This essay was composed in August 2024. Sydney Brooks is a Graduate Instructor and the Graduate Assistant Director of Composition in USU’s Department of English.

Audience: Those who may not have an interest/ability to join the symphony community

Section 1: Defining Your Discourse Community

Amidst the hushed anticipation of an expectant audience, a profound silence envelops as the conductor raises their baton, alerting the musicians to ready themselves. The baton drops, and the first chair cello begins the 1812 Overture by Pyotr Ilyich Tchaikovsky with a rich and steady sound, using lots of vibrato and crescendo-ing to add some drama. Every fall at Utah Tech University, this is the pièce de résistance of the entire concert. It’s a favorite to play amongst senior members of the orchestra and a crowd-pleaser with its dazzling fireworks finale.

The symphony discourse community, comprising musicians, conductors, composers, and administrative staff, operates with a broadly agreed-upon set of common goals, such as achieving musical excellence, fostering community engagement, and preserving the cultural heritage of symphonic music. These goals are communicated through official mission statements from each symphony, rehearsal protocols, concert programs, and even the sheet music itself, like the 1812 Overture, ensuring all members are aware of the community’s objectives. Members are expected to follow these goals rigorously, as adherence to them is crucial for the symphony members to come together as a coherent unit. Enforcement of these goals is upheld within the hierarchical structure of the orchestra where conductors and section leaders provide feedback, guidance, and censure as needed.

Intercommunication among members of a symphony includes scheduled rehearsals where detailed feedback is given by the conductor to individual musicians and sections. For example, with the 1812 Overture starting with a cello solo, the conductor might address the cello section regarding the precision of their bowing, ensuring that when the rest of the section joins the soloist, the collective sound is so aligned that it sounds like one other cello instead of a group of cellos. This communication is instrumental in maintaining high performance standards and musical excellence. Another example is administrative meetings where upcoming concert programs are discussed among board members and key administrative staff. These meetings ensure that the symphony’s program aligns with its broader goals of community engagement and cultural preservation.

Without a background in music, understanding the lexis within the community, specifically within the masterful composition of Tchaikovsky may be difficult. However, understanding a few basic words and following the handwritten notes left by other string players will make a difference. For example, on the final page of the sheet music, when the finale is played, there’s a phrase called Allegro Vivace and four ffff which means to play very fast and bright as well as super, super, super, super loud. However, looking at the handwritten notes, you’d see that the tempo would be changed to “in 2,” which would mean faster, and the ffff is circled to signal the player to pay attention to the dynamic change. Applying context clues of this being the finale also indicates that the piece doesn’t end quietly or slowly. Handwritten notes for these couple of measures also include “shorter,” “full, fast bow,” and give a 3 above a grouping of notes which is a tripled tempo. These notations are not only essential for precise musical execution but also reflect the community’s dedication to technical and artistic precision. This kind of lexis supports the community’s goals of achieving musical excellence, fostering community engagement, and preserving the cultural heritage of symphonic music by ensuring that all members of the symphony have a shared understanding of the technical and expressive requirements of the music being performed.

Section 2: An Analysis of a Source Associated with Your Discourse Community

Contrary to popular belief, the 1812 Overture has nothing to do with the War of 1812 between the United States and the British, though played frequently during Independence Day celebrations, but instead, is a monument to Russia’s defense against Napoleon’s armies in 1812. Thus, the piece doesn’t start dramatically, and kairos is used as the piece begins with a cello and viola solo, captivating the distraught mood of the Russian people after Napoleon’s declaration of war. Later in the piece, the horns come in with a motif from the French national anthem, symbolizing the arrival of French troops, followed by a Russian folk dance, symbolizing Russia’s reply. The piece makes a turning point to the finale, representing the Battle of Borodino, where the French retreat led to a Russian victory. The audience should be transported into this moment and the emotions that went with each motif with the back-and-forth-passing of the French and Russian anthems, the cannon booms, the loud celebratory clanging bells, and the fanfare at the very end.

As a significant work in the classical repertoire, the 1812 Overture is often performed by symphonies worldwide, linking it directly to the goals of the symphony community which include achieving musical excellence, engaging audiences, and preserving cultural heritage. The piece’s complex orchestration and dramatic elements require a high level of skill and coordination, aligning with the community’s goal of musical excellence. Additionally, its popularity and historical significance support the goal of community engagement by drawing diverse audiences and fostering a deeper appreciation for symphonic music. The goals of cultural preservation are also evident, as performing such a historically and culturally rich piece underscores the symphony’s role in maintaining and celebrating the classical music tradition.

Rhetorically, the 1812 Overture employs several elements. Tchaikovsky himself, a renowned composer with a rich portfolio of highly respected works and an intimate understanding of instruments and composition, lends considerable ethos to the 1812 Overture. Audiences and performers alike approach the overture with a sense of respect and anticipation, knowing that an expert in the craft composed it. Context and Logos are equally applied not only in the composition of the piece but also in the notations that were left on the piece. For example, on page 5, in measures 319-324, the second violin part is challenging; there’s a lot of jumping around on the various strings at a speedy tempo. So, using logic, or logos, a specific fingering was added to make that particular passage easier to play. Moreover, in the context of the other instruments adding in their parts, this part increasingly gets louder and louder, and it plays back and forth with another instrument section, so it’s a vital part of the piece. The context of the piece itself, set against the backdrop of a significant historical event, also provides a rich narrative that enhances its emotional and patriotic appeal.

Overall, with the exigence of trying to deliver a piece that the audience will enjoy, string musicians and symphony players closely follow sources like the 1812 Overture to adequately prepare the performers to deliver a moving piece that will tell a story, give each instrument in the orchestra a chance to shine, and entertain the masses. The 1812 Overturemasterfully demonstrates the rhetorical situation of string musicians through its compelling narrative, dynamic composition, and impactful use of instruments, highlighting the connection between the musician’s expressive intent and the audience’s reception. With its cannon/firework ending, this piece will impact all who listen, which is a string musician’s purpose.

Section 3: Conclusions and Recommendations

Overall, the symphonic discourse community is rich with people who are dedicated to telling moving stories through their instrument’s expression and dynamic compositions. As an enthusiastic second violinist who has been playing for well over ten years and an advocate for the symphony discourse community, I contribute every day by actively participating in rehearsals, offering constructive feedback as the leader of my section, and collaborating on community projects. By playing my part, I can help maintain the high standards essential to our goals of achieving musical excellence and preserving the cultural heritage of symphonic music. Negotiating the community’s expectations involves respecting its traditions and protocols while also advocating for progressive music changes and composers that can attract new audience members. For example, Tchaikovsky is a classic to always play, but one of my favorite concerts I participated in was when the program consisted of video game music; we had a whole bunch of new audience members that night. For individuals outside the community, engaging with symphony members through social media, attending concerts, or contributing to the symphony in meaningful ways such as volunteering, donating, or advocating for arts education can help bridge the gap between insiders and outsiders of the community, thereby enriching the cultural fabric that the symphony seeks to preserve and enhance.