Overture be played this Fourth of July?
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By Jacob Stockinger
The Ear recently noticed that the Wisconsin Chamber Orchestra has once again scheduled the 1812 Overture by Tchaikovsky (below) as part of the finale of its Fourth of July concert on the evening of July 6, 2022.
The performance is part of this summer’s FREE Concerts on the Square (COS) by the WCO that run on six consecutive Wednesday nights from June 29 through Aug. 3. Concerts start at 7 p.m. on the King Street corner of the Capitol Square in downtown Madison, and will be conducted by Andrew Sewell.
For more information about the series and individual performers and programs, go to: https://wcoconcerts.org/concerts-tickets/concerts-on-the-square
An asterisk says programs are subject to change.
Which got The Ear to thinking: Should Tchaikovsky’s perennial favorite, the flashy and loud 1812 Overture, be played again this year?
It is a tradition that was started on Independence Day in 1974 by Arthur Fielder and the Boston Pops, according to reputable sources.
But this year might be a very different case because of a quandary that might cause organizers, including PBS’ “A Capitol Fourth,” to rethink the program.
It is a choice that will confront many musical groups across the U.S., given the current unprovoked brutality and and war crimes being committed by Russia against Ukraine.
After all, many music groups, including the Metropolitan Opera, have already banned Russian performers who support Russian President Vladimir Putin and his unjustified war in Ukraine (below).
So here’s the question: Is it appropriate to play a favorite work celebrating a Russian military victory while Ukraine, the United States and Western allies, including NATO, are desperately trying to defeat Russian forces?
As you may recall, the overture was inspired by Russia’s victory over the invading forces of Napoleon who was attempting go conquer Russia. Like Hitler and the Nazis, Napoleon failed and the Russians prevailed. That is why, in the work, you hear the French national anthem “La Marseillaise” overcome by the chimes and cannons of the Russian victory hymn. (There was no Russian national anthem until 1815.)
Here is a link to more background in Wikipedia: https://en.wikipedia.org/wiki/1812_Overture
Will the Wisconsin Chamber Orchestra or other orchestras as well as radio and TV stations around the U.S. find a substitute piece? Perhaps it could be the Ukrainian national anthem that is performed (as in the BBC Proms concert in the YouTube video at the bottom and as many other orchestras around the world, including the Madison Symphony Orchestra and John DeMain, have done).
What else could the WCO and other groups play — especially since Sousa marches are already usually featured on The Fourth?
Do you have a suggestion?
The Ear will be interested to see how the quandary is solved — with explanations and excuses, or with alternative music?
Meanwhile, as comedian Stephen Colbert likes to say: What do you think?
Should the “1812 Overture” be played on this Fourth of July?
Why?
Or why not?
The Ear wants to hear.
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The famed International Tchaikovsky Competition has been expelled from the World Federation of International Music Competitions
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By Jacob Stockinger
One of the granddaddies of all international music competitions — probably the best known and most prestigious — has been disowned.
The International Tchaikovsky Competition — the one that catapulted the young American pianist and first winner Van Cliburn (below, during the competition) to worldwide fame during the height of the Cold War, for which he received the only ticker tape parade in New York City ever given to a musician — has been expelled from the World Federation of International Music Competitions, which was founded in 1957 and represents 110 music competitions and programs to help young musicians build a career.
The move comes in response to recent events in Ukraine — including alleged Russian war crimes during its brutal, deadly and unprovoked invasion.
The famed Tchaikovsky Competition — which started in 1958 and is now for pianists, violinists, cellists, vocalists as well as woodwind and brass players — is held in Moscow and St. Petersburg and is financed and organized by the Russian government. It has launched the careers on many great musicians.
It is co-chaired by the discredited Russian conductor Valery Gergiev (below right, in 2014), a close friend and avid supporter of Russian President Vladimir Putin (below left) and of the conflict in Ukraine.
The expulsion came about because the Tchaikovsky Competition refused to condemn the Russian invasion, as the federation requested.
Here is a link to the story that was published on the website Classical Music, an online publication of the BBC Music Magazine. It contains background on both the competition and the current state of affairs regarding Russian musicians and the Russian conflict in Ukraine. It has a lot of noteworthy links:
And here is the response from the organizers of the Russian competition, which takes place every four years. The 16th competition was held in 2019, and the 17th is still scheduled for 2023. (The announcement of the 2019 piano winners — by the Russian former piano winner Denis Matsuev, who has been boycotted because of Ukraine — is in the YouTube-Medici.TV video at the bottom.)
The response — which accuses the federation of “persecuting” Russian musicians and promises that it will be held as usual and remain open to contestants worldwide — is posted on the competition’s website:
https://tchaikovskycompetition.com/en/news/415.htm
It makes one wonder what the effects on the next Tchaikovsky competition will be.
Will potential jurors outside Russia boycott the competition?
Will non-Russian contestants — with the exception perhaps on Chinese and Belarusian performers — avoid participating?
And what will be the effect on the inaugural Rachmaninoff Competition for pianists, composers and conductors that is scheduled to take place this June in Moscow?
What do you think?
Is it the right call by the international federation?
Or the wrong call?
Why do you think so?
The Ear wants to hear.
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The Well-Tempered Ear 