The “patriotic significance,” of course, is what gives the overture its raison d’être as a motion picture of historical events. Tschaikowsky’s brushstrokes are bold and obvious. The French and Russians are clearly depicted through the use of the Czarist National Anthem and the Marseillaise. Fragments of Cossack and Novgorod folk songs enter the scheme, and the battle and fire scenes are as plain as pictures. As the overture develops, one envisions the clash of arms at Borodino, with the Russians stiffly disputing every step and the Marseillaise finally rising dominant. The Russians are hurled back; the French are in Moscow. Finally the city is ablaze and the dismal rout begins, as cathedral bells mingle with the roll of drums and the hymn, God Preserve Thy People, surges out in a paean of victory.
Capriccio Italien, Opus 45
Described by Edwin Evans as a “bundle of Italian folk-tunes,” the Capriccio Italien draws partly on published collections of such melodies and partly on popular airs heard by Tschaikowsky in 1880 while touring Italy. “I am working on a sketch of an ‘Italian Fantasia’ based on folksongs,” he notifies his patroness-confidante, Nadeshka von Meck, from Rome on February 17, 1880. “Thanks to the charming themes, some of which I have heard in the streets, the work will be effective.”
A facsimile of a piece of Tschaikowsky’s music, signed by the composer.
Tschaikowsky’s room at the Hotel Constanzi overlooked the barracks of the Royal Cuirassiers. Apparently the bugle-call sounded nightly in the barracks yards contributed another theme “heard in the streets,” for it may be heard in the trumpet passage of the introduction. The Italian Fantasia was fully sketched out in Rome and the orchestration begun. With the title now changed to Capriccio Italien, the work was completed that summer on Tschaikowsky’s return to Russia. Nicholas Rubinstein directed the première at Moscow on December 18, 1880. Six years later Walter Damrosch introduced it to America at a concert in the Metropolitan Opera House, the precise date being November 6, 1886.
After the introductory section, the strings chant a lyric theme of slightly melancholy hue, which the orchestra then develops. Later the oboes announce, in thirds, a simple folk melody of less sombre character. This, too, is elaborately worked out, before the tempo changes and violins and flutes bring in another tune. This promptly subsides as a brisk march section sets in, followed by a return of the opening theme. There is a transition to a lively tarantella, then another bright theme in triple rhythm, and finally the Presto section, with a second tarantella motif leading to a brilliant close.