Pyotr Ilyich Tchaikovsky's 1812 Overture is a classical piece that has historical roots as well as many roots in modern pop culture. Some argue that it is probably one of the most popular classical pieces of all time. Tchaikovsky was a Russian composer who specifically wrote this piece to memorialize the 1812 defense of Russia when Napoleon and his forces attacked Grande Armee in 1812. However, the piece was actually written much later in 1880 and didn't debuted until two years later. The piece itself can be defined by different mixes of tempos and instruments that are used to represent different points in the battle that Tchaikovsky was commemorating. For example, the piece starts with a Russian melody known as the Eastern Orthodox Troparion of the Holy Cross (also known as "O Lord, Save Thy People") played by four cellos and two violas. This is meant to represent the attack of the French at which the Russian people were in distress. Each of the different phases in the piece have similar meanings and these are actually considered to be largely historically accurate.

The experience that is gained when listening to this song can be...

There are a series of peaks and troughs, highs and lows. In my personal experience, it is about as exhilarating as music can be if you follow closely. The dynamics among the different sounds and tempos used are broader and virtually all contemporary music I know off. This is especially true in a live performance. Although I do not listen to this work regularly, I have built an appreciation for it as well as a fondness for this piece.
Scholarly Analysis

In Tchaikovsky's 1812 Overture there is a cannon and according to the score, the cannon is supposed to be fired nineteen times. This is said to ensure a series of percussive effects which cannot be missed by even the most tin eared audience member; in fact, it has been said that if deaf people were to attend a performance of the piece it is likely that they would be able to sense the percussive effects of the cannon because it is so loud as to be capable of being "heard" by one's entire body, not just the ears alone (Hendrix 2000). This serves as an extreme example of one of the dualities of music, not only is the music to be heard…